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Thompson Robert: The Gardener's Assistant: Practical and Scientific. 1878. Chromolithograph and other illustrations. Full leather binding with blind stamped boards and panelled spineClick here to view further images, condition reports, sale times & delivery costs for this lot.

1920's Mahogany Chest of Four Graduated Drawers, having blind fretwork carving to low back, on bracket feet, 94cm wide.

A 1920's Oak Magazine Rack, having pierced back and carry handles, graduated dividers and blind fretwork fascia, 45cm wide.

1920's Mahogany Triple Wardrobe, having double hanging compartments, central mirror door, shelves to right side, blind fretwork carving to pediment and end doors, on bracket feet, 149cm wide.

DICKENS, Charles - Hard Times. For These Times : org. green cloth title and publisher lettered in gilt on the spine, a little damp faded, 8vo, Bradbury & Evans [Chapman & Hall], 1854. With - Pictures From Italy : org. dark blue cloth publisher's name and title in gilt on the spine, borders blocked in blind, 2 pages of adverts at the front and back of the book undated, pale yellow end papers, 8vo, published for the author, Bradbury & Evans, 1846. With - The Uncommercial Traveller : half morocco marbled boards rubbed, 8vo, rear pastedown and endpaper scribbled on in pencil, no advert pages, Chapman & Hall, 1861.(3)

AQUILA PRESS : A Song about Tsar Ivan Dasilyevitch his young body-guard and the valiant merchant Kalashnikov : by Mikhail Purievitch Lermontov. Translated by John Cournos with decorations by Paul Nash - org. full morocco with calf inlays and blind tooling in contrasting rectangular shapes by PAUL NASH, and decorated by, small folio, limited edition of 750 numbered copies, 1929.

( A. C. R.) The Book of Gracious Promises Illuminated : 12 colour illuminated sheets on one side of the paper, 4to, ecclesiastical binding full brown morocco with central device of the cross blind stamped on upper cover, 1874.

An 18th century style mahogany standing corner display cupboard, with blind fret decoration, 219cm high x 77.5cm wide. 

Carel Weight, 'Village Cup Tie'; 'The Prodigal Son'; 'Holborn, London, after the Blitz'; a set of three, each signed in pencil, latter additionally numbered 122/150 and blind stamped, largest I.42 x 63cm. (3)

A Roman linen blind, with printed repeated flowerhead design, 130cm wide x 200cm long.

Lisa Ivory Motherhood, 2021 Wood Engraving (AP) Signed verso 15 x 10cm (5¾ x 3¾ in.) As both myth and symbol, the Wild Man could be both savage and sublime, evoke fear and admiration, and represent our antithesis and ideal. It is a universal condition , as evident within "civilization" as without.   Ivory's abject aberrations are exiles from this dark, unsettling sensibility. Ivory's work uses a bestiary that describes Everyman's woes-his trials and travails, failures and flailing. A Wild Man, Savage Woman and feral Child are positioned as the flawed hero and the plight of the Outsider. The monstrous; primitive, irrational Wild man is at once our fall guy, our belonging and our otherness. This plight is shared by the Foundling, the Waif, the Abandoned and the fallen woman. The Outsiders are victims of their own innocence (seduction, rape, abandonment) or their own experience (Ignorance, carnality, sensuality). This work has a natural conversation with the innocence and experience of William Blake's Lost Girls and Boys and the stuff that small (and big) children worry about...what looks through the window at night or claws at your door. Lost and feral babes allegorise our animality. Man and beast meld as a medieval drollery.   Education   Foundation Course, Saint Martins School of Art, London Bachelor of Arts (Hons) Fine Art, Painting, Saint Martins School of Art, London   Exhibitions include: Every Day, Terrace Gallery, 2020, London Savage Gardens, solo show, 2020, Pamela Salisbury Gallery, New York Two Fold, 2019, OA Gallery, Salford Mythos, 2018, Charlie Smith London National Original Print Exhibition 2017, London Vice, Malice, Lust and Cunning, solo show, 2017, Lubomirov-Angus-Hughes Gallery, London Antennae, Platform Projects, 2017, Athens National Original Print Exhibition 2016, London Sixty, Art-Athina Platform Projects 2016 Hundreds and Thousands, Lubomirov-Angus-Hughes Gallery, 2016 London The British Connection, 2015 Pori Art Museum, Finland Five Paintings at The Three Crowns 2015, London Limited Editions 2015, Lubomirov-Easton, London Bad Behaviour 2014, Brixton East Gallery, London Neo:Print Prize 2014, neo:gallery, Bolton The Whole Thing's Coming Out of the Dark, Angus-Hughes Gallery, London Printjam 2014, Art Bermondsey, London A5-Platform Projects@Art Athina 2014, Lubomirov-Easton, Athens Void Open 2013, Void Gallery, London Untitled Male Id, Angus-Hughes Gallery, London   Blind Date, Presented by ALISN, Supermarket 2013- Independent Art Fair, Stockholm Soul Meat, Lion and Lamb Gallery, London Temple of the Occult, Norman Rea Gallery, York Big Deal Sexy100, Wall to Wall, London, curated by STIMULUS LTD Scope Basel 2011, Presented by Guillochon Gallery London, Basel The Great Alonso, Primo Alonso, London City Hobgoblins, Angus-Hughes Gallery, London Freaks, Shoreditch Town Hall, London The Discerning Eye, Mall Galleries, London Sideshow, Primo Alonso, London Start Your Collection, Contemporary Arts Projects, London Wish You Were Here 3, A.I.R Gallery, New York Kindness of Strangers, The Helm, Washington ArtWorks Open, Barbican Arts Trust Project Space, London  

Lisa Ivory Offering, 2021 Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   As both myth and symbol, the Wild Man could be both savage and sublime, evoke fear and admiration, and represent our antithesis and ideal. It is a universal condition , as evident within "civilization" as without.   Ivory's abject aberrations are exiles from this dark, unsettling sensibility. Ivory's work uses a bestiary that describes Everyman's woes-his trials and travails, failures and flailing. A Wild Man, Savage Woman and feral Child are positioned as the flawed hero and the plight of the Outsider. The monstrous; primitive, irrational Wild man is at once our fall guy, our belonging and our otherness. This plight is shared by the Foundling, the Waif, the Abandoned and the fallen woman. The Outsiders are victims of their own innocence (seduction, rape, abandonment) or their own experience (Ignorance, carnality, sensuality). This work has a natural conversation with the innocence and experience of William Blake's Lost Girls and Boys and the stuff that small (and big) children worry about...what looks through the window at night or claws at your door. Lost and feral babes allegorise our animality. Man and beast meld as a medieval drollery.   Education   Foundation Course, Saint Martins School of Art, London Bachelor of Arts (Hons) Fine Art, Painting, Saint Martins School of Art, London   Exhibitions include: Every Day, Terrace Gallery, 2020, London Savage Gardens, solo show, 2020, Pamela Salisbury Gallery, New York Two Fold, 2019, OA Gallery, Salford Mythos, 2018, Charlie Smith London National Original Print Exhibition 2017, London Vice, Malice, Lust and Cunning, solo show, 2017, Lubomirov-Angus-Hughes Gallery, London Antennae, Platform Projects, 2017, Athens National Original Print Exhibition 2016, London Sixty, Art-Athina Platform Projects 2016 Hundreds and Thousands, Lubomirov-Angus-Hughes Gallery, 2016 London The British Connection, 2015 Pori Art Museum, Finland Five Paintings at The Three Crowns 2015, London Limited Editions 2015, Lubomirov-Easton, London Bad Behaviour 2014, Brixton East Gallery, London Neo:Print Prize 2014, neo:gallery, Bolton The Whole Thing's Coming Out of the Dark, Angus-Hughes Gallery, London Printjam 2014, Art Bermondsey, London A5-Platform Projects@Art Athina 2014, Lubomirov-Easton, Athens Void Open 2013, Void Gallery, London Untitled Male Id, Angus-Hughes Gallery, London   Blind Date, Presented by ALISN, Supermarket 2013- Independent Art Fair, Stockholm Soul Meat, Lion and Lamb Gallery, London Temple of the Occult, Norman Rea Gallery, York Big Deal Sexy100, Wall to Wall, London, curated by STIMULUS LTD Scope Basel 2011, Presented by Guillochon Gallery London, Basel The Great Alonso, Primo Alonso, London City Hobgoblins, Angus-Hughes Gallery, London Freaks, Shoreditch Town Hall, London The Discerning Eye, Mall Galleries, London Sideshow, Primo Alonso, London Start Your Collection, Contemporary Arts Projects, London Wish You Were Here 3, A.I.R Gallery, New York Kindness of Strangers, The Helm, Washington ArtWorks Open, Barbican Arts Trust Project Space, London

Lisa Ivory Leader, 2021 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) As both myth and symbol, the Wild Man could be both savage and sublime, evoke fear and admiration, and represent our antithesis and ideal. It is a universal condition , as evident within "civilization" as without.   Ivory's abject aberrations are exiles from this dark, unsettling sensibility. Ivory's work uses a bestiary that describes Everyman's woes-his trials and travails, failures and flailing. A Wild Man, Savage Woman and feral Child are positioned as the flawed hero and the plight of the Outsider. The monstrous; primitive, irrational Wild man is at once our fall guy, our belonging and our otherness. This plight is shared by the Foundling, the Waif, the Abandoned and the fallen woman. The Outsiders are victims of their own innocence (seduction, rape, abandonment) or their own experience (Ignorance, carnality, sensuality). This work has a natural conversation with the innocence and experience of William Blake's Lost Girls and Boys and the stuff that small (and big) children worry about...what looks through the window at night or claws at your door. Lost and feral babes allegorise our animality. Man and beast meld as a medieval drollery.   Education   Foundation Course, Saint Martins School of Art, London Bachelor of Arts (Hons) Fine Art, Painting, Saint Martins School of Art, London   Exhibitions include: Every Day, Terrace Gallery, 2020, London Savage Gardens, solo show, 2020, Pamela Salisbury Gallery, New York Two Fold, 2019, OA Gallery, Salford Mythos, 2018, Charlie Smith London National Original Print Exhibition 2017, London Vice, Malice, Lust and Cunning, solo show, 2017, Lubomirov-Angus-Hughes Gallery, London Antennae, Platform Projects, 2017, Athens National Original Print Exhibition 2016, London Sixty, Art-Athina Platform Projects 2016 Hundreds and Thousands, Lubomirov-Angus-Hughes Gallery, 2016 London The British Connection, 2015 Pori Art Museum, Finland Five Paintings at The Three Crowns 2015, London Limited Editions 2015, Lubomirov-Easton, London Bad Behaviour 2014, Brixton East Gallery, London Neo:Print Prize 2014, neo:gallery, Bolton The Whole Thing's Coming Out of the Dark, Angus-Hughes Gallery, London Printjam 2014, Art Bermondsey, London A5-Platform Projects@Art Athina 2014, Lubomirov-Easton, Athens Void Open 2013, Void Gallery, London Untitled Male Id, Angus-Hughes Gallery, London   Blind Date, Presented by ALISN, Supermarket 2013- Independent Art Fair, Stockholm Soul Meat, Lion and Lamb Gallery, London Temple of the Occult, Norman Rea Gallery, York Big Deal Sexy100, Wall to Wall, London, curated by STIMULUS LTD Scope Basel 2011, Presented by Guillochon Gallery London, Basel The Great Alonso, Primo Alonso, London City Hobgoblins, Angus-Hughes Gallery, London Freaks, Shoreditch Town Hall, London The Discerning Eye, Mall Galleries, London Sideshow, Primo Alonso, London Start Your Collection, Contemporary Arts Projects, London Wish You Were Here 3, A.I.R Gallery, New York Kindness of Strangers, The Helm, Washington ArtWorks Open, Barbican Arts Trust Project Space, London

Nettie Wakefield Two Meters Apart, 2021 Graphite on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Nettie Wakefield (b.1987) is a British artist who lives and works between London and LA. It is human ephemera and the aspects of everyday life which tend to be over looked or taken for granted that for Nettie become a rich resource for artistic meditation. Taking as her subject matter, the backs of people's heads as in her 'Reverse Portraits' - the owner always unknown, discarded beer cans, sweet wrappers and crumpled cigarette packets, Nettie imbues these commonplace subjects with a sense of both the uncanny as well as a certain poetry which speak of the humans to which they belong or have been discarded by. A striking discord exists between the evidence of life lived in constant flux and the manner in which these 21st century specimens are then immortalized by Nettie's stark and uncompromising artistic attention. Rejecting the new wave digital era, Nettie's commitment is to traditional forms of draughtsmanship such as drawing watercolour and most lately bronze casting. Through meticulous and highly focused powers of observation, Nettie isolates a moment or thing in space and time, often suspending it within an otherwise blank background as she grants it an importance it is usually denied. For Nettie, pencil is a medium she continually returns to. There is no hiding with pencil. It's where so many artists have started; the source of the stream. Most people associate it with the beginning of something, a plan. For Nettie it is the main medium: the end product, it's monochromacy perfect for an artist who is far more interested in tonality than colour. While the speed of life becomes increasingly fast, Nettie views her work as an act of mindfulness, a slowing down of sorts, through which to take time over the act of looking, an effect also replicated in the viewer on encountering Nettie's works. Education She spent summers at the Charles Cecil studios in Florence before completing a foundation year at Chelsea College of Art, a BA in Art History at Leeds University and her Masters degree in Drawing at Wimbledon College of Art, graduating September 2013. Exhibitions/Awards UNIT GALLERY, Online exhib opening 11th June 2020, Unit London will stage an expansive online exhibition of Works on Paper. 'Drawn Together' will feature the work of over one-hundred and fifty artists from all over the world in order to raise funds for both Medecins Sans Frontières and World Vision. SOHO REVUE GALLERY 'idle thoughts' August 2020 Art on a Postcard - International Women's Day - All Bright Members club, 2nd March 2020 ART WARS 9 - Old Brompton Gallery, 238 Old Brompton Road, SW5 0DE - 12th -19th December 2019 'CORNER SHOP' - Nettie Wakefield, Hayden Kays, Tobias Ross-Southall, David Shillinglaw, Lily Mixe, Mathew Lawrence - Soho Revue Gallery, 8-10 Brewer Street, London, W1F 0SE The Ministry of Arts - Diversion ahead, 13th Nov 2019, 7-10pm, The Nave, Bishopsgate, EC2N 4AG Affordable Art Fair Battersea showing with Jealous Gallery Woolwich Art Fair showing with Jealous Gallery 2019: PAINTED BLIND - An Exhibition by Nettie Wakefield and Nichole Fitch - Soho Revue Gallery, 8-10 Brewer Street, W1F 0ED - 30th August - 25th September 2019 ART CARBOOT with Jealous Gallery 28th Sept 2019 Launch of Mark Hix's new book 'HOOKED', Illustrations by Nettie Wakefield - The launch will co inside with an exhibition showing all the illustrated works ONE NIGHT ONLY - HIX ART - Downstairs at the Tramshed 11th June 2019 - 32 Rivington Street, EC2a 3LX FACE VALUE 3 - Katie Piper Foundation - 'Dirty Work', Jealous Gallery East shown at Jealous North throughout May 2019 Jealous Gallery East group charity show with The Big Issue - 2019 pending 2020 2018: 12x12 The Stockroom Gallery, Group exhibition, Australia - December 2018 SOLO SHOW | 'BRANDY' - JASON VASS GALLEY - 1452 E 6th street 90021 | LOS ANGELES - Show will run 6 weeks until 21st July ART BELOW / HIX ART - ART WARS EAST Downstairs at the Tramshed - 32 Rivington Street, EC2a 3LX Digital online campaign for KODAK x JIGSAW - In aid of International Women's Day, March 2018 2017: CONTEXT MIAMI ART FAIR with Corey Helford Gallery - Herald Site, Biscayne Bay, Downtown Miami - 5-10 December 2017 SUBLIMINAL PROJECTS - Group exhibition, 1331 W. Sunset Blvd, Los Angeles, CA 90026 BRITISH ART WEEKEND - blueprint fine art, Oxfordshire - 17th-19th Nov 2017 A tightly concentrated selection of art made by British artists, or artists working in Britain from the 1960's to the present day. The selection consists of around fifty museum quality works on paper and editions, paintings, photography and sculpture by some of the most iconic and respected names in modern and contemporary art. NETTIE WAKEFIELD solo show - Beauty in the Ordinary, 3rd October 2017 Mary Lou room at The Groucho Club, ONE NIGHT ONLY - 45 Dean St, Soho, LONDON ART BELOW REGENTS PARK - Group show, Le Dame Gallery, 1 Albany St, London NW1 3UP - Runs 22nd-229th Sept ART BELOW Summer group show 2017 - 22nd June - 1st July, Rose and King galleries - 41 -43 Brook Street, W1K 4HJ NO ARTIST NO ART LAUNCH - 19th June 2017, Lights of soho, Brewer St, Soho, London One drawing in the permanent Soho House collection on display from Summer 2017 - Cecconi's, 53-83 Water Street - Dumbo, Brooklyn, New York CONTEXT Art fair NYC - Corey Helford Gallery, Pier 94, 55th Street and West Side Highway, New York City, 3rd-7th May 2017 ART BELOW GOES TO LA - 13th Feb - 28th Feb 2017 / Group Show, Sur le Mer Gallery, Pacific Design Centre in West Hollywood About the postcard artworks These figures are taken from a series i did called 'Lost in time and space'. The drawings are a visual representation of what social distancing felt like. A feeling of drifting through.  

Nettie Wakefield Two Meters Apart, 2021 Graphite on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Nettie Wakefield (b.1987) is a British artist who lives and works between London and LA. It is human ephemera and the aspects of everyday life which tend to be over looked or taken for granted that for Nettie become a rich resource for artistic meditation. Taking as her subject matter, the backs of people's heads as in her 'Reverse Portraits' - the owner always unknown, discarded beer cans, sweet wrappers and crumpled cigarette packets, Nettie imbues these commonplace subjects with a sense of both the uncanny as well as a certain poetry which speak of the humans to which they belong or have been discarded by. A striking discord exists between the evidence of life lived in constant flux and the manner in which these 21st century specimens are then immortalized by Nettie's stark and uncompromising artistic attention. Rejecting the new wave digital era, Nettie's commitment is to traditional forms of draughtsmanship such as drawing watercolour and most lately bronze casting. Through meticulous and highly focused powers of observation, Nettie isolates a moment or thing in space and time, often suspending it within an otherwise blank background as she grants it an importance it is usually denied. For Nettie, pencil is a medium she continually returns to. There is no hiding with pencil. It's where so many artists have started; the source of the stream. Most people associate it with the beginning of something, a plan. For Nettie it is the main medium: the end product, it's monochromacy perfect for an artist who is far more interested in tonality than colour. While the speed of life becomes increasingly fast, Nettie views her work as an act of mindfulness, a slowing down of sorts, through which to take time over the act of looking, an effect also replicated in the viewer on encountering Nettie's works. Education She spent summers at the Charles Cecil studios in Florence before completing a foundation year at Chelsea College of Art, a BA in Art History at Leeds University and her Masters degree in Drawing at Wimbledon College of Art, graduating September 2013. Exhibitions/Awards UNIT GALLERY, Online exhib opening 11th June 2020, Unit London will stage an expansive online exhibition of Works on Paper. 'Drawn Together' will feature the work of over one-hundred and fifty artists from all over the world in order to raise funds for both Medecins Sans Frontières and World Vision. SOHO REVUE GALLERY 'idle thoughts' August 2020 Art on a Postcard - International Women's Day - All Bright Members club, 2nd March 2020 ART WARS 9 - Old Brompton Gallery, 238 Old Brompton Road, SW5 0DE - 12th -19th December 2019 'CORNER SHOP' - Nettie Wakefield, Hayden Kays, Tobias Ross-Southall, David Shillinglaw, Lily Mixe, Mathew Lawrence - Soho Revue Gallery, 8-10 Brewer Street, London, W1F 0SE The Ministry of Arts - Diversion ahead, 13th Nov 2019, 7-10pm, The Nave, Bishopsgate, EC2N 4AG Affordable Art Fair Battersea showing with Jealous Gallery Woolwich Art Fair showing with Jealous Gallery 2019: PAINTED BLIND - An Exhibition by Nettie Wakefield and Nichole Fitch - Soho Revue Gallery, 8-10 Brewer Street, W1F 0ED - 30th August - 25th September 2019 ART CARBOOT with Jealous Gallery 28th Sept 2019 Launch of Mark Hix's new book 'HOOKED', Illustrations by Nettie Wakefield - The launch will co inside with an exhibition showing all the illustrated works ONE NIGHT ONLY - HIX ART - Downstairs at the Tramshed 11th June 2019 - 32 Rivington Street, EC2a 3LX FACE VALUE 3 - Katie Piper Foundation - 'Dirty Work', Jealous Gallery East shown at Jealous North throughout May 2019 Jealous Gallery East group charity show with The Big Issue - 2019 pending 2020 2018: 12x12 The Stockroom Gallery, Group exhibition, Australia - December 2018 SOLO SHOW | 'BRANDY' - JASON VASS GALLEY - 1452 E 6th street 90021 | LOS ANGELES - Show will run 6 weeks until 21st July ART BELOW / HIX ART - ART WARS EAST Downstairs at the Tramshed - 32 Rivington Street, EC2a 3LX Digital online campaign for KODAK x JIGSAW - In aid of International Women's Day, March 2018 2017: CONTEXT MIAMI ART FAIR with Corey Helford Gallery - Herald Site, Biscayne Bay, Downtown Miami - 5-10 December 2017 SUBLIMINAL PROJECTS - Group exhibition, 1331 W. Sunset Blvd, Los Angeles, CA 90026 BRITISH ART WEEKEND - blueprint fine art, Oxfordshire - 17th-19th Nov 2017 A tightly concentrated selection of art made by British artists, or artists working in Britain from the 1960's to the present day. The selection consists of around fifty museum quality works on paper and editions, paintings, photography and sculpture by some of the most iconic and respected names in modern and contemporary art. NETTIE WAKEFIELD solo show - Beauty in the Ordinary, 3rd October 2017 Mary Lou room at The Groucho Club, ONE NIGHT ONLY - 45 Dean St, Soho, LONDON ART BELOW REGENTS PARK - Group show, Le Dame Gallery, 1 Albany St, London NW1 3UP - Runs 22nd-229th Sept ART BELOW Summer group show 2017 - 22nd June - 1st July, Rose and King galleries - 41 -43 Brook Street, W1K 4HJ NO ARTIST NO ART LAUNCH - 19th June 2017, Lights of soho, Brewer St, Soho, London One drawing in the permanent Soho House collection on display from Summer 2017 - Cecconi's, 53-83 Water Street - Dumbo, Brooklyn, New York CONTEXT Art fair NYC - Corey Helford Gallery, Pier 94, 55th Street and West Side Highway, New York City, 3rd-7th May 2017 ART BELOW GOES TO LA - 13th Feb - 28th Feb 2017 / Group Show, Sur le Mer Gallery, Pacific Design Centre in West Hollywood About the postcard artworks These figures are taken from a series i did called 'Lost in time and space'. The drawings are a visual representation of what social distancing felt like. A feeling of drifting through.  

Nettie Wakefield Two Meters Apart, 2021 Graphite on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Nettie Wakefield (b.1987) is a British artist who lives and works between London and LA. It is human ephemera and the aspects of everyday life which tend to be over looked or taken for granted that for Nettie become a rich resource for artistic meditation. Taking as her subject matter, the backs of people's heads as in her 'Reverse Portraits' - the owner always unknown, discarded beer cans, sweet wrappers and crumpled cigarette packets, Nettie imbues these commonplace subjects with a sense of both the uncanny as well as a certain poetry which speak of the humans to which they belong or have been discarded by. A striking discord exists between the evidence of life lived in constant flux and the manner in which these 21st century specimens are then immortalized by Nettie's stark and uncompromising artistic attention. Rejecting the new wave digital era, Nettie's commitment is to traditional forms of draughtsmanship such as drawing watercolour and most lately bronze casting. Through meticulous and highly focused powers of observation, Nettie isolates a moment or thing in space and time, often suspending it within an otherwise blank background as she grants it an importance it is usually denied. For Nettie, pencil is a medium she continually returns to. There is no hiding with pencil. It's where so many artists have started; the source of the stream. Most people associate it with the beginning of something, a plan. For Nettie it is the main medium: the end product, it's monochromacy perfect for an artist who is far more interested in tonality than colour. While the speed of life becomes increasingly fast, Nettie views her work as an act of mindfulness, a slowing down of sorts, through which to take time over the act of looking, an effect also replicated in the viewer on encountering Nettie's works. Education She spent summers at the Charles Cecil studios in Florence before completing a foundation year at Chelsea College of Art, a BA in Art History at Leeds University and her Masters degree in Drawing at Wimbledon College of Art, graduating September 2013. Exhibitions/Awards UNIT GALLERY, Online exhib opening 11th June 2020, Unit London will stage an expansive online exhibition of Works on Paper. 'Drawn Together' will feature the work of over one-hundred and fifty artists from all over the world in order to raise funds for both Medecins Sans Frontières and World Vision. SOHO REVUE GALLERY 'idle thoughts' August 2020 Art on a Postcard - International Women's Day - All Bright Members club, 2nd March 2020 ART WARS 9 - Old Brompton Gallery, 238 Old Brompton Road, SW5 0DE - 12th -19th December 2019 'CORNER SHOP' - Nettie Wakefield, Hayden Kays, Tobias Ross-Southall, David Shillinglaw, Lily Mixe, Mathew Lawrence - Soho Revue Gallery, 8-10 Brewer Street, London, W1F 0SE The Ministry of Arts - Diversion ahead, 13th Nov 2019, 7-10pm, The Nave, Bishopsgate, EC2N 4AG Affordable Art Fair Battersea showing with Jealous Gallery Woolwich Art Fair showing with Jealous Gallery 2019: PAINTED BLIND - An Exhibition by Nettie Wakefield and Nichole Fitch - Soho Revue Gallery, 8-10 Brewer Street, W1F 0ED - 30th August - 25th September 2019 ART CARBOOT with Jealous Gallery 28th Sept 2019 Launch of Mark Hix's new book 'HOOKED', Illustrations by Nettie Wakefield - The launch will co inside with an exhibition showing all the illustrated works ONE NIGHT ONLY - HIX ART - Downstairs at the Tramshed 11th June 2019 - 32 Rivington Street, EC2a 3LX FACE VALUE 3 - Katie Piper Foundation - 'Dirty Work', Jealous Gallery East shown at Jealous North throughout May 2019 Jealous Gallery East group charity show with The Big Issue - 2019 pending 2020 2018: 12x12 The Stockroom Gallery, Group exhibition, Australia - December 2018 SOLO SHOW | 'BRANDY' - JASON VASS GALLEY - 1452 E 6th street 90021 | LOS ANGELES - Show will run 6 weeks until 21st July ART BELOW / HIX ART - ART WARS EAST Downstairs at the Tramshed - 32 Rivington Street, EC2a 3LX Digital online campaign for KODAK x JIGSAW - In aid of International Women's Day, March 2018 2017: CONTEXT MIAMI ART FAIR with Corey Helford Gallery - Herald Site, Biscayne Bay, Downtown Miami - 5-10 December 2017 SUBLIMINAL PROJECTS - Group exhibition, 1331 W. Sunset Blvd, Los Angeles, CA 90026 BRITISH ART WEEKEND - blueprint fine art, Oxfordshire - 17th-19th Nov 2017 A tightly concentrated selection of art made by British artists, or artists working in Britain from the 1960's to the present day. The selection consists of around fifty museum quality works on paper and editions, paintings, photography and sculpture by some of the most iconic and respected names in modern and contemporary art. NETTIE WAKEFIELD solo show - Beauty in the Ordinary, 3rd October 2017 Mary Lou room at The Groucho Club, ONE NIGHT ONLY - 45 Dean St, Soho, LONDON ART BELOW REGENTS PARK - Group show, Le Dame Gallery, 1 Albany St, London NW1 3UP - Runs 22nd-229th Sept ART BELOW Summer group show 2017 - 22nd June - 1st July, Rose and King galleries - 41 -43 Brook Street, W1K 4HJ NO ARTIST NO ART LAUNCH - 19th June 2017, Lights of soho, Brewer St, Soho, London One drawing in the permanent Soho House collection on display from Summer 2017 - Cecconi's, 53-83 Water Street - Dumbo, Brooklyn, New York CONTEXT Art fair NYC - Corey Helford Gallery, Pier 94, 55th Street and West Side Highway, New York City, 3rd-7th May 2017 ART BELOW GOES TO LA - 13th Feb - 28th Feb 2017 / Group Show, Sur le Mer Gallery, Pacific Design Centre in West Hollywood About the postcard artworks These figures are taken from a series i did called 'Lost in time and space'. The drawings are a visual representation of what social distancing felt like. A feeling of drifting through.  

1956 Bentley S1 Continental Fastback. Coachwork by H J Mulliner, Registration Number: 10JML, Chassis Number: BC28BG, Engine Number: BC27B. ‘Their responsiveness, beauty of line and traditional coach-built interior fitments make them the ultimate in fifties personal transportation’ The Flying Lady.The Bentley S1 Sports Saloon was first introduced in 1955. It quickly became synonymous with effortless high speeds and luxury touring. Of all the designs, and possibly all the Bentley’s, the Mulliner S1 Continental Fastback is the most iconic example of high-performance elegance. The S type was built on a new chassis, which included improved brakes and suspension. They were also fitted with the latest, enlarged model, of the inlet-over-exhaust, six-cylinder engine, which produced 4887cc. As well as this, the Continental came with a shorter radiator and high gearing. All of which resulted in exceptional sports car performance; a top speed of 120mph and it could reach 50mph in just over 9 seconds. In 1955 Autocar wrote: ‘It brings Bentley back to the forefront of the world’s fastest cars’.The luxury aspect of this car is apparent on first sight, the famous lines of the Mulliner coachwork are sublime. The interiors were fitted with touring in mind, comfort and space are paramount. It is noted in the original build sheets for 10JML, that an opening head and rear sun blind are added, which would no doubt contribute to the comfort in which you would travel to the Cote d’Azur, and they are still present to this day. Again commenting, Autocar state: ‘the latest Bentley model offers a degree of safety, comfort and performance that is beyond the experience and perhaps even the imagination of the majority of the worlds motorists’.This early example has a fantastic and comprehensive history. Initially registered in 1956 to Mr Johnstone, the managing director of H J Mulliner and Co Ltd. She was first displayed at the Earls Court Motor Show and not long after sold to a Mr D Letts, known for racing MG’s at Brooklands. During this ownership 10JML was looked after by Jack Barclay; the first note in this car’s extensive history is a simple remedy of a failing stop lamp. In 1961 the car was sold, via Jack Barclay, to a J W Jennings of Samuel Jones & Co Ltd. There is documented dialogue between Barclay’s then manager and Jennings recording the sale. Mr Jennings kept and maintained the car, using Rolls Royce Ltd companies, until 1968. It was then passed to The Freeman Heating Co who commissioned maintenance work, including an engine rebuild, to preserve the cars originality.In 1979 the vehicle was purchased by David Rolfe, an avid collector of Bentley cars and a regional chairman of the BDC. He kept, looked after, and enjoyed this Continental for 35 years. She was then sold to a Mr Head, who upon taking ownership of her in 2008, initiated a specialist report. All highlighted issues were recorded and then remedied. Mr Head rallied the car in Australia in 2010, taking part in ‘Bentleys Australia Over the Top’, 44 Bentleys travelling through the outback, and no issues were recorded. In 2017 Mr Head then instructed a full restoration, to include a bare metal respray, refinishing of the veneers and £17,000 worth of mechanical conservation. The care shown during this process is apparent in the resplendent finish seen when one views the car in the flesh. The car passed to the present owner in 2018.10JML is an impeccable example of one of the most desirable Bentley’s ever to grace our roads. We are delighted to offer her as part of the Newton House Collection, with hope that buyers will not miss the opportunity acquire such a beautiful and rare car.

Twenty three framed antique Le Blond prints, some with blind stamps & five others including Baxter style

WALTER OPHEY (ATTR.) 1882 Eupen - 1930 Düsseldorf STUDIE MIT GARTEN UND HAUS Bleistift auf chamoisfarbenem Papier. SM 27 x 33,5 cm (R. 32,5 x 39 cm). Unten rechts signiert 'WOphey'; oben rechts Blindtempel. Min. besch., gebräunt, leichte Mittelfalz. Hinter Glas gerahmt. WALTER OPHEY (ATTR.) 1882 Eupen - 1930 Duesseldorf STUDY WITH GARDEN AND HOUSE Pencil on paper. Visible size 27 x 33,5 cm (f. 32,5 x 39 cm). Signed in the lower right 'WOphey'; in the upper right blind stamp. Min. damaged, brownish, min. center crease. Framed behind glass.

After Lindsay (Norman) 1879-1969A very large collection of limited edition monochrome prints, facsimile signatures and titles, pencil numbered, blind stamped 'Ltd Edit 550 facsimile', multiple duplicates, various sizes. (qty)

A mounted monochrome three-quarter length photograph of Her Majesty Queen Elizabeth II wearing the coronation diadem and the Order of The Garter, signed and dated on white margin below the picture 'Elizabeth R 1953' original 25x18cm photograph by Dorothy Wilding, mounted, glazed and framed, together with an a signed monochrome half-length seated portrait of Prince Philip in naval uniform, signed 'Philip 53,' photo 22x16cm by Barron, and an official invitation to the 1953 Coronation, with Earl Marshall blind stamp, 21x26cm, (glazed and framed) (3)

An rare signed invitation to the coronation of William IV and Queen Adelaide 1831, Signed 'William R,' and also inscribed 'west door,' with original wax seal and part of Earl Marshall's blind stamp, (trimmed along bottom edge, two vertical and one horizontal fold crease), 16x26cm

Edward VII trio: A signed Coronation photograph of King Edward VII, by W&D Douney, 27x17cm, together with a rare invitation to the Baptism of Edward VII at St George's Chapel, Windsor, Tuesday 25th January 1842, signed by the Lord Chamberlain and with his blind stamp, 7.5x11cm, matted together with a colour print of the baptism, together with an official invitation to the coronation of Their Majesty's Edward VII and Queen Alexandra, inscribed to the Mayor of Peterborough, 20x25cm, both glazed and framed, (3)

AN EDWARDIAN MAHOGANY BOOKCASE, C1905, THE TOP WITH GEOMETRIC BLIND FRET FRIEZE ABOVE PAIR OF GLAZED DOORS, APPLIED FRET CUT BORDERS, SHELVED BENEATH WITH FRET BRACKETS AND REEDED MOULDINGS, 138CM H X 74CM W Condition report Top with ring stain, scratching, chip to right front corner, fittings to doors replaced, left side fret work bracket broken and absent, polish degraded on right hand side of middle shelf, other wear consistent with age

A GEORGE IV ROSEWOOD SOFA TABLE, C1830, THE TOP FITTED WITH TWO DRAWERS AND OPPOSING BLIND DRAWERS, ON PLAIN TAPERING PILLAR, INCURVED PLATFORM AND PROJECTING FEET, 73CM H; 76 X 149CM Condition report Leaves warped, veneers slightly damaged and repaired around platform

A MAHOGANY DISPLAY CABINET IN CHIPPENDALE STYLE, C1910, THE BROKEN FRET PIERCED CRESTING ABOVE A CONFORMING FRIEZE AND PAIR OF GLAZED DOORS APPLIED ASTRAGAL GLAZING BARS, THE PROJECTING SERPENTINE BASE FITTED TWO BLIND FRET CARVED DRAWERS FLANKED BY CONFORMING PILLARS ON SQUARE TAPERED LEGS WITH SPADE FEET, 186CM H; 77CM W Condition report Some staining, abrasions and scratches consistent with age

VINTAGE LUGGAGE. A CROCODILE HIDE BAG, 1930S, LINED IN BEIGE SUEDE, BRASS HOXA LOCK, KEY, 26 X 40CM, LINING BLIND STAMPED THE "MASTIN" MADE IN ENGLAND Condition reportVery good condition for age with slight wear to the two loose handles

Cox (Nicholas). The Gentleman's Recreation, in Four Parts. Viz. Hunting, Hawking, Fowling, Fishing. Wherein those Generous Exercises are largely treated of; and the Terms of Art for Hunting and Hawking, more amply enlarged than heretofore. Also the Method of Breeding and Managing a Hunting-Horse: unto which is now annex'd an Appendix of choice Receipts for the Cure of several Maladies..., 6th edition with large additions, London: Printed for N.C. and sold by J. Wilcox, 1721, engraved frontispiece (trimmed to image and lined to verso, early 20th c. signature G. Cazenove to verso), four folding engraved plates (including large plate torn with loss and lined to verso, and one other lined to verso), with additional plate cropped to image and lined to verso, endpapers renewed with 20th century bookplate of the Cazenove family to upper pastedown, contemporary blind panelled calf, rebacked with gilt decorated spine by Craftsmen Binders Ltd. of Northampton, corner repairs, 8vo, together with: Smith (Thomas), The Life of a Fox written by himself and extracts from the diary of a huntsman, new edition, London & New York: Edward Arnold, 1897, half-title, colour frontispiece, colour & monochrome plates, few illustrations, 20th century bookplate of the Cazenove family to upper pastedown, top edge gilt, 20th century navy half morocco by Craftsmen Binders Ltd. of Northampton, 8vo, Whyte-Melville (George J.), Hunting Poems, London & Edinburgh: T.N. Foulis, 1911, mounted colour plates by G.D. Giles, monochrome illustrations, 20th century bookplate of the Cazenove family to upper pastedown, all edges gilt, 20th century dark green morocco by Craftsmen Binders Ltd. of Northampton, 8vo, Sassoon (Siegfried), Memoirs of a Fox-Hunting Man, 6th impression, London: Faber & Gwyer Ltd., 1928, bookplate of the Cazenove family to upper pastedown, top edge gilt, 20th century maroon quarter morocco by Craftsmen Binders Ltd. of Northampton, cloth sides, 8voQty: (4)

Graham (Maria). Journal of a Residence in Chile, during the Year 1822. And a Voyage from Chile to Brazil in 1823, 1st edition, London: Longman, Hurst, Rees, Orme, Brown, and Green, and John Murray, 1824, iv [2] 512 pp., 14 aquatint plates, occasional unobtrusive blind stamps of the Royal Museum and Library, Salford, to plates and text, plates variably spotted, final plate ('Cacique meeting Carrera's Troops') damp-stained, shallow tide-marks to upper fore corners of other plates, bookplate of Kenn Back to front pastedown, 20th-century tan half calf, 4to (26.8 x 20.9 cm)Qty: (1)NOTESTHE POLAR AND SOUTH AMERICAN LIBRARY OF BRITISH ANTARCTIC SURVEY METEOROLOGIST KENN BACK Abbey Travel 714; Sabin 28234.

* Aldin (Cecil). The Whaddon Chase, Alfred Bell & Co. Ltd, 1925, photolithographic colour print, blind stamp of the Fine Art Trade Guild to lower left, boldly signed in pencil by the artist to lower left, remarque of a running fox next to the artist's signature, 380 x 615 mm, mounted, framed and glazed, together with a key plate identifying 82 riders and 8 hounds, 290 x 340, separately framed and glazedQty: (2)

* Blinks (Thomas). A pair of hunting gravures, Arthur Tooth & Sons, 1892, two uncoloured photogravures, one showing a huntsman clearing a ditch and the other of a stout mounted follower wiping his brow with his mount blowing hard, as the field streams away into the distance, both proofs before titles and letters, both with a blind stamp and signed by the artist in pencil to the lower left, each approximately 590 x 390 mm, mounted, framed and glazedQty: (2)

* Munnings (Alfred J.) Portrait of a Huntsman with hounds, Frost & Reed Ltd, 1930, coloured photolithograph, blind stamp to lower left, signed in pencil by the artist to the lower right, very slight spotting to the margins, 510 x 505 mm, mounted, framed and glazed with an Arthur Ackermann & Son Gallery label to versoQty: (1)NOTESBelieved to show the huntsman of the Pytchley Hunt in Northamptonshire.

* Munnings (Sir Alfred J.). Stanley Barker and the Pytchley hounds, from a painting by Sir Alfred J. Munnings P. R. A. in the possession of Major R. Macdonald Buchanan M. F. H. of Cottesbrooke Hall Northampton, Frost & Reed Ltd, 1948, colour photolithograph, blind stamp to lower left, signed by the artist in pencil to the lower right, 570 x 650 mm, framed but lacking glassQty: (1)

* Payne (Charles Johnson 'Snaffles'). If there is Paradise on Earth It is this! It is this!! It is this!!!, circa 1925, photolithograph, with an uncoloured remarque of part of the field walking home after a day's hunting, crossed snaffle bit blind stamp and signed in pencil by the artist to the lower right, very slight spotting to the margins, overall size 500 x 705 mm, framed and glazed with a Tryon Gallery label to the versoQty: (1)NOTESOne of Snaffles' most famous prints, captioned with its couplet taken from the Mughal Palace at Delhi where it was inscribed by the Emperor Shah Jahan, is an amalgam of the three or four seasons Snaffles had hunting in Leicestershire and Northamptonshire before the Great War. The huntsman on the grey is probably Tom Isaacs who was killed in the war and it represents an idealised view of a hunting country, not bedevilled by roads and barbed wire.

* Payne (Charles Johnson 'Snaffles'). The Finest View in Europe, circa 1926, photolithograph heightened with bodycolour, uncoloured remarque of a hedge layer, crossed snaffle bit blind stamp, signed in pencil by the artist to the lower right, overall size 420 x 660 mm, framed and glazed with a Tryon Gallery label to versoQty: (1)NOTESOne of the most famous images of fox-hunting produced in the 20th century and the image that cemented Snaffles' reputation as a sporting and equestrian artist. In a letter to Lady Clive, who had asked Snaffles for permission to reproduce the image in her book 'The Day of Reckoning', he recalls that the inspiration for the painting came after a day with the Pytchely when mounted on Charles 'Taffy' Walwyn's 'Rifle Brigade' when he was "Smelling heaven, for neither barbed wire nor tractors had invaded this fox-hunting Elysium...". It has been suggested that because he was nearly eighty by the time he wrote this letter to Lady Clive his memory of the day betrayed him and the origins of the painting remain something of an enigma. It endures, however, as the classic evocation of the best hunting country, faced by a rider on a sound and clever mount, with hedges and ditches to jump, stretching away, uninterrupted by wire, plough or roads.

* Payne (Charles Johnson, 'Snaffles'). Swagger - but a workman, circa 1919, photolithograph finished with watercolour and bodycolour, with uncoloured remarque of a huntsman with horses watching a hunt follower approaching the hounds, crossed snaffle bit blind stamp, signed in pencil by the artist lower right, overall size 460 x 395mm, framed and glazed with a Tryon Gallery label to the versoQty: (1)

* Polo. Kilburne (George Goodwin). The Final of the Hunt Cup, Ranelagh 1898. Pytchley v Warwickshire, A. Baird-Carter, 1900, photogravure with contemporary hand colouring and heightened with gum arabic, proof before title and letters, blind stamp and artist's signature in pencil to lower left, title inscribed in manuscript on the mount, 530 x 885 mm, mounted, framed and glazedQty: (1)

Broadsheets & Broadsides. A collection of 21 broadsheets & broadsides, early 19th century, including, Spring-Heel Jack, The Monster Ghost, [London]: prnted by J. Catnach, [Jan. 1838?], single sheet printed to one side, large woodcut illustration, manuscript date at foot, slight fraying to margins, folio (38.5 x 26 cm); Women Beware of the Monster. The Apprehension of Spring Jack, with the Particulars in which the females has suffer'd by his cruelty in Town and Country, [London]: printed by Carpue, [Jan 1838?], single sheet printed to one side, two woodcut illustrations, manuscript date at foot, slight fraying to margins, folio (38 x 25 cm); The Dying Pilgrim, [London]: printed by J. Catnach, circa 1830s, single sheet printed to one side, three woodcut illustrations, slight fraying to margins, folio (38 x 25 cm), The Almanack of Life, [London]: J. Catnach, circa 1830s, single sheet printed to one side, 12 small wood engraved vignette illustrations, slight fraying to margins, folio (38 x 26 cm), and with a theatre advertising broadside, Theatre Royal, Covent Garden. This present Monday, Dec. 21, 1807, will be acted the Comedy of Speed the Plough ... after which ... The Blind Boy, [London, 1807], single-sheet printed to one side, 26 x 19 cm, and other smaller ballad broadsides etc., including, Jack's Fidelity, [by Charles Dibdin], [London], printed by Jennings, [1802-09?], single-sheet, printed to one side, small woodcut illustration, (21 x 9.5 cm), and Lamentation of Mary Queen of Scotland, [London]: printed by J. Pitts, [1800-1810?], single-sheet, printed to one side, small woodcut illustration, tipped onto thin card, (23.5 x 9 cm), and others similar (some tipped onto thin card), together with: Chapbooks, Three chapbooks, early 19th century, including, Rhyming Dick and the Strolling Player: being a true account of the life and death of Richard Nancollas, the Alehouse Poet; and of a Portuguese Player, who died in London. With another Narrative, shewing the advantages of Societies for visiting the Sick, Nottingham: printed by C. Sutton, [1810?], 8pp., woodcut to title, uncut & folded as issued, small 8vo; Garland of New Songs. The Country Club, The Chandler's Shop, Paddy M'Shane's Seven Ages, Newcastle upon Tyne: printed by J. Marshall, [1810?], 8pp., woodcut to title, uncut & folded as issued, small 8vo; Garland of New Songs. Daft Watty's Ramble to Carlisle, I was the Boy for bewitching 'em, Mary once had Lovers two, The little Farthing Rush-Light, Paddy O'Leary, Newcastle upon Tyne, printed by J. Marshall, [1810?], 8pp., woodcut to title, uncut & folded as issued, small 8voQty: (18)

E.J.D. Bodley Pottery. Two Bodley stock pattern books, circa 1880s, containing pattern registration numbers B.100-B.589 and 5/5668-5/7857, a combination of written descriptions and pencil, ink and watercolour illustrations on tracing paper pasted in with registration numbers and descriptions inscribed on or by the images, a total of approximately 260 leaves with text and illustrations to both sides, a few blanks, some dust and finger-soiling throughout, printed labels of stationer Warwick Savage of Burslem to both front pastedowns, original quarter reversed calf, heavily worn with old tape repairs, both spines damaged with loss but one with the label blind-lettered 'Mounted Goods Pattern Book No. 1 - E.J.D.B. - 1882', 4to (31 x 26 cm)Qty: (2)NOTESEdwin James Drew Bodley operated out of part of the Hill Pottery, Burslem, Stoke-on-Trent, manufacturing china and earthenware. The patterns here are largely transfer patterns for china and earthenware but also include Christmas greeting cards.

* George VI (1895-1952). King of the United Kingdom 1936-1952. Document Signed, 'George R', as King, at the head, Court at St. James’s, 22 November 1947, partially printed document, completed in typescript, addressed to the Governor of Wakefield Prison, a remission document relating to Reginald Harold Mazonowicz who, at the Quarter Sessions held in Newcastle-under-Lyme on 30 September 1946, was ‘convicted of six offences of larceny as servant and sentenced to imprisonment for six concurrent terms of twenty-one months’, and in consideration of ‘some circumstances humbly represented to Us’ is now pardoned from the remainder of his sentence and is ‘to be discharged out of custody forthwith’, countersigned at the conclusion by the Home Secretary James Chuter Ede (1882-1965), blind embossed seal to the upper left corner, 2 pages, folio, VGQty: (1)

Lutheran Manuscript. An unusual German manuscript, circa 1740, mounted engraved frontispiece after J. C. Scherer, ownership emblem of Iohannes Rupp dated 1740, 'dedication' leaf with inscription of the manuscript's scribe F.D. Schneider, bookseller or scribe of Leipzig (and written by him at Frankfurt-am-Main), both preliminary leaves within ornamental watercolour borders, the main text following comprising 50 unnumbered leaves with manuscript quotations in brown and red ink and large central pen and brown ink geometric designs, each page with ruled ink border, the whole text written calligraphically in German gothic script, with flourishes, quotation sources identified in brown, blue or green ink, two additional leaves following with geometric design sketches and five further leaves with contemporary engraved portrait of Martin Luther with red ink caption beneath in the same calligraphic hand, several further blanks including some later crude watermark designs in pencil, versos blank throughout, some spotting and soiling throughout, later pencil inscription to final blank recto: 'Wohlgeborenen Herrn Lessing Directeur des grossagrzoglichen Kunstgalleri in Karlsruhe die 14 August 1873', armorial bookplate of monogramme 'M' surmounted by a baron's coronet, contemporary blind-stamped vellum, stained red and now partly faded, slightly rubbed and soiled, 4to (24.5 x 20 cm)Qty: (1)NOTESA curious and intriguing manuscript. The four-line quotations at the head and foot of each page with a geometric design are taken from several sources but predominately from Benjamin Schmolck's Heilige Flammen der himmlisch-gesinnten Seele, a collection of hymns and spiritual songs which appeared in some 13 editions during Schmolck's lifetime. Benjamin Schmolck (1672-1737) was a German Lutheran writer of hymns. The page references given in the manuscript tally with a 1726 edition published in Leipzig by Lankisch but may well tally with other identical editions of the same period. The later pencil inscription at the back of the manuscript would seem to indicate this later belonged to Karl Friedrich Lessing (1808-1880), a German historical and landscape painter who was appointed director of the gallery at Karlsruhe in 1856.

Snow (William Parker). A Two Years' Cruise off Tierra del Fuego, the Falkland Islands, Patagonia, and in the River Plate: A Narrative of Life in the Southern Seas, 2 volumes, 1st edition, London: Longman, Brown, Green, Longman, & Roberts, 1857, viii 376; viii 368 pp., half-title to volume 1, 6 lithographic colour plates, brown coated endpapers, printed advertisements to pastedowns, bookplates of Kenn Back, 3 folding charts, toning, light spotting to plates and charts, a few other marks, volume 1 signatures C1-2 clumsily opened, volume 2 inner hinges strengthened, original dark blue cloth stamped in blind, spines lettered in gilt, volume 1 spine rolled, a little wear to rear joint, a few pale marks to boards, tips bumped, volume 2 more conspicuously bumped and marked, 8voQty: (2)NOTESTHE POLAR AND SOUTH AMERICAN LIBRARY OF BRITISH ANTARCTIC SURVEY METEOROLOGIST KENN BACK Acquisition: The Armchair Traveller, Emsworth, 1998. Sabin 85559. 'In 1854 Snow went to Patagonia in command of the South American Missionary Society's vessel Allen Gardiner, and for two years carried missionaries and their stores between Tierra del Fuego, the Falkland Islands, and stations on the mainland. This service ended in a disagreement between him and the superintending missionary at the Falkland Islands, who deposed Snow from his command for disobedience, and left him and his wife to find their own way to England. On his arrival Snow published A Two Years' Cruise off Tierra del Fuego (2 vols., 1857), which had some success, but he spent the proceeds on an unsuccessful action against the missionary society' (ODNB).

Burke (Edmund). Reflections on the Revolution in France, and on the Proceedings in certain Societies in London relative to that event. In a Letter intended to have been sent to a Gentleman in Paris, 9th edition, London: J. Dodsley, 1791, contemporary tree sheep, neatly rebacked preserving morocco title label, 8vo, together with: Fain (Agathon-Jean-Franc?ois), Memoirs of the Invasion of France by the Allied Armies, and of the last six months of the reign of Napoleon, including his abdication. Written at the command of the Emperor, new edition, London: Henry Colburn, 1834, engraved frontispiece, folding engraved map, 4pp. publisher's list at rear, contemporary half sheep, spine faded, rubbed, 8vo, [Stirling Maxwell, William], Napoleon's Bequest to Cantillon. A Fragment of International History, London: John W. Parker, 1858, title in red & black, top edge gilt, bookplate of Harold John Tennant, near contemporary black half morocco, blind embossed monogram to centre of each board, 8vo,Qty: (3)

Defoe (Daniel). The Life and Adventures of Robinson Crusoe. Embellished with Engravings from Designs by Thomas Stothard, 2 volumes, London: T. Cadell & W. Davies, 1820, half-title to each, engraved vignette to each title (slight horizontal weakening creases at edge of platemarks), 20 engraved plates (including frontispiece to volume 1), occasional scattered spotting, armorial bookplate of Simon Stephenson F.L.S. to upper pastedowns, contemporary blind decorated calf, both volumes rebacked with gilt & blind decoration, light wear to board edges, 8voQty: (2)

Fox (John). The Book of Martyrs: Containing an Account of the Sufferings and Death of the Protestants in the Reign of Queen Mary the First ... Originally Written by Mr. John Fox: and now Revised and Corrected by an Impartial Hand, London: printed and sold by John Hart and John Lewis, 1732, engraved title (Birkbeck College Library blind stamp to lower blank corner), 30 engraved plates including portrait frontispiece, engraved title, some light toning, marbled endpapers with printed ownership label of Thomas Seagood to upper pastedown, hinges split, contemporary blind panelled calf, neatly rebacked with elaborately gilt decorated spine and red morocco title label, board edges and corners repaired, folio (37.3 x 24 cm), together with: Strype (John), The History of the Life and Acts of the Most Reverend Father in God, Edmund Grindal, the first Bishop of London, and the second Archbishop of York and Canterbury successively, in the reign of Q. Elizabeth..., in Two Books, London: John Hartley, 1710, engraved portrait frontispiece, title in red & black, wide margins, contemporary blind panelled calf, modern reback and corner repairs, folio (45 x 28.5 cm)Qty: (2)

Tanner (Thomas). Notitia Monastica; Or, an Account of all the Abbies, Priories and Houses of Friers, Formerly in England and Wales. And Also of all the Colleges and Hospitals Founded Before A.D. MDXL... And Now Reprinted by James Nasmith, Cambridge: printed at the University Press by John Archdeacon, for John Nichols and G.G.J. and J. Robinson, London, 1787, engraved portrait frontispiece (light offsetting to title), armorial bookplate of Sir Edward B. Barker Bt. to upper pastedown, light damp stain to rear endpaper, contemporary marbled calf, expertly rebacked preserving original richly gilt spine and terracotta red morocco title label, corners neatly repaired, upper board with Devon County Library round blind stamp, folio, together with: [Allestree, Richard], The Works of the Learned and Pious Author of the Whole Duty of Man, 2 volumes in one, Oxford and London: by Roger Norton and Edward Paulet, 1704, engraved frontispiece, engraved illustration to general & second part titles, some light dust-soiling, contemporary panelled mottled calf, joints and head & foot of spine neatly repaired, folioQty: (2)

Trollope (Anthony). Cousin Henry, a Novel, 2 volumes, 1st UK bookform edition, London: Chapman and Hall, 1879, half-titles, volume 1 with 3pp. publisher's advertisements at rear, some finger-soiling, occasional short closed edge tears, volume 1 p.1 with long tear (previously repaired), stitching strained, rear pastedown with binder's ticket of W. Bone & Son, hinges cracked, original blue cloth, stamped in gilt, black and blind, circulating library labels removed from front covers (as often), darkened and soiled, lightly rubbed, somewhat cocked spines, with ends and front upper corners bumped, 3 corners showing, 8vo, together with: Ibid., Can You Forgive Her, 2 volumes, 1st bookform edition, London: Chapman and Hall, 1864-65, bound from the parts, half-titles, volume 1 with 20 etched illustrations by Hablot K. Browne "Phiz", volume 2 with 20 wood-engraved illustrations by Miss Taylor, variable toning and spotting to plates (affecting adjacent leaves), volume 2 sewing broken in gathering N, volume 1 front & volume 2 rear hinges cracked, armorial bookplates of Charles Walter Lyon and David Talbot Rice to each, contemporary dark brown half morocco, spines with gilt lines and lettering, rubbed, volume 1 front lower corner bumped, 8vo, plus: Lever (Charles), The Daltons or Three Roads in Life, 2 volumes, 1st edition, London: Chapman and Hall, 1852, 48 etched plates by 'Phiz', including frontispiece (in volume 2) and additional title, a few plates toned, occasional light spotting, one plate in volume 2 with short closed edge tear, armorial bookplate of David Talbot Rice to each front pastedown, volume 1 cover detached at rear hinge (front hinge cracking), contemporary half calf gilt, rubbed with some wear to extremities, spines with contrasting labels, 8vo, with: Edgeworth (Richard Lovell and Maria), Essay on Irish Bulls, 1st edition, London: for J. Johnson, 1802, 2 engraved vignettes, scarce light spotting, contemporary half calf, rubbed with some wear to extremities, 8vo, and 10 others, including: Comic Dramas in Three Acts, by Maria Edgeworth, 1817, and The History of Pendennis, by William Makepeace Thackeray, 1849-50, 2 volumes (volume 1 spine deficient)Qty: (21)NOTESCousin Henry: Sadleir Trollope 56. Vol. 1 with p. 95, line 2 "bedside" instead of "beside", and p. 197, has running headline "ABEL" for "ISABEL", also with page-numbers for vol. 1, p. 114, and vol. 2, p. 84, in a larger type, as noted by Sadleir in some copies. Cousin Henry first appeared as a weekly serial in early 1879. This bookform edition was published in November 1879 and was preceded by the US edition of September 1879. Can You Forgive Her: Sadleir Trollope 19.

Folio Society. William the Conqueror, by Davis C. Douglas, 2004, Mary Queen of Scots, by Antonia Fraser, 2004, Henry VIII, by J.J. Scarisbrick, 2004, Richard III, by Paul Murray Kendall, 2005, Elizabeth I, by J. E. Neale, 2005, Queen Victoria, by Elizabeth Longford, 2007, A History of England, 12 volumes, by Peter Hunter Blair et al, circa 1997-2000, together with 72 further volumes of Folio Society publications, all original cloth in slipcases, all with previous owner blind stamp to front endpapers, G/VG. 8voQty: (90)

Rumford (Benjamin Thompson). Count Rumford's Experimental Essays, Political, Economical, and Philosophical, 3 parts (Essays I-III), Dublin: printed W. Porter & J. Archer, 1796, comprising three essays, I. An Account of an Establishment for the Poor at Munich, II. Of the Fundamental Principles on which General Establishments for the Relief of the Poor, may be formed in all Countries, III. Of Food, and Particularly of Feeding the Poor, ownership signature to title of each, some browning and spotting, edges untrimmed, side stitched as issued, 8vo, together with: ibid, Count Rumford's Experimental Essays, Political, Economical, and Philosophical, 5 parts only (Essay I, II, III, V & VI), London: printed for T. Cadell Jun. & W. Davies (successors to Mr Cadell), 1796-97, comprising four essays, I. An Account of an Establishment for the Poor at Munich, II. Of the Fundamental Principles on which General Establishments for the Relief of the Poor may be formed in all Countries, III. Of Food; and Particularly of Feeding the Poor, V. A Short Account of several Public Institutions Lately formed in Bavaria, VI. Of the Management of Fire, and the Economy of Fuel, edges untrimmed, original printed wrappers (part VI in printed boards), side stitched as issued, 8vo, Cladera (Christoval, editor), Espiritu de los Mejores Diarios Literarios queue see publican en Europa, (issues 1-78), 2nd collected edition, revised & corrected, Madrid: Manual Gonzalez, [1790], one engraved plate, contemporary tree sheep, spine with morocco title label and marked vol. I, 4to, Hugo (Gustav Wilhelm), Jahrbucher der Geschichte von America (1492 bis 1829), Karlsruhe: Verlag von Ch. Th. Groos, 1829, ink stamps to title, edges untrimmed, original printed wrappers, browned and upper margins torn, 8vo, and other miscellaneous antiquarian including The Monk. A Romance, by Matthew Gregory Lewis, 3 volumes, Waterford: printed for J. Saunders, 1796 [i.e. 1818], some leaves watermarked 1818, dampstained and few leaves detached, contemporary half morocco in poor condition, 8vo, and Mynegeir Ysgrythurol: Neu Ddangoseg Egwyddorol o'r Holl Ymadroddion Yn yr Hen Destament a'r Newydd, by Peter Williams, Caerfyrddin (Carmarthen): J. Ross, 1773, contemporary blind panelled sheep, rubbed, 4to, and An Historical Sketch of the Art of Caricaturing. With Graphic Illustrations, by J.P. Malcolm, London: Longman, Hurst, Rees, Orme and Brown, 1813, numerous engraved plates., top edge gilt, contemporary red half morocco, gilt decorated spine, slim 4toQty: (a carton)

Goebel (Julius). The Struggle for the Falkland Islands. A Study in Legal and Diplomatic History, 1st edition, New Haven: Yale University Press, 1927, library plate, blind stamps and deaccession markings of Providence Public Library, bookplate of Kenn Back, original cloth, 8vo, together with: Hubbard (Mrs. Leonidas, Jr.). A Woman's Way through Unknown Labrador, 1st edition, New York: McClure Company, 1908, plates, folding map, bookplate of Kenn Back, original red cloth, 8vo, Murphy (Robert Cushman). Oceanic Birds of South America, 2 volumes, 1st edition, New York: The Macmillan Company, the American Museum of Natural History, 1936, plates, bookplate of Kenn Back, original cloth, 4to, [Antarctica]. The Antarctic Pilot, 4th edition, [London]: Published by the Hydrographer of the Navy, 1974, bookplate of Kenn Back, original cloth, folio, and about 100 others, mainly Antarctic and South American travel and reference, 20th century, original clothQty: (6 shelves)NOTESTHE POLAR AND SOUTH AMERICAN LIBRARY OF BRITISH ANTARCTIC SURVEY METEOROLOGIST KENN BACK

Cannon (Richard). Historical Record of the Eighty-Eight Regiment of Foot. Or, Connaught Rangers, 1st edition, London: William Clowes, 1838, [8] vii [1] 103 pp., engraved series-title (spotted), half-title, hand-coloured lithographic plate, original green cloth gilt, 8vo, together with: Gibb (Harold). Record of the 4th Royal Irish Dragoon Guards in the Great War 1914-1918, 2nd edition, Canterbury: [no publisher], 1925, colour frontispiece, 3 halftone photographic plates, original green cloth, spine sunned, 8vo, Whitmore (W. J. Brennan-). With the Irish in Frongoch, 1st edition, Dublin: The Talbot Press Limited, 1917, 8 plates, blind stamps ('Sunvale, Athea, Co. Limerick' to a few preliminary leaves (not title-page) and to rear free endpaper, Irish bookseller's ink-stamp to half-title, contemporary newspaper cuttings mounted to final text-leaf and rear free endpaper, original linen-backed patterned boards, 8vo, and 4 similar (not collated): Cooper, The Tenth (Irish) Division in Gallipoli, 1918; MacNevin, The History of the Volunteers of 1782, 1845; Hill, "Ninety-Eight", A Story of the Irish Rebellion. A New Edition, 1898; O Mahony, Frongoch: University of Revolution, 1987, inscribed by the author; also an untraced broadside: The Gentlemen who have enrolled themselves in the Loyal Bristol Volunteer Regiment, are requested to meet in Queen-Square on Monday, the 26h Inst. at nine o'clock in the morning ... [Bristol]: J. Rudhall, [1803]Qty: (8)NOTESLibrary Hub traces five copies only for Cannon's work.

Heylyn (Peter). Cosmographie, in Four Books. Containing the Chorographie and Historie of the Whole World, and all the Principal Kingdoms, Provinces, Seas, and Isles thereof ... With an accurate and an approved Index ... much wanted and desired in the former, and now annexed to this last Impression, Revised and Corrected by the Author himself immediately before his death, London: Anne Seile, 1666, imprimatur leaf not present, additional engraved title stating 3rd edition and with imprint 'London: Printed for Philip Chetwind, 1666' and early signature to upper margin, letterpress cancel title in red & black, also with another letterpress title printed in black stating 3rd edition and with imprint 'London: Printed for Philipp Chetwind, 1665', four folding engraved maps dated 1666 (Europe, Asia, Africa, and Americas), map of Americas slightly close-trimmed and frayed to lower edge, divisional titles present (with varying imprints Philip Chetwind 1665 & 1662), lower outer blank corner of 3Z6 torn away, occasional very light damp stains mostly to upper outer corners or at head, contemporary blind panelled calf, foot of spine worn, folioQty: (1)NOTESWing H1691; Sabin 31655.

Mauritius. 'Trees and Fruits of the Mauritius' [spine-title], Port Louis, Mauritius: Devaux et Cie [and] J. Maisonneuve, c.1850, containing 20 lithographic plates by Edouard Pitot depicting trees native to Mauritius (each with series-title 'Ile Maurice' and imprint 'Devaux et Cie, Chaussée, Port Louis') and 10 hand-coloured lithographic plates by Alfred Richard depicting fruit native to Mauritius (imprint 'J. Maisonneuve, Chaussée No. 19'), each plate with tissue-guard, tree plates spotted, light marginal spotting to a few fruit plates ('Mabolo', 'Custard Apples', 'Mangoes'), contemporary gift inscription 'Elizabeth A. Bradbury, presented by Mrs Farnham of Mauritius in 1856' to margin of first plate ('Fan-Palm or Tallipot'), the recipient's ownership inscription or initials to margins of 5 other plates, comb-marbled endpapers, all edges gilt, contemporary brown morocco over bevelled boards, concentric frames and arabesque centrepieces to covers in blind, rubbed, large folio (52.2 x 34.2 cm)Qty: (1)NOTESVolume of two extremely rare suites of Mauritius-printed lithographs, containing in total 30 plates by Mauritian artists Edouard Pitot (1778-1860) and Alfred Richard (1824-1880). A similar volume was sold in these rooms on 30 January 2019 (lot 27), containing 16 lithographs of trees from the 'Ile Maurice' series, and 20 lithographs of fruits; the present volume contains four tree plates (Cocoa-nut tree, Tree firn, Red Malartic Plantain, Young filaos) and five fruit plates (Alligator pear, Sapodilla, Coco-nut, Queen's Apple, Sour sop) not in that copy. Another set of the 'Ile Maurice' series, with 16 plates, appeared in Paris in 2008 (Kahn-Dumousset, 4 April 2008, lot 18). There was an exhibition of Pitot's work at the National History Museum of Mauritius in 2018, and Richard is identified as leading figure among the 'accomplished Mauritian artists' who emerged in the second half of the 19th century (Kervern & Martial, Mauritius: 500 Early Postcards, p. 11). A full list of plates is available on request.

Meares (John). Voyages made in the Years 1788 and 1789, from China to the North West Coast of America. To which are prefixed, an Introductory Narrative of a Voyage performed in 1786. from Bengal, in the Ship Nootka; Observations on the Probable Existence of a North West Passage; and some Account of the Trade between the North West Coast of America and China; and the Latter Country and Great Britain, 1st edition, London: printed at the Logographic Press, and sold by J. Walter, 1790, viii [12] xcv 372 [108] pp., 4 engraved plates, 14 aquatint plates (many folding), 10 engraved maps (3 folding), plates and maps offset, variable spotting and browning to plates (stronger to folding plates), a few light spots to maps, 'A Chart of the Northern Pacific Ocean' with short split to one fold and repaired closed handling tear to inner fold, two similar handling tears (one repaired) to 'Chart of the N. W. Coast of America', title-page slightly soiled and with near-contemporary ownership inscription 'C. L. Spitta' (recorded as an officer in the East India Company Engineers, serving c.1830-40), signatures D3-E4 misbound but all present, repair to D1 fore margin affecting a few words verso, marginal repair to H2, top edge gilt, modern crushed morocco, ship vignette in blind to front board, 4to (28.8 x 22.8 cm)Qty: (1)NOTESAbbey Travel 594; Cordier Sinica 2103; ESTC T98966; Hill (1974) pp. 195-6; Howes M469; Sabin 47260. 'John Meares was sent out in 1786 from Calcutta, by a group of merchants, to enter into the fur trade of the northwest coast of America. Establishing himself at Nootka Sound and flying the British flag, he built the first vessel to be launched in northern waters, made important discoveries, and explored the Strait of Juan de Fuca. The Discoveries by Meares were part of the basis for the claim of Great Britain to Oregon. Competition with the Spanish almost caused war between the two countries and this struggle became known as the Nootka Controversy. The Spanish seizure of his ships led to the convention by which the Spanish claims to any northern territory were finally disallowed [sic]. This important narrative gives a very full account of the Indian nations of Northwest America' (Hill).

Scoresby (William). An Account of the Arctic Regions, with a History and Description of the Northern Whale-Fishery, 2 volumes, 1st edition, Edinburgh: Archibald Constable, 1820, half titles, folding engraved frontispieces, 22 engraved plates including 3 folding maps and charts (first map with short closed tear along fold), 2 plates numbered XII, 3 folding tables, bound without advertisement leaf, occasional light spotting, offsetting to titles, bookplate of Alexander Browne, Callaly Castle (in Northumberland), contemporary brown calf, spines with green labels and anthemion decorations in blind, joints cracking, 8voQty: (2)NOTESArctic Bibliography 15610; Lande 2036; Sabin 78167. Classic early work on Arctic exploration. "The first volume of this work relates to the progress of discovery in the Arctic regions, and the natural history of Spitzbergen and the Greenland sea, the second is devoted to the whale-fishery as conducted in the seas of Greenland and Davis's Strait. Mr. Scoresby, the commander of a Greenland whaler, has here displayed much judicious and active observation, combined with no ordinary share of acquired knowledge and scientific attainment, and prompted by an ardent and generous zeal for useful discovery." (Sabin).

[Williamson, Thomas]. Foreign Field Sports, Fisheries, Sporting Anecdotes, &c., 2 parts in one (including supplement on New South Wales), 1st edition, London: Edward Orme, 1814/13, half-title discarded, 110 fine hand-coloured aquatint plates only after Howitt, Atkinson, Clark, Manskirch etc., light offsetting from some plates to text, marbled endpapers with some spotting to blank free endpapers, all edges gilt, 20th century maroon straight grain crushed morocco, gilt and blind decoration, extremities slightly scuffed, 4toQty: (1)NOTESAbbey, Travel 2; Ferguson 577. Superb plates depicting hunting, fishing, whaling, bull-fighting etc. around the world, and including the 10 supplementary scenes of aboriginal hunting and customs.

Camden (William). Camden's Britannia, Newly Translated into English: with large additions and improvements, publish'd by Edmund Gibson, of Queens College in Oxford, London: printed by F. Collins for A. Swale and A. & J. Churchil, 1695, engraved portrait frontispiece with early ownership inscription of B. Blomfield to verso, 50 engraved maps (including 48 double-page and two folding), eight engraved plates of coins, few woodcut and engraved illustrations (including view of Stonehenge and the Rollright Stones, and one full-page), repaired short closed tear to fore-margin of B3, occasional minor marks and light dust-soiling to upper margins of few leaves, front endpaper with bookplates Alexander Mackennal and the Fildes family, cloth hinges to endpapers, contemporary blind panelled calf, morocco reback and corner repairs, board edges rubbed and some wear, folioQty: (1)NOTESFirst edition of Gibson's translation and the first to contain the fine maps by Robert Morden.

Six assorted Blues LPs on the Herwin, Yazoo, Melodeon, Biograph and Arhoolie labels including Blind Willie McTell, Cannon's Jug Stompers, Sonny Boy Williamson, Furry Lewis and Blind Blake (media and sleeves mostly EX)

A box of mostly 1970's LPs including Syd Barrett, Caravan, Brinsley Schwarz, Blind Faith, Bob Marley & The Wailers, Cream, Free, Genesis, Kate Bush, Al Stewart, Bruce Springsteen, Pink Floyd, Wishbone Ash, Bonzo Dog Band etc (approx. 90- media and sleeves mostly VG)

A vintage 1970”s teak wood  sideboard credenza of small proportions. The credenza having two blind fronted drawers over two deep brass handled drawers beneath. All raised on turned teak wood legs with brass cap feet. Measures, 65  cm H x 123 cm W x 40 cm D