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Rosellis (Antonius De) Monarchia sive de potestat first and only edition 114 ff. fol. 112 blank double column 67 lines Gothic type capital spaces some with guide-letters [BMC V 357; Goff R-327; Hain 13974] Venice Hermannus Liechtenstein 1487 bound after Institoris (Henricus) In Errores Monarchiae Antonii de Rosellis 24 ff. double column 67 lines Gothic type capital spaces marginal water-stain to title [BMC V 565; Goff I-161; Hain 9237] Venice Jacobus Pentius de Leuco for Peter Liechtenstein 1499 bound after Natalis (Herveus) "Brito" In quattuor Petri Lombardi sententiaru 4 vol. double column title in red and black and with the engraved bookplate of the Civic Library of Heilbronn to lower margin decorated woodcut initials woodcut printer`s device at end with final blank ink stamp to lower margin of d2 of vol.2 [Adams N52] Venice Lazarus de Soardis 1505 together 3 works in 1 vol. ink ownership inscription dated 1530 mounted on front pastedown a few spots or marginal finger-marks 16th century blind-stamped pigskin over wooden boards metal clasps lower cover with two holes and a a mark suggesting it was once a chained binding split to upper joint soiled and rubbed folio *** An attractive sammelband of three scarce works. Roselli`s treatise discusses the powers of the papacy and it`s relationship with the General Council and in so doing defends the primacy of the papacy. His doctrine was refuted by the Dominican Henricus Institoris in 1499 in the second work present here.

Thomas a Kempis ( Saint) Opera 184 ff. double column 53 lines and head-line Gothic type capitals paragraph-marks and initial-strokes in red occasional early ink marginalia title with a number of early ink inscriptions heavily trimmed and laid down no loss of text worming within text to all to fol.XLI loss or part loss of a few letters to each f. last text f. (CLXXVIII) with early repairs at foot of outer margin loss of four lines of text at foot re-supplied in an early ink hand fol. XCVI torn at upper corner just touching folio number repaired tear to foot of fol. CLXVII no loss fol. CLXXV heavily soiled verso soiling and finger-marking German contemporary blind-stamped pigskin over wooden boards lacking clasps soiled [BMC II 302; Goff T-352; Hain 9769] folio Nuremberg Caspar Hochfelder 1494. ***Provenance: Augustinian Monastery in Rebdorf; Father Andreas; Iohannes Wagner (contemporary or 16th century ink inscriptions to title); Dr. Carlo Grabe (presentation ink inscription to front free endpaper); Inscribed `Duplum` on front free endpaper probably a duplicate from the Royal Library at Munich.

Martyrilogium seu Viola Sanctorum Gothic letter capital spaces with guide letter wormhole of varying sizes to l8 to end a second small wormhole to last few ff. within text loss (or part loss) of a few letters (or less) to each f. some water-staining lightly browned contemporary blind-stamped calf-backed wooden boards sympathetically rebacked lacking clasps a few wormholes [Not in Adams] 8vo [Strasbourg] [J. Knoblouch] [1508].

Augustine (Saint) Liber Epistolarum Beati title and large printer`s device within woodcut architectural border woodcut historiated and decorated initials occasional early ink marginalia 8pp. ms. ink index dated 1602-1603 at end a few early ink number and initials to title a few small wormholes throughout (more numerous towards end) and a worm trace to some ff. affecting a few letters on a number of ff. but without loss of sense of text ink stains to B8 verso and C1 recto contemporary blind-stamped calf lacking clasps repaired rubbed [Not in Adams] Paris Jean Petit 1515.

Aquinas (Thomas Saint) Enarrationes quas Cathena double column title in red and black within woodcut architectural border partially hand-coloured decorated woodcut initials blank 2O6 title with very small section missing from lower corner 2 marginal repairs a few small spots scrap of medieval ms. used in binding contemporary blind-stamped calf over wooden boards rebacked at an early stage in calf upper cover detached rubbed [Not in Adams] folio Paris Jean Petit [1528]. ***Provenance: `Frater Gaspar le Roy...1632` (ink inscriptions to title and 2 index ff.).

Blosius (Franciscus Ludovicus) Opera title with large woodcut printer`s device woodcut initials ink stamps to front free endpaper and margin of title (2 stamps) and a2 occasional light water-staining to lower margins some ff. lightly browned contemporary blind-stamped pigskin over wooden boards upper cover with initials `P H` and date of 1572 both covers with central borders made up of medallions depicting xxx remains of metal clasps soiled and scratched [Not in Adams] folio Cologne Maternus Cholinus 1572. *** Louis of Blois spent his youth as page to Charles V Holy Roman Emperor. At the age of 14 he left court and entered the Benedictine monastery of Liesse near Avesnes in Hainaut. At 24 he was made Abbot and restored the ancient discipline of the monastery which quickly acquired a great reputation for learning. He frequently refused both the Archbishopric of Cambrai and the Abbey of Tournai offered to him by Charles V whose almoner he had been.

Albertus Magnus. Paradisus Animæ sive de title with woodcut printer`s device decorated woodcut initials errata f. at end ink stamps to title some water-staining a few ff. browned contemporary blind-stamped pigskin over wooden boards 1 intact metal clasp and remains of another spine repaired soiled Amtwerp ex officina Plantiniana apud Ioannem Moretum 1602; De Adhæ rendo Deo Libellus title with engraved printer`s device woodcut printer`s device to final otherwise blank f. contemporary polished calf gilt spine ends chipped upper joint starting but holding firm rubbed g.e. Antwerp ex officina Plantiniana apud Balthasarem Moretum & Viduam Ioannis Moreti Io. Meurisium 1621 12mo *** Both works explore the relationship of the inner soul and its eventual reunion with God. (2)

Cellario (Christopher) De Latinitate Mediae et Inf lightly foxed contemporary vellum yapp edges Jena Io. Bielckiano 1682 § Jansen (Cornelius) Tetrateuchus sive Commentarius in Sancta Jesu Christi Evangelia double column title with engraved portrait to title and 3 ink stamps occasional water-staining contemporary polished calf spine in compartments and gilt gilt slightly dulled upper joint splitting but holding firm rubbed Brussels Francis T`Sertevens 1737 § Luca (Francisco) Concordantiae Sacrorum Bibliorum Vulgatae Editionis triple column half-title title with woodcut printer`s device and ink inscription some water-staining causing small hole to outer margin of preliminaries contemporary blind-stamped pigskin over wooden boards lacking clasps soiled Antwerp apud Joannem Baptistam Verdussen 1733; and 3 others Continental Religion v.s.(6)

Gregory of Nazianzus (Saint) Opera 2 vol. double column text in Latin and Greek half-title titles in red and black and with large engraved vignettes browned some water-staining contemporary blind-stamped vellum joints split and chipped soiled Cologne sumptibus Mauritius Georgii Weidmanni 1690; and 2 others Charles Hure folio(4)

Cornelis A. Lapide Commentarii in Evangelia 2 vol. in 1 engraved additional pictorial title woodcut printer`s devices to titles woodcut tail-pieces rather browned occasional spotting or light foxing handsome contemporary ornately blind-stamped pigskin over wooden boards metal clasps red morocco label to spine soiled Antwerp Henricus & Cornelius Verdussen 1712; and another by the same (in 5 parts) folio(6)

Arias (Francisco) Thesaurus Inexhaustus Bonorum q 3 vol. in 1 double column engraved additional pictorial title large woodcut printer`s device to verso of final text f. some light water-staining mostly marginal heavier to last few ff. contemporary blind-stamped pigkin over wooden boards metal clasps rubbed and stained folio Munich Nicolai Henrici 1652. *** The Jesuit Arias was Professor of Theology at Cordova University. He was highly regarded by many particularly for his care of amongst others the Moors and those in hospital or prison.

Nider (Johannes) Praeceptorium divinae legis 299 ff. (of 330) double column 37 lines and head-line Gothic type initials supplied in red or blue a few large initials in both red and blue 3 ff. with an initial in blue with a c.36-line marginal flourish in red water-stained throughout to a greater or lesser extent heavier to table at front and a number of ff. at end causing extensive marginal fraying and some holes a few gatherings loose some soiling attractive contemporary blind-stamped calf remains of clasps 2 metal studs to lower cover spine in compartments spine with small hole and section missing from foot a few small areas of worming rubbed and scuffed [BMC I 194; Goff N-198; Hain 11780] small folio [Cologne] [Ulrich Zell] n.d [?not after 1472]. sold not subject to return.

Book of Hours.- Hore virginis Marie secu[n]du[m] u Book of Hours.- Hore virginis Marie secu[n]du[m] usum Sarum small woodcut on title 14 large and 58 small woodcut in the text printed in red and black lacks 2nd D 1 and 8 (? blank) first f. loose margins dective and frayed and holed 3 ff. from another work inserted (upside down) at start prayer to St Thomas a Becket lightly crossed out on first D 7 browned and stained contemporary calf ruled in blind worn and stained spine half missing front cover loose and broken 8vo Rouen impensis Jacobi Cousin n.d. [c.1525]. *** Rare unrecorded Book of Hours of the Use of Salisbury with several passages in English printed in Rouen for the English market. Jacques Cousin published several similar works between 1515 and 1535 but we have been unable to trace another copy of this one. In accordance with Henry VIII`s command the prayer to St Thomas a Becket has been suppressed but far less whole-heartedly than is often the case.

Vegetius Renatus (Flavius) De Re Militari libri qu Vegetius Renatus (Flavius) De Re Militari libri quatuor [ & other works] device on title and on verso of otherwise blank f. at end corner of title torn [Adams V333] Paris Christianus Wechelus 1535 bound with Lascaris (Andreas Janus) De Romanorum militia et Castrorum metatione...ex Polybii historiis [ & other works] Greek and Latin texts device on verso of otherwise blank f. at end lAdams P1802] Basle Balthasar Lasius & Thomas Platterus 1537 2 works in 1 vol. some staining occasional marginalia some scoring contemporary speckled calf little rubbed fly-leaf becoming loose Macclesfield copy with bookplate on fly-leaf and blind stamp on p. 3 8vo

[Bunderius (Joannes)] Detectio Nugarum Lutheri cu title with woodcut printer`s device and early ink author attribution endpapers made of contemporary ms. ?writing exercise sheets a few ff. stained upper hinge weak contemporary blind-stamped calf remains of paper label to spine a few small wormholes to lower cover soiled and rubbed [Adams B3272] 8vo Louvain ex officina Bartholomei Gravii 1551. *** Bunderius was Prior of the convent of Ghent three times and General Inquisitor of the Roman Catholic Diocese of Tournai. As Inquisitor his efforts were untiring to check the spread of Lutheranism Calvinism and the views of the Mennonites.

Dionysius Areopagiticus Saint Opera double column title with woodcut printer`s device and large woodcut illustration verso depicting the author presenting his work to the infant Jesus woodcut initials a few small worm holes occasionally affecting a small part of a letter contemporary blind-stamped pigskin over wooden boards metals clasps worm holes vellum lifting at lower corner of upper cover [Adams D524] a solid copy folio Cologne Heirs of J.Quentel 1556.

Perez (Juan Doctor) Los Psalmos de DavidLos Psalm title with woodcut head-piece and early ink ownership inscription front free endpaper with early ink notes including `The Alphabete of the saxon Tongue` with ink signature ?`C. Reymes` contemporary ink inscription of William Crane to remains of rear endpaper title soiled some light marginal water-staining a few marks within text endpapers removed contemporary limp vellum soiled [Not in Adams] Venice Pedro Daniel [Geneva Jean Crespin] 1557 § Royardus (Johannes) Homiliæ in Evangelia Feriarum qua Dragesimae Iuxta Literam [Adams R835] Antwerp in Aedibus Ioan. Steelsi 1546 bound with Homiliæ in omnes Epistolas Feriales Quadragesimæ iuxta literam [Adams R833] Antwerp in æ dibus Ioan. Steelsi 1550 bound with Enarratio passionis Domini Nostri Ilsu [sic] Christi stained [Adams R830] Antwerp in æ dibus Ioan. Steelsi 1549 together 3 works by Royardus woodcut printer`s devices to first 2 works woodcut historiated or decorated initials some light browning and marking contemporary blind-stamped calf upper hinge broken lightly stained rubbed; and 3 others 16th century Continental religion 8vo(5)

Aristotle. Libri Omnes... title with woodcut ornament woodcut historiated initials imprint to otherwise blank final f. remains of medieval manuscripts as endpapers a few ff. with light staining towards foot contemporary blind-stamped calf spine in compartments head of spine creased and nicked corners worn rubbed and scuffed [Not in Adams] Lyon apud hæ redes Iacobi Iuntæ [Theobald Paganus] 1560.

Irenaeus Saint Opus Eruditissimum...in quinque li title with woodcut printer`s device woodcut initials early ink marginalia and some underlining some water-staining heavier to preliminaries and sigs. A & B some light foxing mostly marginal contemporary blind-stamped calf rebacked corners repaired rubbed [Adams I155] 8vo Paris apud AudoÙnum Paruum 1563.

Petrarca (Francesco) De Remediis vtiusque Fortun&a title with woodcut printer`s device and contemporary ink ownership inscriptions 2k8 blank fragments of manuscripts and ff. from other 16th century works used as endpapers tear to g4 no loss of text stained contemporary calf spine in compartments short split to head of spine corners worn rubbed and scuffed soiled [Adams P781] Lyon apud Clementem Baudin 1577 § Boethius (Anicius Manilus Torquatus Severinus) Della Consolazione della Filosofia title with woodcut printer`s device A6 blank tear to B7 no loss of text stained lacking endpapers contemporary limp vellum lacking ties soiled [Not in Adams] Florence Giorgio Marescotti 1583 § Guazzo (Stephano) La Civil Conversatione title with woodcut printer`s device and contemporary ink inscription of `Guglielmo Gerardi` a few woodcut initials wormed mostly marginal but affecting a few letters on a few ff. with no loss of sense of text occasional staining contemporary blind-stamped calf spine in compartments lacking ties spine ends rather worn rubbed and scuffed soiled [Not in Adams] Venice Altobello Salicato 1575; and 3 others Italian Literature & History v.s.(6)

Du Bartas (Guillaume de Saluste) La Sepmaine ou Cr title with woodcut device woodcut vignettes single wormhole to lower margin of all to C8 water-stained contemporary calf blind-stamped arabesque centre-pieces to covers remains of later paper label to spine corners and upper and lower edges worn rubbed [Not in Adams] 8vo [Geneva] Jacques Chouet 1588.

Book of Psalms Arabic and Latin. Liber Psalmorum. Book of Psalms Arabic and Latin. Liber Psalmorum..ex Arabico idiomate in Latinum translatus lacking pp. 41-80 text in double column few waterstains with the colophon at the end and the 3 pp. of errata second title in Latin and Arabic old blind stamped calf over wooden boards perhaps a German binding worn backstrip missing booklabel of TGE Elger (1836-97 antiquary) [D & M 1641] 4to Rome 1614.

Valtrinus (Joannes Antonius) De re militari veteru title with woodcut printer`s device woodcut initials blanks 2L7 & 8 at end water-stained contemporary blind-stamped pigskin over wooden boards metal clasps upper cover with initials `ICSLB` and date `1622` soiled 8vo Cologne in officina Birckmannica sumptibus Hermanii Mylii 1617.

Bettini (Mario) ãrarium Philosophiae Mathematicae 7 parts in 3 vol. bound in 2 first edition on thick paper engraved additional pictorial titles by Francesco Curti of Bologna to vol. 1 and 2 only 2 engraved portraits of bishops Madruzzi & Zeccadori engraved plate with a genealogical tree 3 folding engraved plates attached to edges of ff. in vol.3 profusely illustrated with woodcut and engraved diagrams including 10 fine full-page and some half-page engraved illustrations of scientific instruments 2nd additional title trimmed at foot just within plate mark affecting the engraver`s name some marginal browning to ff. with folding plates mounted verso a few spots engraved Macclesfield bookplates contemporary Dutch vellum covers with blind-stamped arabesque centre-pieces ms. titles to spines lacking ties spine of second vol. darkened some soiling [Riccardi I 125; Sommervogel I 1428] large 4to Bologna G.B Ferroni 1648. *** A crisp and clean copy of this monumental mathematical work by the Jesuit Bettini. It encompasses all the major fields of mathematics with special attention paid to Geometry including Astronomical Geometry. The work would have passed through the rigorous censorship of Christopher Grienberg of the Collegio Romano where Aristotelian teachings were adhered to. He had succeeded Christopher Cluvius who had been the prime mover in establishing mathematics in the curriculum of the college and had greatly influenced future Jesuit mathematical writings. It is not known how much of the work can be accredited to Grienberg but it is clear that the mechanical and measuring devices illustrating the work must be by him. Indeed Bettini acknowledges the debt to him in the Scholion Parergicon in the present work.Provenance. The Macclesfield copy (Sotheby`s 10th June 2004 lot 347)

Aquino (Carlo d`) Sacra Exequialia in Funere Jacob title with engraved arms engraved folding frontispiece and 17 plates 2 double-page by Alexander Specchi after Sebastiano Cipriani title with faint library blind-stamp to lower corner and some spotting occasional light spotting elsewhere mostly marginal 20th century half calf over older marbled boards boards rubbed [Berlin Kat. 3238; Cicognara 1486; Ruggieri 1012] folio Rome typis Barberinis 1702. *** The memorial for the funeral of James II King of England Scotland and Ireland held at the church of San Lorenzo in Lucina in Rome. Many of the single-page plates are emblematic in character and extoll the virtues of James these include three bird`s eye views of London Paris and Rome.

A GEORGE III OAK PRESS CUPBOARD, PROBABLY NORTH WALES the upper part enclosed by ogee panelled doors flanked by turned pillars, the base fitted with an arrangement of drawers and blind drawers, on bracket feet, 185cm h; 52 x 133cm, interior adapted for hanging Slight damage to the narrow moulding of the cornice, the brass handles replaced and non-matching; repolished

George III inlaid mahogany bowfront hanging corner cupboard fitted three shelves enclosed by a pair of blind panel doors, 71.5cm wide.

Sheraton Revival satinwood display cabinet having inlaid stringing, the four shelves enclosed by a pair of glazed doors with tracery, blind panels below, standing on bracket feet, 109cm wide x 173cm high.

William James Blacklock (1816-1858), an oil on canvas, "Blea Tarn and The Langdale Pikes". 17.5 ins x 23.25 ins, signed and dated 1854. . William James Blacklock 1816-1858THE LANGDALE PIKES ABOVE BLEA TARN1854It is no exaggeration to say that William James Blacklock is one of the great landscape painters of the nineteenth century, and perhaps the most remarkable of all of those who devoted themselves to the representation of the Lake District. He is less well known than he should be – the modern ‘rediscovery’ of the artist commenced in 1974 with an insightful article in Country Life by the late Geoffrey Grigson (‘A Painter of the Real Lakeland’, 4 July 1974, pp. 24-26), and was carried forward in a ground-breaking exhibition at Abbott Hall in Kendal, organised by Mary Burkett in 1981 – but on other occasions he has been omitted from landscape surveys, perhaps because of the very individuality of his work which makes them difficult immediately to characterise or readily to place in conjunction with those of his contemporaries. Nonetheless, Blacklock is a most fascinating and rewarding artist, who in the last half-decade or so of his tragically short life painted a small handful of masterpieces which serve as a testament to his deep love and knowledge of Cumberland and the English Lakes.The Blacklock family had been long established in the neighbourhood of Cumwhitton, to the south west of Carlisle, farming there at least since the 1500s. W.J. Blacklock’s father was in fact living in London, where he made his living as a bookseller and publisher, at the time of the painter’s birth, but returned to Cumberland in 1818. The younger Blacklock’s career as an artist commenced when he was apprenticed to the Carlisle engraver and lithographer Charles Thurnham, with whom he later collaborated on a series of prints showing the railway line between Newcastle and Carlisle. W.J. Blacklock enrolled for a period at the Carlisle Academy of Arts, prior to its closure in 1833, working under Matthew Ellis Nutter. In 1836 he returned to London, then aged twenty, living there for the following fourteen years. How he occupied himself at this stage is not known, nor is it clear whether he could rely on the sale of works for a livelihood. Works by him – generally showing north-country landscapes – were exhibited at the Royal Academy and British Institution. Clearly he gained some reputation on the metropolitan artistic scene, as his landscape paintings were commented upon enthusiastically by J.M.W. Turner, David Roberts and John Ruskin. Much concerning Blacklock’s career, and especially the question of his contact with other artists, is a matter of speculation. His name is largely absent from the diaries, correspondence and memoirs of the Pre-Raphaelite circle, the members of which were in any case much younger than him, but Blacklock would certainly have seen early works exhibited by members of the group and their associates. We know that he was in contact with William Bell Scott, headmaster of the Government School of Design in Newcastle, and who was in turn a close friend of Dante Gabriel Rossetti. It was almost certainly by Scott’s introduction or recommendation that Blacklock built up a circle of patrons in the North East. Scott and Rossetti may have hoped to meet Blacklock on the occasion of a walking tour they made together from Newcastle to Carlisle in June 1853. Scott, who like Rossetti was a poet as well as a painter, seems to have recorded a vain attempt to visit the painter in a poem entitled ‘An Artist’s Birthplace’, published in 1854. The verse describes the arrival of two men at the cottage home of a painter who may clearly be recognised as Blacklock: A fit place for an artist to be reared;Not a great Master whose vast unshared toils,Add to the riches of the world, rebuildGod’s house, and clothe with Prophets walls and roof,Defending cities as a pastime – suchWe have not! but the homelier heartier handThat gives us English landscapes year by year.There is his small ancestral home, so gay,With rosery and green wicket. We last metIn London: I’ve heard since he had returnedHomeward less sound in health than when he reached That athlete’s theatre, well termed the graveOf little reputations. Fresh againLet’s hope to find him.The verse corroborates what sparse biographical information we have for the painter (and which derives principally from an article in the Glasgow Evening News, 25 July 1900, entitled ‘An Artist’s Career’ and contributed by Edward Pennington presumably on the basis of information received from the artist’s family, despite forty-two years having passed since his death): the painter had returned to Cumberland because his health was deteriorating, probably as a result of syphilis, but also – according to Scott’s account – because of the professional frustrations and commercial pressures that went with trying to work as an artist in London. In 1850 Blacklock seems to have engaged in a last determined bout of activity as a landscape artist, perhaps fearing that he had not many years remaining to him and wanting to put together a group of works in which his particular artistic principles were to be defined. This small corpus – consisting of views in the Lakes and countryside around Cumwhitton, and all made in a period of about four years – serve as his lasting memorial. Paintings such as Devock Water (Abbott Hall, Kendal), of 1853, and Catsbells and Causey Pike (Tullie House Art Gallery, Carlisle), of 1854, represent timeless images of particular places which speak of the painter’s love for the landscape that he was representing. The present view is of the Langdale Pikes, seen beyond Blea Tarn, and therefore from a vantage-point looking towards the north west, and with the direction of afternoon light from behind the artist’s left shoulder. A shoreline of purple heather and strewn boulders forms the foreground, with a brown-coated fisherman on the left side. E. Lynn Linton, in his book The Lake Country (1864), used an engraving of the same view by W.J. Linton to head his chapter ‘Langdale and the Stake’, describing in his text the mountains seen from this vantage-point at ‘the back of Blea Tarn’: ‘the highest to the right is Harrison Stickle, that to the left Pike o’ Stickle, and the long sweep to the right of Harrison Stickle is Pavey Ark, in the cup or lip of which lies Stickle Tarn’. Harriet Martineau in her 1855 Complete Guide to the English Lakes invoked the place as the scene of one of Wordsworth’s Excursions to dwell upon the Solitary, and also described the remoteness of the location and the ‘very rough road [that] scrambles up from Langdale, by Wall End, to the upland vale where the single farmhouse is, and the tarn’.The atmospheric effect of the painting is beautifully observed, with the forms of the mountain partly suffused in shadow but with other areas brightly lit as cloud shadows sweep over, and with clefts and exposed rock faces recorded with painstaking attention. Blacklock’s particular mastery in the treatment of mountain landscapes depended in great part on his understanding of the constantly fluctuating quality of light, and here especially the scale and structure of the distant ranges are given volumetric expression by the graduated fall of light. Thus the mountain range seems both massive and distant, but at the same times almost tangible and lending itself to close and detailed scrutiny. Martineau commented on a similar optical ambiguity whereby ‘the Langdale Pikes, and their surrounding mountains seem, in some states of the atmosphere, to approach and overshadow the waters [of Windermere]; and in others to retire, and shroud themselves in cloud land’.Blacklock did not work directly from the motif but instead drew landscape sketches in watercolour which later formed the basis of his studio compositions, or perhaps worked largely from memory. He may in addition have used photographs – probably daguerreotypes which in the 1850s were beginning to be made available by commercial photographers – to remind himself of the broad outlines of his chosen subjects (as may be suggested by the way he treats shadows in his paintings, which sometimes seems reminiscent of photographic images). He did not seek the kind of literal transcription of the forms of the landscape that artists influenced by Ruskin attempted in the period, but sought a quintessential representation of topographical type which might be recognised as a timeless record of a hallowed place, treated with an extraordinary intensity of vision. The Langdale Pikes seem to have had a particular hold on the artist’s imagination, as he painted the range on a number of occasions and from different vantage-points. An earlier work showing Blea Tarn and the Langdale Pikes of 1852 is in the collection of a descendant of the artist, while a painting entitled Esthwaite Water and the Langdale Pikes (although in fact showing Elter Water) was commissioned by William Armstrong [later Lord Armstrong, the Newcastle industrialist and arms manufacturer whose house Cragside near Rothbury was built by the architect Richard Norman Shaw] in 1855. Clearly the Lakeland landscape was enormously important to Blacklock. All his exhibited works were of northern settings, and we may be sure that even during the years that he spent in London he will have made frequent visits to Cumberland, and that he believed himself to have as his essential purpose the representation of a beloved North. Analogy may be made between Blacklock and other European artists who like him felt it was their mission to explore and describe a landscape setting which they had known from earliest childhood, feeling such close personal identity with those places as to amount to obsession. His near contemporary Gustave Courbet (1819-1877) never tired of painting landscape and country life subjects set in Ornans in the Jura Mountains of eastern France, and created an extraordinary and indelible imagery of that region. Likewise, Paul Cézanne (1839-1906) painted series of views of the Mont Sainte-Victoire in his native Provence so as to capture the essential identity of a topography that was to him living and imbued with vital and personal associations. These were all painters for whom the intimate knowledge and long contemplation of a specific locality was a vital requirement for an art to be vital and true, and who found themselves in the representation of places with which they had long association, as if the landscape forms, light and air, which were the object of their art, retained some kind of subliminal resonance of the pattern of their own lives.Blacklock’s last extraordinary surge of creativity was sadly short lived. By the time the present work was painted, he was seriously afflicted by symptoms of the disease that would kill him. In the first place, he suffered from an inflammation of the eyes that would in due course make him partially blind. In November 1855, having become increasingly erratic in his patterns of behaviour, he was placed in the Crichton Royal Mental Institution in Dumfries, and where he died on 12 March 1858 as a result of ‘monomania of ambition and general paralysis’. Interestingly, the Crichton hospital, under the direction of Dr William Browne, had recently introduced therapies to attempt to aid their deranged inmates including drawing, as happened also at the Royal Bethlehem Hospital for the Insane in London during the time that Richard Dadd was incarcerated there, so Blacklock was able intermittently to continue at least to draw to the end of his life. A number of landscape sketches made at the Crichton are reproduced in Maureen Park’s book Art in Madness – Dr W.A.F. Browne’s Collection of Patient Art at Crichton Royal Institution, Dumfries, Dumfries, 2010.The Langdale Pikes above Blea Tarn was painted for the artists’ colourman Charles Roberson, probably to a commission and as a pendant to another work of 1854, The Miller’s Homestead (private collection). Whatever professional difficulties Blacklock may have faced in the years that he lived in London, in the 1850s, after his return to Cumwhitton he began to find himself sought after by a small but discriminating circle of patrons. Roberson himself was a significant figure in the establishment of a progressive school of painting in the middle years of the century, because he supplied artists with a range of new and stronger pigments, often derived in their manufacture from industrial processes, and thus aided the move towards more brightly coloured works which was a characteristic of English painting in the period. A degree of rivalry seems to have come about between Blacklock’s would-be patrons, chronicled in the letters that the artist wrote to the Gateshead metallurgist James Leathart (now held as part of the Leathart Papers, University of British Columbia). Roberson’s two paintings are referred to in a letter to Leathart of 2 June 1854, ‘one the same lake as I am going to do for Mr Armstrong – the other a Millers Homestead – the mill looking over a moor & distant hills they are for Mr Roberson the artists colourman’. In September 1855, just weeks before his final incarceration, Blacklock sent off the Lakeland views that he had made for Armstrong and Leathart, and in doing effectively concluded his professional career.Blacklock is an important and intriguing figure who may be regarded both as a pivot between the early nineteenth-century landscape school and the achievements of Romanticism, and the earnest and obsessive innovations of the Pre-Raphaelite landscape school. Perhaps a vital factor in our understanding and appreciation of the particular character of Blacklock’s art is his knowledge of historic schools of painting. Living in London in the late 1830s and 40s he would have had the opportunity to study the works in the National Gallery. It has been suggested that it was the unveiling of works long concealed under layers of discoloured varnish as a result of Charles Eastlake’s cleaning programme of in the mid-1840s that prompted Blacklock to adopt brighter and more luminous colours. A further possibility is that he made a European tour at some point, seeing for himself works of the sixteenth and seventeenth centuries, and also perhaps making contact with working artists in France or Italy. Only the slightest indication survives of Blacklock’s interest in the work of the Old Masters – in a letter to Leathart of 20 September 1854 he looks forward to hearing about the works of art that the latter had seen in the course of a Continental tour. Nonetheless, broad stylistic analogies may be drawn between the landscape paintings of Blacklock and those of other British artists who had visited Europe in their formative years. William Dyce, for example, who had visited Italy in 1825-26 and there made contact with the German Nazarene painters in Rome. Something of the clarity of light and simplicity of expression, along with a particular feeling for colour effects which are peaceful and never strident, that characterises Dyce’s pure landscapes, is also infused into the less well known works of Blacklock, and may perhaps likewise be indebted to a knowledge of European schools of painting.Christopher Newall

A George III oak and mahogany longcase clock by Lough Penrith, having a swans neck pediment with blind fretwork panels beneath, with arched glazed door enclosing the brass dial with moon phase, Roman numerals and date aperture, with false winding holes and thirty-hour movement by Lough, Penrith, flanked by fluted quarter columns, with dentil cornice below, with blind fretwork frieze and shaped trunk door flanked by fluted quarter column corners, with blind fretwork beneath and with brickwork base raised on a plinth. Height 82 ins.

An overmantle mirror and combined fire surround, with moulded cornice above a blind fretwork frieze and oval bevelled mirror flanked on either side by a pair of fluted columns, with cast iron tiled grate. Width 71 ins, height 80 ins.

A George III mahogany four poster bed, with moulded Greek key and blind fretwork carved cornice to a pair of stiff leaf carved and lobed bedposts, with oak side rails and back posts. Width 59 ins.

An Edwardian mahogany circular centre table, with satinwood crossbanded boxwood and ebony strung moulded edge above a recessed frieze fitted with one blind drawer and raised on tapered legs of square section being boxwood strung and united by stretchers with raised gadrooned centre boss. Diameter 23.5 ins.

Victorian silver waiter , George Fox, London 1880 , the field engaved with a blind armorial within an everted pierced lattice rim, on cast vine feet. Diameter 25cm, 17oz 12dwt.

Italian camphor wood coffer , the top carved with a blind shield leaf scrolls and figures, the sides with scenes of ethological sea creatures and deities, flanked by set out twist columns on bun feet, width 105cm.

Fleming, Ian Goldfinger. London, 1959. First edition, 8vo, dustwrapper, not price clipped, some fading to backstrip, short closed tear to lower edge of wrapper, original black cloth with skull in gilt and blind on upper board; For your eyes only. London, 1960. First edition, 8vo, lacking dustwrapper, original black cloth with white eye on upper board (2) Note: This lot will only be offered if the collection fails to sell as a group [lot 123].

Bible in Latin Biblia sacrosancta testamenti... Zurich: Christ. Fros[ckoverus], 1544. 8vo, *-**8, ***6, a-z8, A-Z8, Aa-Dd8, Ee7 [lacking blank?] [bound with] Ecclesiastici libri... Zurich: Christoph. Froschoverus, 1553. 8vo, aa-ll8, mm4, nn8, [bound with] Novvm testamentum... Zurich: Christoph. Froschoverus, 1553. 8vo, aaa-ooo8, ppp4, qqq7 [lacking rear blank?], contemporary blind-stamped vellum, worn, lacking several brass corner pieces and clasps, title and last leaf laid down, some text loss to imprint, section of second leaf cut [without text loss], marginalia throughout, some waterstaining and slight worming to last few leaves, pp.122 repaired at corner

A 20th Century oak court cupboard, carved with blind fretwork decoration, fitted with three doors flanked by carved supports, the base with two drawers above a cupboard, on bun feet.

A George V mahogany bureau bookcase, with blind fretwork and quarter-veneered decoration, the arch moulded pediment above a pair of glazed doors revealing shelves, the fall front revealing a fitted interior above three long drawers, raised on cabriole legs, width approx 90cm.

A 16th century and later oak coffer, with a blind fret cut panelled front, altered, H.1ft 5ins W.3ft 8ins

SUICERUS (J), THESAURUS ECCLESIASTICUS, two vols, second edition, full blind stamped vellum, engraved frontis to vol I, Amstelaedami, 1728

SUICERUS (J), THESAURUS ECCLESIASTICUS, two vols, second edition, full blind stamped vellum, engraved frontis to vol I, Amstelaedami, 1728

COTELERIUS (J. B), SS. PATRUM QUI TEMPORIBUS APOSTOLICIS FLORUERUNT, blind stamped vellum, title vignette, Antuerpiae, 1698

LUCIANI (S), OPERA CUM NOVA VERSIONE TIBER, HEMSTERHUSII, & 10 MATTHIAE GESNERI, four vols, engraved frontis to vol I, blind stamped vellum, Amstelodami, Jacobi Westenii, 1743

Lucy Kemp Welch, Great War Cavalary, a black and white engraving signed by the artist in pencil, a fine art guild blind stamp, plate 51cm x 88 cm (unframed)

* Dieter Roth, German 1930-1998- Untitled; lithograph printed in blue and violet, signed, numbered 1/28 and dated 72 in pencil, 63.5x89cm: together with one other similar lithograph by the same hand, similarly signed, numbered 1/28 and dated 72 in pencil: G Lowry, mid-late 20th century- "Night Sleep"; etching with aquatint, signed, titled, inscribed `AP` and dated 72 in pencil, 69.8x53cm: Gerald Scarfe b.1936- Emperor of cats; lithograph printed in colours, signed, titled, numbered 27/99 and dated in pencil, 64.5x50cm: Tavee, mid-late 20th century- Doorway; etching, signed, dedicated and dated 15 September 1984 in pencil, 56.5x75.5cm: After Ernst Fuchs, Austrian b.1930- "Ernst Fuchs, Munchen Wolfgang Ketterer Villa Stuck Das Graphisch Werk 1945-67 6.9.-15.10.67 Prinzregenten Straze", publ by Brenner Brahm & Co., Frankfurt am Main; lithograph/poster printed in colours, 86x60.5cm: Feliks Topolski, Polish 1907-1989- Autobiography; mixed technique screenprint, and off-set lithograph printed in colours, signed and inscribed `AP` in pencil, bears publisher`s blind stamp, 100x75cm: together with a further nine artist`s prints and reproductions by and after different hands, all mid-late 20th century, many signed, (17) (unframed) (may be subject to Droit de Suite)

Patrick Procktor RWS RE RA 1936-2003- Ornamental garden; etching with aquatint printed in colours, three examples of the same print in a variety of colouring, one signed and numbered 6/75 in green crayon, one signed and numbered 27/75 in pencil, the other signed and numbered 73/75 in pencil, all bear publisher`s blind stamp, 39.5x50cm: Linda le Kinff b.1949- Two ladies with flowers; lithograph printed in colours, signed and numbered 131/200 in pencil, 49.6x65cm: together with one other colour lithograph by the same hand of a standing female nude, signed and numbered 89/200 in pencil, 65x50cm., (5) (unframed) (may be subject to Droit de Suite)

A fitted walnut canteen containing a suite of Kings pattern silver plated cutlery, 152 pieces for a twelve-place setting, canteen with blind-fret detail and two drawers

A French Louis XV style ormolu mantel clock Unsigned, mid 19th century The eight-day bell striking movement with Indian mask and foliate strapwork cast centre to the blue on white Roman numeral twelve-piece enamel cartouche dial, the waisted rocaille cast case with floral sprays and blind grille frets to sides, on integral scroll feet with shaped apron between and conforming fixed stand with knurl feet, 56cm high; with a pair of ormolu four branch candelabra, each with rocaille cast sconces and scroll cast branches above upright applied with a seated putto, on openwork asymmetric base incorporating scroll feet, each approximately 46cm high. CATALOGUE ENTRY TO BE READ IN CONJUNCTION WITH IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST.

A Fine George III mahogany quarter striking musical eight-day longcase clock with enamel dials Benjamin Taylor, London circa 1780 The substantial five pillar triple train movement striking the quarters on two bells and playing a choice of six airs on eight bells every hour, the brass 12 inch break arch dial plate applied with white enamel circular Roman numeral dial with brass hands and signed BENJ`N TAYLOR, LONDON to centre, the angles applied with foliate cast spandrels beneath subsidiary enamel CHIME/NOT CHIME and SONG/JIG/MINUET/GAVOT/SONG/JIG tune selection dials within conforming mounts to arch, the pagoda pedimented case with blind fret fronted swan neck frieze above brass stop-fluted columns and foliate scroll side frets to hood, with shaped-top flame figured door flanked by conforming quarter columns to trunk, on raised shaped-panel fronted plinth base with double skirt incorporating shaped apron and squab feet, 252cm (8ft 3ins) high. CATALOGUE ENTRY TO BE READ IN CONJUNCTION WITH IMPORTANT NOTES REGARDING THE CATALOGUING OF CLOCKS PRINTED IN THE SALE CATALOGUE OR AVAILABLE FROM THE SALEROOM ON REQUEST. Benjamin Taylor is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working from Lombard Street, London 1773-1800. This fine clock has the rare feature of two-in-one quarter striking where both the quarters and the hours are sounded from the same train. This system requires the train to be geared similar to that of a month duration hour striking longcase clock and utilises a snail cut for both the hours and the quarters.

A mixed lot of desktop accessories, including eight assorted seals on cast iron stands, nine glass inkwells and a cast iron blind stamp, also four magnifying glasses (24).

Sir William Russell Flint R.A. P.R.W.S. Variations on a theme, reproduction in colours from a total edition of 850. Signed with blind stamp. Pub. Frost and Reed

"INDIAN SCHOOL 19TH CENTURY Two portraits, one a young woman with flowers in her hair, Watercolour on Ivory, 8cm x 6cm, the other a richly robed girl in blind fret carved period frame, 65mm x 50mm oval"

AFTER MICHAEL LYNE "The Hatherop at Upper Slaughter", signed artist`s proof print, bearing blind stamp with "Frost & Reed Gallery" label verso

AFTER MICHAEL LYNE "The Cotswold at Shipton Oliffe", signed limited edition artist`s proof, bearing blind stamp with "Frost & Reed Gallery" label verso

AFTER MICHAEL LYNE "The Whaddon Chase at Waterloo", coloured signed artist`s proof print, bears blind stamp with "Frost & Reed Gallery" label verso

JAMES McNEILL WHISTLER (1834-1903) Original lithograph, Savoy pigeons, 1896, Studio blind stamp, 10.5" x 7.5", framed.

AFTER SIR WILLIAM RUSSELL FLINT.PRA. A Model, reproduction in colours, numbered 403/850, with blind stamp of Michael Stewart, 10 x 6 1/2 in; one other reproduction after Flint titled `Morning Dinard`(2)

AFTER LAURENCE S LOWRY. Figures on a Street,reproduction in colours, numbered 438/850, with blind stamp, 14 x 8 in ; and a lithographic reproduction depicting prince Charles, after Leonard Boden (2)

`Snaffles` [Charlie Johnson Payne] (1884-1967) `The Worst View in Europe` Colour print Signed by artist lower left With snaffle bit blind-stamp 41.5cm x 65cm.