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A good vintage 1960's Peter Robinson of Oxford Street, London full length ladies fur coat. Makers label to interior. Silk lined. Largely in very good original condition. Measures 118 cm high.

 Camilla, A Picture Of Youth, 5 volumes published 1802, gilt calf with red labels, family coat of arms to front cover for John Spencer Hobhouse to each volume and each being signed. 

A superb 19th Century iron coat and hat stand, H. 202cm.

BLAEU 'Mona' (The Isle of Man), hand-coloured engraving with decorative title cartouche and coat of arms, 38 x 27cm

A 19TH CENTURY GILT GESSO FRAME of swept rococo form, the top centred by coat of arms and coronet, currently incorporating an engraving after Sir Edwin Landseer, rebate size 63.5 x 54.5cm

BOWBROOK STUDIOS, MADE IN WORCESTER, LIMITED EDITION COMPOSITE SCULPTURE OF A GORILLA, on a naturalistic base, together with another Bowbrook composition sculpture of a bird of prey perching on a naturalistic base. 55cm and 57cm high approx. (2)(B.P. 24% incl. VAT) CONDITION REPORT: Minor scuffs and white marks to the gorilla's coat, but overall appearing in good condition, the bird of prey has lost a small part of it's feathered tail, some white flecks and minor marks overall.

An early Edwardian silver sweetmeat dish, the sides pierced, the rim applied with flowerheads and scrolls, the centre Mercers Company Coat of Arms and JANY1903, Thomas Levesey, Sheffield, 1902, 91.7g

English School, a portrait miniature, of a young gentleman in a blue coat, indistinctly signed, watercolour on ivorine, gilt frame

A pair of George III silver combination wine coolers and cups and covers by Samuel Hennell and John Terry, London 1814, with old Sheffield plate liners, with pomegranate finials to the covers with bayonet fitting into collars and a central fluted domed section, the vases waisted cylindrical on circular pedestal bases, the fluted lower bodies applied with bearded masks issuing the side handles, with a centrally engraved coat-of-arms, a crest and a foliate guilloche frieze, 47cm (14 1/2in) high, 6142g (197.45 oz) The arms are those of Hanning impaling Lee for William Hanning (d. 1834) of Dillington House, co. Somerset and his wife Harriet (d. 1808), daughter of Edward Lee of Pinhow, co. Devon, whom he married in 1800. Among other issue, a son John Lee Hanning who assumed the surname Lee in 1822 in accordance with the will of his uncle, Major Lee of Orleigh Court, Bideford. John Lee Lee, as he became, remodelled the house under the guidance of Sir James Penythorne. Provenance: Williams Hanning (d. 1834) of Dillington House, co. Somerset; Anonymous sale: Christie’s, New York, 22 April 1993, lot 188.

AN IRON BOUND BARREL PAINTED WITH A COAT OF ARMS, 68CM H

A STAFFORDSHIRE EARTHENWARE TOBY JUG - THE SQUIRE, 29CM H, EARLY 20TH C AND ANOTHER, THE TRADITIONAL MODEL WITH WARTY FACE AND YELLOW COAT

A lady's full length mink fur coat by Victor Segall Limited.

A rabbit fur coat, size 12, and a mink stole, (2).

A pair of Samson porcelain armorial square flasks, Chinese export style, with polychrome enamelled decoration bearing the Royal Coat of Arms within sprays of flowering branches and flower heads, with covers, 27.5cm (AF).

A VINTAGE LADIES FUR COAT

A cased set of six Danish silver coffee spoons, maker W & S Sorensen, Horsens, each with black enamel design on finial including a dog on a suitcase, a man riding a coat, and a guardsman, marked Soerensen Sterling

Napoleonic period replica French gunpowder barrel with hand painted British George III coat of arms. Metal handle to top and numbered to one side.

Karl Ens figurine of a gentleman in green coat holding a top hat, factory mark to base, 25cm. Provenance: part of The Stephen Furniss Collection

A white fur short jacket and purple coat with fur collar

4 brown fur jackets and a full length fur coat

ART NOUVEAU, hook coat rack, 36" width

British School, c.1930sPORTRAIT OF A YOUNG WOMAN, HALF LENGTH, SEATED, IN AN EMBROIDERED COATOil on canvas51 x 41cm

Retro Danish style teak and chrome hanging hall coat rack

Album of Engravings mostly 18th Century portraits including William Beckford, Fashionable Dress, Birds including Playing Card designs, a Gothic Pavillion, Views, Decorative coat-of-arms bound in limp leather

Collection of posters in the psychedelic style including Captain Beefheart designed by Hapshash and the Coloured Coat etc

A WWII French Great Coat stamped "Baulchan & Fils, Montpellier", 52cms shoulder width; and a post-war Great Coat, by H. Lotery & Co. Ltd., dated 1952 with broad arrow mark, 47cms shoulder width. (2)

3 driftwood carved fish design coat and hat racks.

An Edwardian Sutherland table, folding cake stand, key design hat and coat rack and another.

A 1950/60s mid-century Eames Atomic Sputnik coat and umbrella stand

19th century salt glazed Stoneware flagon with Coat of Arms and tap and a continental blue and white wine jug.

An Antique beadwork hanging with brass pole and Coat of Arms design.

Crescentiis (Petrus de) Ruralia commoda, first edition, collation: [a-s10 t12 v-x10], 210 leaves (of 212, lacking the two last blanks, with blank leaf x8 present), text in single column, 35 lines, type 1:117G, fine 8-line penwork initial in blue and red, each book opened by a penwork initial in green and red, with extension, numerous initials painted in red in text, many with extension in preliminary leaves, rubricated throughout, copiously annotated in three different hands, the earliest annotating German names of plants and fruits quoted in the work, upper margin of first leaf partially restored, not affecting text but slightly encroaching on wisps of the red extension to initial, occasional finger-soiling and light foxing, a couple of minor marginal repairs or restorations, generally crisp and clean with wide margins, 19th-century red morocco, executed and signed by the Milanese binder Binda for the Marquis Girolamo d'Adda, covers within borders of blind fillets and friezes, d'Adda coat of arms in blind at centre of both covers, spine with 5 raised bands, compartments decorated with blind fleur-de-lys, title and imprint lettered in gilt, marbled pastedowns and flyleaves, inner gilt dentelles, marbled and gilt edges, folio (292x208 mm.), [Augsburg], Johann Schuessler, about 16 February 1471.⁂ A superb copy, with a highly distinguished provenance, of the first edition of Crescenzi's Opus ruralium commodorum [The Advantages of Country-Living], the first printed book on agriculture. The Bolognese nobleman Pietro de' Crescenzi, a retired lawyer and himself a country landowner living at Villa d'Olmo near Bologna, composed his treatise between 1304 and 1309. Following the tradition of ancient Roman agricultural writers, he wrote in Latin, and divided the work into 12 sections, each of which is devoted to a specific topic. The work is considered the most important source on agricultural practices, husbandry and horticulture in the Middle Ages, and includes hunting, fishing, wine-making, the use of medicinal plants, animal diseases, and a montly calendar of duties and tasks. The Ruralia commoda enjoyed a lasting popularity during the Renaissance and was frequently reprinted in the 15th and 16th century, translated into vernacular languages, such as Italian (see lots 6 and 12), French and German, and supplemented with woodcuts (see lot 13). Like the earlier manuscripts circulating, the first edition of 1471, issued by Johann Schüssler, the second printer active in Augsburg, after Gunther Zainer, is not illustrated. The work was widely used as a practical handbook, as early annotations frequently found in copies show, as here. "The contents of Crescenzi's book provided anyone who worked on the land with a well-organized manual of procedure" (F. J. Anderson, An Illustrated History of the Herbals, New York 1997, p. 67).The Rothamsted copy is very fine and was once owned by one of the most refined Italian collectors, the Milanese marchese Girolamo d'Adda - the morocco binding bearing his arms. Later the book found its way to England and into the library of another great name in book collecting, Charles Fairfax Murray, who had acquired d'Adda's library en bloc. Provenance: lower margin of recto of final leaf with ownership inscription in a German hand dated 1780 ('Ex libris ... à Felsenheim die 21 [?] 1780'); Marquis Girolamo d'Adda (1815-1881); Charles Fairfax Murray (1849-1919; see Catalogue of a Magnificent Collection of Rare Early printed German Books... Forming the First Portion of the Library of C. Fairfax Murray, Esq. : ... sold by auction by Messrs. Christie, Manson & Woods, London 1917, lot 136, "The Marquis D'Adda's copy"). Rothamsted acquisition date 1923. Literature: ISTC ic00965000; HC 5828*; GW 7820; ; BMC II 328; Bod-inc C-477; IGI VI 3260-A; Goff C-965; Klebs 310.6; Stillwell 615; B.IN.G 578; Simon Bibliotheca Bacchica 1.32.

Vallemont (Abbe de) Curiositez de la Nature et de l'Art sur la Vegetation, engraved frontispiece and 12 plates, engraved coat of arms at head of dedication, contemporary calf, spine gilt, spine ends worn, Paris, 1705 § Bertrand (J.) De l'Eau relativement a l'Economie Rustique, ou Traite de l'Irrigation des Pres, half-title, 7 engraved plates, marginal browning, contemporary calf, upper cover detached. Avignon & Lyon, 1764 § Turbilly (Marquis de) Memoire sur les Defrichemens, first edition, woodcut frontispiece, engraved plate at end, modern cloth, Paris, 1760 § Rosny (M. de) Le Parfait Oeconome, contemporary calf, extremities worn, Paris, 1710 § [La Salle de l'Etang (S.P. de)] Prairies Artificielles, second edition, some foxing, contemprary calf, Brussels and Paris, 1758; and 7 others, French agriculture, 8vo and 12mo (12)

Mariti (Giovanni) Della Robbia; sua Coltivazione e suoi Usi, first edition, half title, engraved title with coat of arms and decorative border, engraved initial, 5 engraved plates by Matteo Carboni, 2 folding, contemporary vellum, slightly soiled, Florence, Gaetano Cambiagi, 1776 § Ratti (Giambattista) Trattato della Seminazione de' Campi, e della Coltivazione de' Prati, woodcut device on title, head- & tail-pieces and initials, 7 folding engraved plates, 1764; Nuova Giunta al Trattato della Seminazione de' Campi, e della Coltivazione de' Prati, folding engraved plate, 1766, together 2 works in 1 vol., lightly browned, contemporary vellum, rubbed and soiled, spine worn at head, Casale, Gio.Antonio Meardi; and another, 8vo (3)⁂ The first concerns the genus Rubia plants, more commonly known as Madder, which have been used since ancient times to produce fabric dyes. They are mentioned by Pliny the Elder in his De re natura.

Herbal.- Hill (John) The British Herbal: An History of Plants and Trees, Natives of Britain, Cultivated for Use, or Raised for Beauty, engraved frontispiece by Roberts after Samuel Wale, engraved title-vignette and coat-of-arms of Duke of Northumberland at head of dedication, 75 engraved plates after Darly & Edwards and others, printed in double-column, occasional very light damp-staining to head, title a little creased and torn, occasional ink notes in a contemporary hand, 20th century half morocco, [Henrey 799; Hunt 557; Nissen BBI 881], folio, T. Osborne and J.Shipton..., 1756.

Scotland.- Naismith (John) Thoughts on Various Objects of Industry produced in Scotland, first edition, library cloth, for the Author, 1790 § [Lindsay (Patrick)] The Interest of Scotland Considered with regard to its Police in Imploying of the Poor, its Agriculture, its Trade, its Manufactures, and Fisheries, first edition, engraved title-vignette and coat-of-arms at head of dedication, advertisement leaf at end, contemporary calf, spine gilt, rubbed, spine ends chipped, R. Fleming and Company, 1733 § Douglas (Thomas, 5th Earl of Selkirk) Observations on the Present State of the Highlands of Scotland, with a view of the causes and probably consequences of Emigration, second edition, contemporary half sraight-grain morocco, slightly rubbed, 1806, Edinburgh; and 3 others, Scotland, 8vo et infra (6)

Alamanni (Luigi) La coltivazione... e le Api del S. Giovanni Rucellai... Con aggiunta delli Epigrammi del Medesimo Alamanni Et di alcune brevi Annotazioni sopra le Api..., 2 parts in 1 vol., collation: *4, A-N8; O-T8, V4, woodcut printer's device to title and at end, woodcut initials, occasional foxing or browning, final f. chipped at foot, 18th century floral patterned boards, spine sunned, Florence, Filippo Giunta, 1590 § Gallo (Agostino) Le vinti Giornate dell'Agricoltura, et de' piaceri della villa, collation: *8, **4, A-Z8, Aa-Cc8, Dd6, Ee-Ff4, lacking final blank, woodcut coat of arms to title, woodcut initials, head- and tail-pieces, 12 full-page woodcut illustrations, occasional light foxing, minor damp-staining, 18th century boards, minor wear to extremities, a little rubbed, Turin, Heirs of Niccolò Bevilacqua, 1579-1580; and 2 others, Crescentiis and Herrera in Italian, 8vo & 4to (4)⁂ A good group of four 'bestsellers' in Italian. Provenance: first mentioned Rothamsted acquisition date 1930.

Plat (Sir Hugh) The Jewell House of Art and Nature, 3 parts in 1, first edition, collation: A-O4, A-G4, H2, A-I4, K2, woodcut title to each part, numerous woodcut illustrations including full-page coat-of-arms on verso of first title, some light soiling and spotting, 17th century sheep, scuffed, rebacked and recornered, [STC 19991; Fussell I, p.15; Westwood & Satchell 171], small 4to, Printed by Peter Short, dwelling on Breadstreet hill, at the signe of the Star, and are to be solde in Paules Churchyard, 1594.⁂ Platt's most valuable contribution to husbandry, which includes much on domestic matters including preserving fruits, distilling, cookery and cosmetics. The second part includes important notes on manure, whilst the third also covers angling.Provenance: Rothamsted acquisition date 1925.

Heresbach (Conrad) Foure Bookes of Husbandrie, collation: A-C4 A-Z8 [et]8 2A2, largely printed in black letter, full-page woodcut coat of arms on title verso, one woodcut in text, woodcut initials and decorations including printer's device on verso of final leaf, occasional light water-staining, last leaf slightly frayed, early ink annotations to title, at end and on versos of both covers, contemporary limp vellum with later gilt lettering to spine, [STC 13199], 4to, Printed by T. Este, for Thomas Wight, 1596.⁂ No complete copy traced at auction. Among several early ownership inscriptions are those of Richard Russell and Mary Peckham.Rothamsted acquisition date not noted.

Heresbach (Conrad) Foure Bookes of Husbandry, largely printed in black letter, title within woodcut border (trimmed at fore-edge and with small piece of lower corner missing), full-page woodcut coat of arms to verso, one woodcut illustration, upper corner of penultimate leaf defective, just touching pagination, some light browning and water-staining, later mottled calf, gilt, a little rubbed, [STC 13200], Printed by Tho. Wight, 1601; and another by the same, 4to (2)⁂ Provenance: Rothamsted acquisition dates 1919 & 1916.

Opening leaf of a finely illuminated Venetian ducal commission appointing Aloysius Contarenus to office, in Latin, manuscript on parchment [northern Italy (Venice), first two decades of sixteenth century (probably 1520s)]  Single leaf, with single column of 20 lines on obverse (28 on reverse) of fine humanist italic hand, simple initials in green, red and blue, opening lines in gold capitals on a blue banner with its red reverse revealed at its curling tips, opening initial in large gold bars enclosed with sprigs of strawberries, coat of arms of Aloysius Contarenus edged with swirling pink ribbon in central bas-de-page, small hole in upper margin, some stains at edges and with slight shrinking at upper inner corner resulting in small paint loss to upper corner of banner there, overall good condition, 225 by 158mm. Aloysius Contarenus served as consilarius to the Duke Leonardo Loredan (1436-1521: here “Leonardus Lauredanus”) of Venice in the early 1520s, and is recorded by Kristeller as something of a literary man: he was the subject of a text, Contarenus patriacha, which survives in Venice, Marciana, Zan. lat. 499 (1742) (Iter Italicum, VI, p. 253), and loaned out from his own library a poem on Aegidius Viterbiensis to enable the copying of Palermo, Bib. Naz., XIII C14 (ibid., II, p. 30).

ƟTibullus, Elegae ad Messalam Corvinum, in Latin verse, illuminated manuscript on parchment [Italy (probably Italy), late fifteenth century]  42 leaves, (plus an original endleaf at front and back, and including last 5 leaves blank), complete, collation: i-iv8, v10, some catchwords and original quire-signatures, single column of 38 lines of a fine humanist italic hand, rubrics in purple-red, simple green, blue and gold initials, major breaks opening with gold initials on brightly coloured square grounds, many pointing finger marks in coloured inks (some elaborate, and two holding banderoles with “Nota”), one large initial ‘D’ on frontispiece, in blue edged with white, enclosing in green curling foliage, all on burnished gold grounds, enclosed within bezants and ornate penwork, coat-of-arms in bas-de-page of same, corner of second leaf torn away (without affect to text), one initial smudged, a few leaves with folds and faint traces of earlier letters suggesting that some of parchment was recovered from other documents or books, overall in clean and fresh condition on fine parchment, 172 by 105mm.; in a contemporary binding tooled with ropework designs, chevrons filled with dots and lines of crown-like stamps over pasteboards, spine skilfully rebacked leaving volume a little tight, in fitted card slipcase Provenance:1. Written and illuminated for the noble patron whose arms appear in the bas-de-page of the frontispiece. The arms are not easily identifiable, but the later history of the book suggests that they were those of a southern Italy noble patron, perhaps from the Neapolitan court (which are comparatively poorly recorded).2. Girolamo Angeriano (c. 1480-1535), the Apulian Italian humanist, poet and member of the Pontanian Academy, who retired at an early age from the Neapolitan court to family estates in Ariano di Puglia: his partly-erased inscription “Hieronymi Anghierie et amicorum” at head of recto of first leaf. Perhaps his series of letters arranged in a diamond above the Catalan motto “Por no dexar” on first endleaf.3. Carlo Morbio (1811-1881), Milanese collector and historian, author of Storie dei municipi italiani; his sale in Leipzig, 15-16 July 1889, no. 599, acquired there by von Wilmersdörffer for 16 marks.4. Max von Wilmersdörffer (1824-1903), banker and coin collector; his large armorial coloured bookplate dated 1897 pasted to first endleaf.5. Lambert Schneider (1900-1970) of Berlin, prominent publisher: his small printed bookplate inside front board. His catalogue card in German loosely enclosed, noting this as his no. ‘11091.2’.Text:Tibullus (or Albius Tibullus, c. 55-19 BC) was a Roman nobleman and composer of elegies, who lived in the turbulent period following the abolishment of the Roman Republic and the establishment of the Principate of Augustus in 27 BC. He rose to prominence in the Roman literary circle of his patron, the general Marcus Valerius Messalla Corvinus, and may have accompanied the latter on military excursions in Gaul. He seems to have lost most of his estates during the confiscations of Mark Anthony and Octavian, and died early, but nonetheless was widely celebrated in Rome with Ovid composing an elegy for him (this among the last items in the present volume). This volume open with a short biographical introduction (fol. 1v), followed by the four books of his works as the Middle Ages understood them to be: book I (fol. 2r, opening “Divitias alius fulvo …”), book II (fol. 15v, opening “Quisquis adest faveat …”), book III (fol. 23r, opening “Martis romani festae …”) and book IV (fol. 28r, opening “Te messala canam …”). The first two are certainly his work, but the latter two are in fact more likely that of poets in his immediate circle. Among these early accretions are verses named as the work of Sulpicia - the only extant poems by a female author from ancient Rome. The volume ends with Ovid’s elegy, De morte Tibullus (fol.35v) and other shorter elegies for him in purple-red ink. While no extant copy predates the late fourteenth century, one certainly did exist in Carolingian aristocratic circles, and is named in the famous and much discussed eighth-century list of Classical authors in Berlin, MS. Diez B.66. That manuscript, or a copy of it, passed to Fleury where it was used by Theodulf (d. 821) and then Orleans where echoes of it appear in the twelfth-century Florilegium gallicum. Richard de Fournival, chancellor of the Cathedral of Amiens (1240-1260) bequeathed one to the Sorbonne, and another was at Monte Cassino. The earliest surviving manuscript is that produced for the great Florentine humanist, Coluccio Salutati (1331-1406; Milan, Ambrosiana R. 26 sup.), and from this copy an explosion in popularity ensued, so that well over a hundred manuscripts are known from the fifteenth century (see G. Luck, Albii Tibulli aliorumque carmina, Teubner, 1988). That said, they rarely appear on the open market, and the last appearance at auction was in 1979 (Sotheby’s, 19 June, lot 44). To that should be added a copy sold privately in 2011 by Les Enluminures. Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT). 

ƟBasil of Caesarea, Epistola ad Adolenscentes, in the Latin translation of Leonardo Bruni, and Basil of Caesarea, Epistola ad Gregorium Nazanzenum, in the Latin translation of Francesco Filelfo, with a short contemplative text by St. Augustine and letters addressing the Neapolitan courtier, Iñigo d’Avalos, in Latin, illuminated humanist manuscript on parchment [Italy (Milan), c. 1440-c. 1450]  64 leaves (plus a modern paper endleaf at each end), wanting single leaves after fols. 12 and 22 and a bifolium from first gathering (and thus since before the earliest pagination in the seventeenth or eighteenth century), else complete, collation: i6 (wants central bifolium), ii7 (wants last but one original leaf), iii10 (with bifolium bound into second half of quire, wants last but one leaf and last leaf a singleton to complete text), iv-viii8, ix9 (last leaf a singleton to complete text), catchwords, paginated and foliated a number of times since the seventeenth or eighteenth century, single column of 24 lines in a fine and accomplished humanist hand, rubrics and some reference words in margins in bright blue, small initials in green, blue or pink with sprigs of coloured foliage on brightly burnished gold grounds, terminating in sprays of single line blue and red foliage with coloured baubles on their stems and tiny gold leaves, four large illuminated initials in green, blue and burgundy, heightened with white, enclosing stylised foliage and on large burnished gold grounds, the frontispiece with similar initial as well as a full border of split blue bars on gold grounds with angular gold and coloured foliage, large bezants with radiating penwork strokes each ending in dots and coloured acanthus leaves, coat-of-arms in bas-de-page surmounted by helm and wheatsheaf that of Iñigo d’Avalos (see below), some trimming with loss to bottom of arms and edges of border in places, some stains to edges of leaves, one initial very slightly smudged, a few later marginalia (probably sixteenth century), else in outstanding condition on clean white parchment, 222 by 173mm.; nineteenth-century brown tooled leather over pasteboards, front board slightly bowed inwards and splits to leather at foot of spine, spine gilt-tooled with title This is an elegant humanist volume, in the distinctive style of Milanese Renaissance books, from an important library of a Neapolitan courtier whose library was lauded by Vespasiano de’ Bisticci; most probably passing after his death into the Royal Aragonese library, one of the greatest manuscript collections to have ever existedProvenance:1. Doubtless commissioned by Iñigo d’Avalos (c. 1420-1484, also Innigo, Innico, Enecus, Aenicus and Enyego, with his arms on frontispiece: “d’azzurro alla torre con tre torrette merlate d’oro, con la bordure composite di sedici pezzi alternate d’argento e di rosso”, note that the ‘alternative opinion’ for the same arms in another book of his now in the Houghton Library, kept in their curatorial file for the volume and repeated by the Schoenberg database, is to an outdated and erroneous report). The present volume was most probably produced to set the letters of “Christophorus modoetiensis” (most probably the Milanese intellectual and Franciscan author, Christoforo Pisanello) to Iñigo, each a work of humanist scholarship in itself, in an illuminated codex, alongside translations by Leonardo Bruni and Francesco Filelfo, which Christoforo may have presented to Iñigo. Iñigo served as close advisor and courtier to King Alfonso I ‘the Magnanimous’ of Aragon, Sicily and Naples, and acted as Neapolitan ambassador to the Visconti court at Milan. He was a Spaniard from a Castilian noble family, who came to Italy in the wake of Alfonso I, and rose quickly through his court. In 1435, he was stationed in the Visconti court, as one of two Aragonese officers ordered to protect Filippo Maria Visconti, and his links with the cultural life of Renaissance Milan endured long after this. On his return to Naples he was appointed commander of the Spanish troops, and in 1449 he became a royal ‘camerlengo’ (Grand Chamberlain), and in 1452 was given the lordship over the town of Monteodorisio. He continued in his offices under Alfonso I’s heir and successor, King Ferdinand I, from 1458. Iñigo warmly embraced the intellectual fruits of the Renaissance, and the access to rare books that his connections in the Neapolitan and Milanese courts brought. Vespasiano de’ Bisticci, the grand Florentine commentator on the Renaissance, gives a description of Iñigo and his library that is so close as to suggest that they knew each other personally. Iñigo, he says, was a bibliophile and a great commissioner of humanist books, who was “Dilettosi meravigliosamente di libri, et aveva in casa sua una bellisima libreria, tutti libri degnissimi di mano de’ piu begli iscritori d’Italia” (a most marvellous dilettante of books, and had in his house a beautiful library, with wondrous books by the hand of the principal scribes of Italy), and notes his books “tutto cio richiami ad un clima umanistico ben preciso” (all recalled a precise, humanistic atmosphere). He was a substantial patron of the arts, standing as protector to celebrated humanist scholars such as Pietro Candido Decembrio, Francesco Filelfo (who dedicated one of his Satyrae to him in 1453), and probably also Thomas Guardati of Salerno (who dedicated his twelfth novella to him and his twenty-first to Iñigo’s wife). In addition, his portrait was cast a medal c. 1449 by Pisanello (New York, Metropolitan Museum, Lehman collection, 1975.1.1299). 2. Most probably in the Royal Aragonese library in Naples from 1484: on the death of Iñigo d’Avalos, his library is reported to have passed into that institution (T. de Marinis, La biblioteca napoletana dei re d'Aragona, I, 1952, p. 41), one of the greatest collections of humanist manuscripts and Classical texts to have ever existed. Unfortunately, this library shared the vicissitudes of the dynasty who built it, and in 1496 it passed to the youngest son of Ferdinand I, Federico of Aragon (1452-1504). When he was forced to yield the kingdom to Louis XII of France in 1502, the library was removed from Naples, with parts of it purchased by Louis XII and Cardinal Georges d'Amboise (1460-1510), archbishop of Rouen. The substantial remnant remained with Federico, and passed in turn to Isabella del Balzo, his wife, who sold a number of water-damaged volumes to the humanist Celio Calcagnini in 1523. A final portion of over 300 books was shipped to Valencia in 1527 where she and her son had taken up residence. They were then slowly dispersed (see the Statius, Thebaid, Achilleid and Silvae from the Royal Aragonese library, sold in Sotheby’s, 10 July 2012, lot 27, on behalf of a Spanish private collection, and incidentally also wanting a number of illuminated leaves). The recorded volumes from the library of Iñigo d’Avalos are now scattered between Italy, Spain, the United Kingdom and North America (see below). Text: The volume opens with an undated and evidently unpublished letter from “Christophorus modoetiensis” (see below) to Iñigo d’Avalos (fol. 1r), discussing the authors of the following two texts (as well as a host of other Greek authors) and the translators of those texts: Leonardo Bruni (here with the surname ‘Aretinus’) and Francesco Filelfo. This letter is in a fine humanist copy here, but seems to have accompanied an earlier gift of a book (perhaps the exemplar of this one). It signs off “Ex urbe Mediolanensi populosa”, ‘from the populous city of Milan' Ɵ Indicates that the lot is subject to buyer’s premium of 24% exclusive of VAT (0% VAT). 

MIXED RARE LPS - HAPSHASH/CANNED HEAT AND MORE. 20 LPs to include some collectible titles in stunning condition. Artists/titles from: Daddy Longlegs (WS 3004), Hapshash and the Coloured Coat - The Western Flier (LBL 83212), Robert Calvert ?– Lucky Leif And The Longships (UAG 29852), Fuck Off (CX-1004, with inserts), Canned Heat - Hallelujah (LBS 83239) and more from The Sweet, Roger Ruskin, Rosa Negra, The Casuals, Sunshine Company, Quiver, Gasolin', Mutzie and more. Condition is typically Ex+ with sleeves mostly at VG+ to Ex. All with archive stickers to reverse.

A fine early George III English silver Salver, with gadroon and shell decorated edge and wide engraved border with flowers, scrolls etc, and large rococo coat of arms, on three ball n' claw feet, London c. 1761, possibly Ebenezer Coker, approx. 23 ozs. (1)

A set of Deer Antlers, mounted on an oak shield shaped back, designed as a Coat Rack. (1)Provenance: Martin Family, Albert House, Sligo.

A rare late 18th Century / early 19th Century "Kildare Militia" red Coat with velvet collar and cuffs and with silver bullion lapels and neck straps, and multiple silver plated buttons with central shamrock design and surrounded inscription "Kildare" by Foley Dublin, the reverse tails similarly designed, terminating in heavy star shaped silver, crests with embroidered centres "Kildare Militia," worn, but generally good. Ex. Scarce. (1)Provenance: The Mansfield Family, formerly of Morristown Lattin, Naas, Co. Kildare.

An important heavy late George III Irish silver Teapot, by James Le Bas, Dublin c. 1818, the body heavily embossed and engraved with scrolls, flowers, shells etc., the flush hinge lid with flower finial, the spout with bird beak, and head of bearded man, the handle shaped as a female nude figure on four ball and claw feet, with engraved shield shaped coat of arms, and motto 'Mors Potior Macula' (death rather than infamy), approx. 39 ozs. (1)Provenance: The Mansfield Family, formerly of Morristown Lattin, Naas, Co. Kildare.

Attributed to G.B. Tiepala (Ven. 1696 - Madrid 1770)"Virgin and Child enthroned, Joseph and Two Franciscan Saints," pen and ink, sepia watercolour, with watermark coat of arms, approx. 21cms x 19cms (8 1/4" x 7 1/2"), mounted. (1)Provenance: Private Irish Collection ( Sotheby's London, lot 21, July 1966 )

William Henry Warren Bicknell (1860 - 1947)"Portrait of a Gentleman; in a coat and tie, three-quarter length seated," etching approx. 50cms x 40cms (20" x 16"). (1)

Daniel Farson (1927 - 1997)Photograph: An original black and white Photograph of Lucien Freud (artist) and Brendan Behan (author) in deep conversation, Freud with cigarette in hand with Behan having his coat over his head, outside a Grand Venue (The Mansion House, Dublin), as a photograph, signed by the artist, framed. (1)* Another version was exhibited at the National Portrait Gallery, London.

Fine Collection of Georgian Views of Dublin Malton (James) A Picturesque and Descriptive View of the City of Dublin, a fine set of 27 (26 hand coloured acquaints) each approx. 45cms x 58cms (17 3/4" x 23") including the Map and Coat of Arms of the City of Dublin, published London (J. Malton & G. Cowen) Dublin July 1794 & 1795, in matching hogarth frames. (27) Provenance: Property of a Titled Lady.

A small Irish George II silver two handled Cup, Dublin c. 1727, approx. 13 1/2 ozs, by Mathew Walker, engraved with coat of arms. (1)Provenance: The Mansfield Family, formerly of Morristown Lattin, Naas, Co. Kildare.

A. Weyck, 19th Century Irish SchoolA charming stained Glass Panel, of small proportions depicting Saint Patrick with Crozier in hand and left aligned, the oblong top panel with a scene of Glendalough, and embellished with romantic symbols, and also showing the coat of arms of the Wynne Family, and etched 'Bono Vince Malum,' housed in wooden frame, approx. 37cms x 22cms (14 1/2" x 9"), signed by the artist and dedicated to G.W. (1)

A heavy large Irish late George II silver two handled Cup, Dublin c. 1750, possibly by Wm. Townsend, approx. 26 ozs., 16cms (6 1/4") high, engd. with fine rococo coat of arms, of the Shee Family, Dunmore, Co. Galway. (1)Provenance: The Mansfield Family, formerly of Morristown Lattin, Naas, Co. Kildare.

Early 19th Century Irish SchoolMiniature: A half length "Portrait of Mr. Edward Odell, in high fur collar coat," O.O.Panel, approx. 12cms x 9.5cms (4 3/4" x 3 3/4") in heavy contemporary gilt frame. (1)* The Odell Family.

American Naive School, 19th Century "Portrait of a Boy in a black Coat and Tie," O.O.C., approx. 39cms x 27cms (15 1/2" x 10 1/2"). (1)

An early 19th Century Scottish figured mahogany Longcase Clock, with attractive hand painted domed dial, decorated with a landscape showing stately home by a lake, flowers etc., and signed Arch.d. Grey, Lesmahagow, and bearing a brass plaque engraved with coat of arms, and name James Reid, 1841, 229cms (90") high. (1)

A rare and unusual Apostle-type Spoon, with crowned figural pierced handle, over a plain bowl with elaborate early coat of arms on reverse, indistinct marks, 14.5cms (5 3/4") long. (1)

19th Century English SchoolMiniature: A very good oval miniature of a grey haired man with white bow tie, in black waistcoat and coat, 11cms (4 1/4") high, in black wooden frame. (1)