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A WWII RAF logbook to Spitfire pilot F/LT. J. STOCKDEN. Training from March 1942 on Tiger Moths and Harvards. Spitfire and Hurricane in 238 Squadron, service in Port Said, Benghazi, St. Jean, Haifa, Palestine, El Daba, Marsa Matruh, Helwan and Corsica. Also features photographs of crew and Spitfire in field together with various intriguing annotations. This logbook is damaged. Together with a further Logbook with purely post-war cuttings, mainly relating to showing dogs. Jack Stockden, was a Detective Constable in the Wiltshire Police prior to joining the war.

Downstream, Thomas Kinsella, The Dolmen Press, First Edition, First Printing , 1962, with Dust Jacket The story of the Irish People, Sean O’Faolain, Avenel Books, First Edition, First Printing, 1990, with Dust Jacket And Again?, Sean O’Faolain, Constable London, 1979, First Printing with Dust Jacket Executions, Ulick O’Connor, Brandon, 1992, First Edition, Inscribed “Michael McDowell, Best Wishes, Ulick O’Connor, July 1999”. (4)

10 Hunting, Shooting and Natural History interest books : Foxhunting- What is it, and how it is conducted, D W E Brock, 1952, British Field Sports Society, lovely little card cover 32 pp booklet telling the whys and wherefore's of Fox Hunting. Hunting the Fox, Richard Greville Verney, 1921, Constable, hardback, very good condition. Shooting Wildfowl and Game, Noel M Sedgwick, 1953, Constable, 1st edition, hardback, very good condition. Notes on Sporting Rifle, Major Gerald Burrard, 1932, 3rd edition revised and enlarged, hardback, in excellent condition. Shore Shooting, R N Winnall, 1948, Batchworth Press, 1st edition, hardback in dust jacket. Foxes, Foxhounds and Fox-Hounds, Richard Clapham, no date, Heath Cranton Ltd., hardback in excellent condition, with numerous illustrations and photographs. Fox-Hound, Forest and Prairie, Captain Pennell-Elmhirst, 1892, George Routledge & Sons, hardback, in excellent condition, with numerous illustrations. Kerry A Natural History, Terry Carruthers, 1998, Collins Press, 1st edition, hardback in dust jacket. A very clean copy as new. Natural Heritage – Meath, Cavan, Westmeath Nature Yearbook 1991, edited by Patrick J Nugent, 1st edition, hardback in dust jacket, excellent condition, nicely illustrated. A Natural History of Game, John Marchington, 1984, Boydell Press, 1st edition, hardback in dust jacket. In excellent condition. (10)

A HISTORY OF THE FAMILY OF SETON, DURING EIGHT CENTURIES BY GEORGE SETON, EDINBURGH, 1896in two volumes, privately printed by T. and A. Constable, quarto, with a brown leather spine on green leather boards with marbled end papers (2) ProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

Two police medals, comprising a Faithful Service medal, enamel decorated, on an Elkington bar with red and blue ribbon, 8cm high, and an Exemplary Police Service medal, inscribed Constable Charles E Maughan. (2)

A Special Constable certificate, WWI period, framed, an early Poppy and other flags, framed, 2 military photographs

The Victoria History of the Counties of England: Warwickshire. Three volumes, including; The Victoria History of The Counties of England: Warwickshire Vols I & II published by Archibald Constable [1904], plus, The Victoria History of The County of Warwick Volume VIII published for the University of London Institute of Historical Research by Oxford University Press [London, 1969]. (3)

CRADDOCK, Harry (1876-1963). THE SAVOY COCKTAIL BOOKLondon: Constable and Company, Ltd., 1930, 8vo, coloured decorations by Gilbert Rumbold, original coloured pictorial boards (hinges broken, covers worn with abrasion). FIRST EDITION, second issue.CRADDOCK, Harry (1876-1963).  The Savoy Cocktail Book. London: Constable and Company, Ltd., 1930. 8vo (193 x 128mm). Half title, coloured illustrations and decorations by Gilbert Rumbold, without the "Bacardi Special" slip which is found in some copies at p.[25] (variable, mainly marginal, spotting and staining). Original cloth-backed coloured and silver pictorial boards, coloured pictorial endpapers (upper inner hinges broken, covers heavily rubbed with surface abrasion, crack running from top to bottom of lower cover, some minor erosion to head of spine). Provenance: G. M. Burt & Son, Weymouth (small bookseller's label on front pastedown). FIRST EDITION, second issue, without the page-number on the title.Provenance: The Purple Shop – The Anthony Gardner Collection.See Bellmans website article for further information: https://www.bellmans.co.uk/story/the-purple-shop-the-anthony-gardner-collection

Craddock, Harry. The Savoy Cocktail Book. 287 S. Mit zahlreichen farb. Textillustrationen. 19,5 x 12,5 cm. Farbig illustr. OHalbleinenband. London und New York, Constable bzw. Simon & Schuster, (1930). Sammlung Schraemli 422. - Erste Ausgabe des legendären Cocktail-Buches. "Being in the main a complete compendium of the Cocktails, Rickeys, Daisies, Slings, Fizzes, Cobbers...and other Drinks" (Titel). Mit witzigen und einfallsreichen Art-Déco-Illustrationen. Der Einband in Gold, Silber, Grün und Schwarz. - Nahezu verlagsfrisches Exemplar.

HENRY CRADDOCK; 'The Savoy Cocktail Book', 1930, first edition, Constable & Company Ltd, with a dedication and signed by the author, which reads 'To Dear Madge, with the compliments of the author, November 30'

Three antique expedition books. Inlcudes Dr Fridtjof Nansen, Farthest North Volume One and Two, published by Archibald Constable And Company, 1897. Along with Herbert G Ponting, The Great White South, published by Duckworth & Co, 1923.

Oil on canvas of a Scottish highland scene, and a study after Constable 

Grimm's Fairy Tales Illustrated by Arthur Rackham, published by Constable & Co. 1909, red cloth covers

Joshua Cristall (c. 1767-1847) - Watercolour – “The Rainbow”, 4.5ins x 5.75ins, framed and glazed Note: Handwritten label to verso: " I bought this sketch at Cyril Fry's Gallery in Jermyn Street, alas no longer there; and I remembered he said "You know, people might be tempted to call this a Constable, but it's not: it really is a Joshua Cristall"', and J. Anthony Vandyke Copley Fielding (1787-1855) - Pencil drawing - Landscape, signed, 4.5ins x 7.25ins, framed and glazed Note: Handwritten label to verso: "I can't remember where I bought this, or anything about it, except, it's by AV Copley Fielding" Selected pictures from the Peter Barkworth Collection Neither of these works have been inspected out of their frames.  Copley-Fielding - this work appears to be in good condition with no obvious damage/loss/restoration. Joshua Cristall - very small circa 1mm diameter hole on the top edge at roughly centre.  Possibly some very light fading but otherwise this work appears to be in good condition. 

Attributed to John Constable R.A. (Suffolk 1776-1837 Hampstead)A tower among trees - possibly Hadleigh Towerblack chalk and grey wash on laid paper6.9 x 11.1cm (2 11/16 x 4 3/8in).Footnotes:ProvenanceCollection of Lionel Constable (according to a label on the reverse)With J S Maas & Co Ltd., London, 1966, where purchased by the present ownersFor further information on this lot please visit Bonhams.com

Kandinsky (Wassily).The Art of Spiritual Harmony. Translated with an Introduction by M.T.H. Sadler.Constable, 1914, first English edition, xxviii, 112 pages, nine pictorial plates and three figure plates, damp staining to preliminary and final leaves, name and a few comments in pencil, original cloth-backed boards (worn).[Provenance - The Fred Gettings Library].

Polar Exploration.A large quantity of books on exploration, predominantly polar exploration, including;Rymill (John), Southern Lights, The Official Account of the British Graham Land Expedition 1934-1937.Chatto and Windus, 1938, first edition, plates, folding map, torn and price-clipped dust jacket;Nansen (Fridtjof), 'Farthest North' Being the Record of a Voyage of Exploration of the Ship Fram 1893-96 ....Archibald Constable, 1897, first edition, two volumes, plates and maps, original cloth (worn);Bagshawe (Thomas Wyatt), Two Men in the Antarctic, An Expedition to Graham Land, 1920-1922.Cambridge University Press, 1939, first edition, plates, folding panoramas, original cloth;Scoresby (Rev. W.), Journal of a Voyage to Australia and Round the World for Magnetical Research.Longman Green ... 1859, first edition, portrait frontis, publisher's presentation stamps, orginal cloth;Anon., Cook's Voyages Round the World, for Making Discoveries towards the North and South Poles.Manchester: Sowler and Russell, 1799, portrait frontis in facsimile, five plates as called for, modern quarter calf; Thomson (C. Wyville), The Depths of the Sea. An Account of the General Results of the Dredging Cruises of H.M.SS 'Porcupine' and 'Lightning' ...Macmillan, 1874, second edition, maps and plates, original cloth;Scott (Capt. Robert F.), The Voyage of the 'Discovery'.Macmillan, 1905, two volumes, maps and plates, original cloth.[not collated]. (qty)

Whales and Whaling.Scoresby (William).An Account of the Arctic Regions, with a History and Description of the Northern Whale-Fishery.Edinburgh: Archibald Constable .., 1820, first edition, two volumes, xx, 551, [1], 82; viii, 574 pages plus advert leaf, three folding tables, twenty four plates including folding chart and two folding frontispieces, extensive corner turning to volume I which also has some intelligent annotation in erasable pencil, dust marked edges, particularly the top edges, original boards (spines worn and cracked, upper board detached from volume I);idem, Journal of A Voyage to the Northern Whale-Fishery; including Researches and Discoveries on the Eastern Coast of West Greenland made in the Summer of 1822, in the Ship Baffin of Liverpool.Edinburgh: Archibald Constable .., 1823, first edition, xliv, 472 pages, seven of eight plates (lacking first chart), some corner turning and annotation in erasable pencil, dust marked top edge, original boards (spine worn and cracked);Scoresby (Rev. William), Memorials of the Sea. My Father: Being Records of the Adventurous Life of the Late William Scoresby, Esq. of Whitby.Longman, Brown, Green and Longmans, 1851, first edition, viii, 232 pages, may lack a portrait*, [bound with]idem, Memorials of the Sea. Sabbaths in the Arctic Regions.Longman, Brown, Green and Longmans, 1850, second edition, viii, 155, [1] pages, dust marked top edge, endpapers splitting at hinge, original cloth original cloth.[*Copac calls for a portrait, however this appears uncommon, all copies previously examined and those found currently in commerce also lack this.]

RACKHAM (A), illus, GRIMM’S FAIRY TALES, with forty tipped in colour plates, gilt red cloth, Constable, 1909 (1)

Barlow (Alfred). The History and Principles of Weaving by hand and by power, reprinted, London: Sampson Low, Marston, Searle, & Rivington, 1878, several hundred monochrome illustrations, period inscription to the front endpaper, front gutter cracked, some light spotting & toning, original embossed brown cloth, front board partially detached, boards & spine slightly marked & rubbed to head & foot, 8vo, together with:Bell (I. Lowthian), Principles of The Manufacture of Iron and Steel, with some notes on the economic conditions of their production, London: George Routledge & Sons, 1884, gutters cracked, some minor marginal toning & light spotting, original green cloth, slightly rubbed to head & foot, 8vo, plusDunnell (H.), British Wire-Drawing and Wire-Working Machinery [The Engineering Series], London: Constable & Company, 1925, numerous monochrome illustrations, some light spotting & toning, original green cloth boards & spine slightly rubbed & bumped, large 8vo, and other 19th & early 20th century manufacturing & mechanical reference & related, mostly original cloth, overall condition is generally good/very good, 8voQTY: (6 shelves)

Gray (Andrew). The Plough-Wright's Assistant; or, a practical treatise on various implements, 1st edition, Edinburgh: D. Willison for Archibald Constable, 1808, 16 folding engraved plates, some offsetting and toning, endpapers renewed, later vellum-backed boards, a few small marks, 8voQTY: (1)NOTE:Perkins 709.

Eliot (T. S.). Old Possum's Book of Practical Cats, 1st edition, London: Faber and Faber, 1939, small ownership inscription to front free endpaper, original pictorial yellow cloth, marked and worn, dust jacket, price-clipped, tear with loss to rear panel, some toning and dust-soiling, 8vo, together with:Milne (A. A.). The House at Pooh Corner, 1st edition, London: Methuen, 1928, illustrations by E. H. Shepard, endpapers toned, original salmon pink pictorial cloth gilt, spine faded, covers marked, with The House at Pooh Corner, 1st edition, London: Methuen, 1928, illustrations by E. H. Shepard, endpapers toned, marked and faded, 8vo, with Boyd (Martin). The Painted Princess, a fairy story, 1st edition, London: Constable & Co Ltd, 1936, illustrations by Jocelyn Crowe, ownership inscription and stamps to front pastedown, original blue cloth, dust jacket, spine chipped with loss at head and foot, price torn off (touching blurb to front flap), 8vo, with a carton of children's literature QTY: (1 carton)

The Public Catalogue Foundation. Oil Paintings in Public Ownership, 25 volumes, London, 2009-2013, numerous colour illustrations, all original cloth in dust jackets/boards, some covers very lightly rubbed to head & foot, 20 volumes 'as new' in original plastic wrap, large 8vo, together with:Reynolds (Graham), The Early Paintings and Drawings of John Constable, 2 volumes, 1st edition, New Haven: Yale University Press, 1996, numerous colour & monochrome illustrations, original uniform cloth in dust jacketsThe Later Paintings and Drawings of John Constable, 2 volumes, 1st edition, New Haven: Yale University Press, 1984, numerous colour & monochrome illustrations, original uniform cloth in dust jackets, covers lightly rubbed to head & foot, all volumes large 8vo, plusGruppo Sanpaolo, publisher, Mural Painting in Italy, the 15th century, 16th century, 17th and 18th centuries, 3 volumes, 1st editions, San Paolo, 1996-98, numerous colour & monochrome illustrations, all original cloth in dust jackets, large 8vo, and other art reference QTY: (39)

Charron (Pierre). Of Wisdome. Three bookes written in French by Peter Charrõ Doctr. of Lawe in Paris, translated by Samson Lennard, London: Luke Fawne, 1651, engraved title trimmed to ruled border and lined to verso, final five leaves cropped to margins and repaired, some spotting and light dust-soiling, ink staining to last few leaves (text legible), 19th-century blind decorated calf, red morocco title label to spine, repaired at head of spine, 8vo (Wing C3717), together with Rapp (Jean, comte). Me?moires du Ge?ne?ral Rapp, aide-de-camp de Napole?on, e?crits par lui-me?me, et publie?s par sa famille, London: Henri Colburn, 1823, engraved portrait frontispiece, toning and scattered spotting, bookplate of Patrick A. Smith to upper pastedown, near contemporary half calf, gilt decorated spine lacking title label, extremities rubbed, 8vo, with Simonin (Louis Laurent). Underground Life; or, Mines and Miners..., translated, adapted to the present state of British Mining, and edited by H. W. Bristow, London: Chapman and Hall, 1869, 20 chromolithograph plates, 20 coloured maps and numerous wood-engraved illustrations, top edge gilt, publisher's green quarter morocco with gilt-blocked spine, boards slightly rubbed, large 8vo, plus Grey of Fallodon (Edward Grey, Viscount). Fallodon papers, London: Constable & Co. Ltd., 1926, woodcut illustrations by Robert Gibbings, signed by the author to front free endpaper and tipped-in autograph letter signed, armorial bookplate of Almeric Hugh Paget, 1st Baron Queenborough to upper pastedown, original cloth, joints and extremities slightly frayed, 8vo QTY: (4)

Large collection of approximately 300 American Police cloth badges including Parkland Police, County of Nassau NY, Worcester Police, Plainsboro Township NJ Police, Toledo Police, Harris County Constable, Washington State Patrol, Forest Service Enforcement, Lake Angelus Police, Eastlake Ohio Police and Halton City Police etc

An early ‘Northern Ireland’ Q.G.M. group of four awarded to Lance Corporal P. B. J. Broome, 3rd Battalion, The Light Infantry, for his gallantry during an ambush on his patrol in the Lower Falls area of Belfast, 21 May 1974. Broome rescued his wounded patrol commander whilst under fire, and forced the ambush to break up as a result of his accurate return fire - the latter wounding the IRA gunman, and forcing him to retreat within the gathering large civilian crowd Queen’s Gallantry Medal (24246502 Pte. Paul B. J. Broome, L.I.); General Service 1962-2007, 1 clasp, Northern Ireland (24246502 Pte. P. B. J. Broome LI.); Jubilee 2002, unnamed as issued; Police L.S. & G.C., E.II.R., 2nd issue (Const Paul B Broome) mounted as originally worn, and housed in custom made wooden case, with regimental emblem and recipient’s details embossed on lid, cleaned, very fine or better (4) £5,000-£6,000 --- Q.G.M. London Gazette 6 January 1975: ‘In recognition of services in Northern Ireland during the period 1 May 1974 to 31 July 1974.’ The following extract from a letter of congratulation upon the award of the Q.GM. to the recipient, written by Lieutenant General Sir Jack Harman, K.C.B., O.B.E., M.C., adds the following: ‘Your presence of mind and coolness in the face of considerable danger in the Lower Falls on 21 May 1974 were an example to us all.’ The recipient’s account of the above incident adds: ‘The award was issued following an ambush in the Lower Falls area of Belfast in May 1974 by the IRA upon a patrol in which l was a private soldier. Hand grenades were used on a covert observation post during which a soldier was seriously injured. The patrol l was part of came across the ambush and challenged a gunman who fired and wounded the patrol commander who fell in to the street in direct line of fire of the gunman. I ran into the street and managed to get the wounded NCO back into cover under fire from the gunman. I then returned fire and hit the gunman who was taken away by a large crowd that gathered and substantially outnumbered the soldiers on the ground. In the ensuing follow up no trace was located of the gunman as was common at that time.’ Paul Brian James Broome served with the 3rd Battalion, The Light Infantry in Northern Ireland. After leaving the army, he served as a Police Constable. Sold with the following related documents: Letter of congratulation from Lieutenant General Sir Jack Harman, K.C.B., O.B.E., M.C., Headquarters 1st British Corps, dated 3 January 1975; Letter to the same effect from General Sir Harry Tuzo, G.C.B., O.B.E., M.C., Commander-In-Chief British Army of The Rhine, dated 6 January 1975; Copy of Commanding Officer’s Orders [Lieutenant Colonel J. D. G. Pank, 3rd Battalion, The Light Infantry] announcing award, dated 6 January 1975; 2 photographs of recipient in uniform serving in Northern Ireland, including one which was taken a few days prior to the ambush and shows the recipient and the soldier that he rescued.

Three: Police Constable T. Jeffery, Metropolitan Police Jubilee 1897, Metropolitan Police (P.C. -T. Jeffery. G. Divn.); Coronation 1902, Metropolitan Police, bronze (P.C., T. Jeffery. G. Div.); Coronation 1911, Metropolitan Police (P.C., T. Jeffery.) good very fine (3) £70-£90 --- Thomas Jeffery was born in Rugby, Warwickshire, on 24 March 1868 and joined the Metropolitan Police at Great Scotland Yard on 16 July 1888. He served with ‘G’ or Finsbury Division throughout his police service, and retired to pension on 21 July 1913. He died on 15 July 1940.

Five: Second Lieutenant C. W. Bull, Royal West Surrey Regiment, late Lance Corporal, 5th Dragoon Guards and Police Constable, Metropolitan Police Queen’s South Africa 1899-1902, 5 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, South Africa 1902 (4690 Pte C. W. Bull. 5th Dragoon Gds:) unofficial rivets between state and date clasps; 1914-15 Star (G8-5295 L. Cpl. C. W. Bull, 5-D. Gds.); British War and Victory Medals (2. Lieut. C. W. Bull.) initials officially corrected on BWM; Coronation 1911, Metropolitan Police (P.C., C. W. Bull.) mounted for display, generally very fine (5) £200-£240 --- Charles William Bull was born in Kingston-on-Thames, Surrey in July 1883, and was educated at Norbiton National School. His father was employed as an Aeroplane Assembler by Messrs. Sopwith. Bull attested for the 5th Dragoon Guards in August 1900, and served with the regiment in South Africa, being discharged in August 1908. He joined the Metropolitan Police as a Police Constable in the Mounted Section in February 1909. Bull rejoined the Army at Poplar, London in October 1914. He served during the Great War with the 5th Dragoon Guards in the French theatre of war from 18 May 1915. Bull was commissioned Temporary Second Lieutenant in the Royal West Surrey Regiment in July 1917. He returned to the Metropolitan Police after the war, and was serving with ‘H’ Division (Whitechapel) when he was discharged in February 1935 - having completed 26 years service with the force. Sold with copied service papers.

Special Constabulary Long Service Medal (2), G.V.R., 1st issue (William Hillson); G.VI.R., 1st issue (Edmund C. Pacey.); together with a Birmingham City Police Special Constabulary Reserve cap badge, this lacking reverse tangs; a Devon Special Constable lapel badge; and a Special Constabulary cloth title, lacquered, nearly extremely fine (2) £40-£50

Pair: Private H. E. Wood, Grenadier Guards, later Police Constable, Metropolitan Police Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Wittebergen, Transvaal, South Africa 1902 (7033 Pte. H. E. Wood, Gren. Gds.) clasps mounted in this order, unofficial rivets between 2nd and 3rd clasps; Coronation 1911, Metropolitan Police (P.C., H. Wood.) mounted for display, minor edge bruising, generally very fine (2) £100-£140 --- Henry Evans Wood was born in Malmesbury, Wiltshire. He attested for the Grenadier Guards at London in October 1897. Wood served with the 2nd Battalion in South Africa, March 1900 - April 1901 and April 1902 - July 1902 (clasps confirmed). He transferred to the Army Reserve in July 1902, and joined ‘K’ Division (Stepney) Metropolitan Police in October 1902. Wood transferred to ‘D’ Division (Marylebone) two months later. He was discharged to Pension in October 1927, and died in September 1932. Sold with copied service papers.

Three: Gunner T. Punshon, Royal Artillery, late Police Constable, Metropolitan Police British War Medal 1914-20 (223625 Gnr. T. Punshon. R.A.); India General Service 1908-35, 1 clasp, Afghanistan N.W.F. 1919 (223625 Gnr. T. Punshon. R.A.); Coronation 1911, Metropolitan Police (P.C., T. Punshon.) mounted for display, generally very fine or better (3) £100-£140 --- Thomas Punshon was born in Rotherhithe, London, and was employed as a carpenter in Romford prior to joining the Metropolitan Police in May 1906. He served with ‘M’ Division (Southwark) until his discharge in April 1912. Punshon served during the Great War with the Royal Artillery (this being his full entitlement). Sold with copied service papers.

Four: Gunner E. C. S. Ward, Royal Artillery, and Police Constable, Metropolitan Police India General Service 1895-1902, 3 clasps, Relief of Chitral 1895, Punjab Frontier 1897-98, Tirah 1897-98, clasp carriage on first clasp rebuilt to accommodate additional clasps (91946 Gunner C. E. S. [sic] Ward Mtn. By. R.A.); British War and Victory Medals (SR-6170 Gnr. E. C. S. Ward. R.A.); Coronation 1911, Metropolitan Police (P.C., E. Ward.) mounted for display, generally very fine (4) £200-£240 --- Edward Charles Stuart Ward born in Woolwich in July 1873. He attested for the Royal Artillery at London in August 1892, and served with No. 3 Mountain Battery in India. Ward transferred to the Army Reserve in July 1903, and was discharged in August 1904, having served for 12 years. He joined ‘J’ Division (Hackney), Metropolitan Police in April 1903, but volunteered for service with the Army during the Great War. Ward served with the Royal Garrison Artillery on the Western Front before returning to the Metropolitan Police. He was discharged to Pension in April 1928, having completed 25 years service. Sold with copied service papers.

Corporation of Glasgow Bravery Medal, 3rd type, gold (9ct., 12.64g) (Ralph Dunn 1966) hallmarks for Edinburgh 1965, with integral top riband bar, nearly extremely fine £120-£160 --- For the rescue of a woman and her three young children from a fire in a Glasgow tenement on 26 November 1966. At about 12.30 am at 252 Parliamentary Road, along with Constable Hutt, Mr. Dunn climbed along a window ledge on the first floor and helped extract the family.

Royal Navy L.S. & G.C., G.VI.R., 1st issue (JX.139865 Q. M. Sessford. A.B. H.M.S. Royal Sovereign.) very fine Pair: Police Constable N. Davison Defence Medal; Police L.S. & G.C., G.VI.R. (Const. Norman Davison) good very fine (3) £50-£70

Four: Second Lieutenant W. C. Meiklejohn, Hampshire Regiment, later Police Constable, Metropolitan Police British War Medal 1914-20 (2. Lieut. W. C. Meiklejohn.); India General Service 1908-35, 1 clasp, Afghanistan N.W.F. 1919 (2/Lieut. W. C. Meiklejohn. Hamps. R.) officially renamed; Defence Medal; Police L.S. & G.C., G.VI.R. (Const. William Meiklejohn) mounted for wear, generally good very fine (4) £120-£160 --- William Cecil Meiklejohn was born in Aldershot, Hampshire in December 1898, and educated at Reading School - at which he served in the O.T.C. He was commissioned Temporary Second Lieutenant in the 1st Battalion, Hampshire Regiment, and advanced to Lieutenant attached 5th Battalion. Meiklejohn served with the Regiment, 10 August 1917 - 21 January 1923, primarily in India (this being his full entitlement). Having relinquished his commission, Meiklejohn joined the Metropolitan Police in June 1926 (awarded L.S. & G.C. in January 1952). He resigned to Pension in December 1958, after 32 years service, and died in June 1965. Sold with copied service papers.

A SPECIAL CONSTABLE TRUNCHEON with turned grip 48cm long

STOKER, Bram. Dracula, eighth edition, Westminster: Archibald Constable & Co. Ltd., 1904. Octavo, publisher's blue & red cloth, pp. [viii], 390. Contents generally very good, slight spotting to endpapers and first few leaves of text, signs of an erased owner inscription on front free endpaper, cloth discoloured with stain at spine, a few marks to boards, shelf-lean 

An album of various sweetheart cards by Sarah Constable 

A print after Constable; light fittings; a "Ye Olde Coaching and Hunting Days Arthur Wood" tankard; and a Sherratt & Simpson model of farmer and dog

A Victorian police truncheon with painted rank marks of Constable

A George V silver calling card case, by Sampson Mordan & Co, London 1919, inscribed Presented to, E. May. Esq, By, H. H. Sanders Esq, Chief Constable of Plymouth, From, His Many Friends, Of The, Plymouth Police Force, On His Departure For, Foreign Service , Xmas 1921, 8.5 x 4.5cm, 51gm.

A small collection of books comprising of; Sansom, George S. Climbing at Wasdale Before the First World War. The Mountain Journal of an Edwardian Gentleman, pub. Castle Cary Press Ltd., Somerset, John Masters The Venus of Konpara proof copy, George Bernard Shaw, The Apple Cart, Constable, London, 1930, first edition, W.H. Auden & Christopher Isherwood, On the Frontier first edition etc.

Anthony Gross CBE RA,British 1905-1984Homage to Constable - Salisbury CathedralEtching on woveSigned and numbered 48/100 in pencilPlate: 16.8 x 33.3 cm***Artists resale rights may apply to this lot***

Bernard Shaw, George. 1924 Saint Joan, a Chronicle Play in Six Scenes and an Epilogue by Bernard Shaw with Sketches by C. Ricketts. Limited edition of seven hundred and fifty copies, publ. Constable and Co. Ltd. Publisher's original quarter cloth binding with decorative paper covered boards & spine label, edgeworn with light loss to head and tail of spine, boards discoloured. Ownership bookplate to front pastedown & later gift inscription to ffep, pages uncut, illustrated with tipped-in colour plates by Charles Ricketts. Folio.

Military & First World War interest. A collection of eight early 20th century works. The lot to comprise 1932 The Konigsberg Adventure by E. Keble Chatterton publ. Hurst & Blackett, The Sea Raiders by E. Keble Chatterton publ. Hurst & Blackett, 1932 The Big Blockade publ. Hurst & Blackett (2nd imp), 1920 The First World War 1914-1918 - Personal Experiences of Lieut-Col. C. a Court Repington in two vols, publ. Constable and Company Ltd (7th imp), 1924 The War History of the Sixth Battalion the South Staffordshire Regiment publ. William Heinemann Ltd., presentation inscription by Arnold Gyde to George Bishop to ffep, 1918 On Four Fronts with the Royal Naval Division by Geoffrey Sparrow, J. N. Macbean Ross publ. Hodder & Stoughton, and 1879 The History of the Honourable Artillery Company by Captain G. A. Raikes volume II only publ. Richard Bentley & Son with renewed endpapers. Each in publisher's original full cloth, light bumping to the head and tail of the spine and extremities, occasional mark to the boards, The History of the Honourable Artillery Company with a little more noticeable wear to the spine, otherwise volumes are in smart condition. 8vo.

Two late 19th century works on Scottish military history, with interest on the Jacobite Rebellion. The lot comprising 1888 Two Scottish Soldiers - A Soldier of 1688 and Blenheim, A Soldier of the American Revolution and A Jacobite Laird and his Forebears by James Ferguson, publ. D. Wyllie & Son Aberdeen; and 1893 Papers about the Rebellions of 1715 and 1745, edited form the Original Manuscripts, with Introduction and Notes by Henry Paton M. A., publ. at the University Press by T. & A. Constable for the Scottish History Society (lim ed of 40 copies printed for the editor). Both in the publisher's original full cloth binding, prior owner's inscriptions to ffep. 8vo.

Vintage Berkshire Constabulary Special Constable truncheon by Hiatt of Birmingham

In the style of John Constable (1736-1837), an oil on canvas depicting a landscape, trees, river cattle & windmills set in period gesso frame, image size 255mm x 202mm

Barry Newis (1939-2017) 'Disused Station Melton Constable', oil on board, signed and dated 1971 to the reverse of the frame, 20cm x 25cm Overall general display wear and minimal signs of age. Some display wear and scuffs to the frame, otherwise seems ok.

FOUR HARDBACK ART THEMED BOOKS TO INCLUDE CONSTABLE, AELBERT CUYP, A DAY IN THE COUNTRY AND CAMILLE PISSARRO

84.5cm curved fullered blade by Wilkinson, etched with scrolling foliage, a stand of arms and the presentation inscription CAPTAIN & MRS HERBERT ANSELL PRESENT THIS INDIAN FRONTIER POLICE TULWAR TO JACK F. RASPIN IN APPRECIATION OF HIS SERVICES AS A SPECIAL CONSTABLE DURING THE GREAT WAR 1914-19, characteristic brass hilt decorated with vines and foliage, dished disc pommel with starburst dome finial, scrolling knuckle guard, contained in its leather wrapped wooden scabbard.

The Chestnut “Suffolk safari” 3-night stay, with dinners included at three fantastic properties in Suffolk Chestnut, an East Anglian collection of pubs with rooms - invites you to enjoy a staycation throughout Suffolk taking in the home of horse-racing, the heritage coast and Constable country. Included is the opportunity for a 3-night stay, with dinners included at three fantastic properties in Suffolk – each celebrating a unique aspect of the county. The three properties included in the 3-night Stay “Suffolk Safari”: Newmarket, global headquarters of horse-racing: THE PACKHORSE INN, Newmarket A traditional village pub with rooms at the heart of the community, with amazing food and an extensive wine menu. With the world-famous Newmarket Racecourse, gallops and stables on its doorstep, expect to bump into a jockey or two while visiting! Constable country: T H E C R O W N, S t o k e b y N a y l a n d A traditional village pub with rooms situated in the heart of Constable country where the Suffolk border meets Essex. Offering our guests a home away from home, delicious food, real ales and a very well stocked wine cellar. The Suffolk heritage coast: T H E S H I P, D u n w i c h Imagine the perfect coastal pub. A stroll from the beach, open log fires in winter, light and airy in summer with sheltered sun traps outside in Autumn and Spring to enjoy off-season sunshine. www.chestnutgroup.co.uk Kindly donated by: Chestnut T&C’s: Valid for 18 months Bookings subject to availability and cannot be in any restricted period. The order of stays in each property is flexible. Dinner to be included based upon on allocated budget of £30 per person per night. Room reservations will be allocated on the best available per property per night.

After S.P Percy (British, 1821–1886), coloured print, Sheep grazing in a valley, mounted within a moulded gilt frame 82 cm x 54 cm sold along with a similar print after J Constable, The Hay Wain, gilt framed 46 cm x 34 cm.

FRANK AUERBACH (B. 1931)From the Studios II 1992 oil on board43.2 by 40.6 cm. 17 by 16 in. This work was executed in 1992.Footnotes:Provenance Marlborough Fine Art Ltd., London Acquired directly from the above by the present owner Exhibited London, Marlborough Fine Art Ltd., Frank Auerbach: Recent Works, 1997, n.p., no. 36, illustrated in colour Literature William Feaver, Frank Auerbach, New York 2009, p. 318, no. 704, illustrated in colourWilliam Feaver, Frank Auerbach, New York 2022, p. 360, no. 704, illustrated in colourFrom the Studios II is a strikingly fresh and beautiful example of Auerbach's inimitably personal and deeply emotive body of North London cityscapes. Rendered in a majestic and jewel-like palette of green, red, yellow and ochre pigment, the intensity of the artist's response to the subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. Executed in 1992 as part of a suite of paintings on the same subject, the composition focuses on a view of Auerbach's studio that the artist encountered day in, day out. He journeyed to the studio every day since he first took up residence in a Victorian building in Camden over sixty years ago. It is a place with a long history of art: before Auerbach, the building had been used by painters Frances Hodgkins and Leon Kossoff. This painting shows us a place that is obviously dear to Auerbach's heart, the approach along a narrow, unassuming alleyway to his cluttered, paint-flecked studio space. First capturing its image in 1977, this is a subject that the artist has repeatedly returned to throughout his oeuvre. And yet each version has its own unique qualities, its own distinct methods and manners. While hardly a picturesque spot in any conventional sense, the artist locates beauty in this messy corner of a busy city.The considerable complexities of colour and composition apparent in this present work distinguish the painting from previous paintings of this scene. Compared to the predominantly dark hues of the earlier To the Studios series executed between 1979-80 where, principally, blues are set against strokes of purple and sombre hues, the palette seen here is particularly bold, ranging from the liberal use of an acid yellow sky, to arresting juxtapositions of red and green pigments. Space and form emerge from a dense lattice of lines and patches of colour are built up and scraped back in rich layers of impasto. The tension between Auerbach's treatment of the surface as a material object and the image's illusion of three-dimensional depth invigorates the entire composition.With two works from the series owned by Tate, London, the The Studios series is unanimously considered one of the finest series in Auerbach's oeuvre: these works herald the unmistakable 'all-at-onceness' of Auerbach's vision across an exquisite range of captured moments. The present work draws upon Walter Sickert's cityscapes of North London, as well as the quality of 'individuality, independence, fullness and perpetual motion' within the landscapes of Auerbach's mentor and teacher David Bomberg (the artist in: Frank Auerbach, 'Frank Auerbach in conversation with Catherine Lampert', Frank Auerbach, London 1978, p. 8). Hailed as one of the most influential painters of the 20th century, Frank Auerbach was born in Berlin, Germany in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists and comparisons to Francis Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist. Indeed, his career-defining 2015-2016 retrospective at London's Tate Britain demonstrated not only the variety of the artist's works, but also his global following, and included works gathered from private collections across the world. From the Studios II presents a unity of architectonic structure, organic brushwork and luscious combinations of vibrant, rich hues. Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, this present work carries a powerful, personal and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly compelling Studio series, that is completely fresh to the market having remained in the same Private Collection since the early 1990s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Historical Vignettes, by Bernard Capes, T- Fisher Unwin, 1910 first edition; Elizabeth & Her German Garden, Macmillan & Co, 1899 edition; Dorothea Beale of Cheltenham, by Elizabeth Raikes, A Constable & Co Ltd, 1908 first edition, Thomas De Cobham 1317 - 1327, by Ernest Harold Pearce, 1923 edition, owned by J.B. Frith & includes tipped in letter form the Bishop of Worcs, dated 1924  

The Unutterable Beauty, by G.A. Studdert Kennedy, Hodder& Stoughton, June 1928 reprinted edition; G.A. Studdert Kennedy, by his friends, Hodder & Stoughton, Nov 1929 reprinted edition; The Man of Destiny: A Trifle, by George Bernard Shaw, Constable & Co, 1927 first edition 

F. S. Evans (British 19th century). Melton: A bay racehorse with Fred Archer (1857-1886) up, oil on canvas, signed and dated 1885 lower right, 74 x 91cm. Framed and glazed Provenance: Passed to the vendor from the estate of the late Stafford Ellerman (1928-2022). Stafford's great Grandfather Sir William Cass was a doctor to Queen Victoria on the Isle of Wight. His son, and Stafford's grandfather Stafford Thomas Cass (1849-1934), was at school with Lord Hastings. They became friends and sailed around the world together in Lord Hastings's yacht Aline. Lord Hastings's home was at Melton Constable in Norfolk where he kept a racing stable which included the horse in this picture Melton. It won the Derby and St Ledger in 1885 ridden by Fred Archer. The picture was given to Stafford Cass by Lord Hastings and passed down through the family to Stafford and thence to the vendor.A very similar painting of this subject by the same artist is in the collection of the National Trust at Seaton Deleval.Condition Report: Appears to be in good original condition, under glass, may benefit from a light clean.

Giovanni Antonio Canal und Werkstatt, auch genannt „Canaletto“,1697 Venedig – 1768 ebendaGemäldepaarCANAL GRANDE MIT KIRCHE SANTA MARIA DELLA SALUTEsowieCANAL GRANDE MIT DOGENPALAST UND PIAZZETTAÖl auf Leinwand.53 x 119 cm.Beigegeben eine Expertise von Dario Succi, Gorizia.Die beiden Veduten zeigen in betont längsgestrecktem Breitformat die wohl markantesten Ansichten der Serenissima. Damit bieten die nahezu panoramaartigen Gemälde Weitblicke über den Canal Grande und die Stadt. Die im Hintergrund immer kleiner erscheinenden Gebäude und Palazzi vermitteln zudem eine imponierende Tiefenwirkung.Die hohe Malqualität wie auch die Stilistik verweisen auf den Meister, jedoch in Zusammenarbeit mit dessen Atelier. Das betrifft sowohl die Lichtführung, die Exaktheit der architektonischen Details, aber auch die Lebendigkeit der Figurenstaffagen. Dabei ist daran zu erinnern, dass Giovanni Antonio Canal zusammen mit seinem Atelier diese Vedutenmotive auch wiederholt hat.In der beiliegenden Expertise von Dario Succi wird darauf hingewiesen, dass es die Praxis der Werkstatt war, die vielen anstehenden Aufträge fürs Ausland zu erfüllen, insbesondere für Sammler in England, und neben den ausschließlich eigenhändigen Werken des Meisters auch die Zusammenarbeit mit den Mitarbeitern zu leisten. Das erstgenannte Gemälde bietet uns einen außergewöhnlichen Weitblick von der Mole des Palazzo Ducale – über den weiten Bogen des Kanals hinweg – zur Dogana, um schließlich mit der Kirche Santa Maria della Salute den rechten Bildabschluss zu bilden. Große Segelschiffe sind an ihren Masten hinter dem Dogana-Gebäude zu sehen. Fein ausgearbeitet sind selbst kleinste Details, wie etwa die zahlreichen Figuren über dem Giebel und an der Kuppel der Kirche, aber auch bei den Gondeln auf dunklem Kanalwasser.Die früheste Fassung des Gemäldes entstand (in kleineren Abmessungen, 42,5 x 79,5 cm) in einer Serie von vierzehn Bildern, die von dem englischen Konsul, Händler und Sammler Joseph Smith in der zweiten Hälfte der 1720er-Jahre und 1742 in Auftrag gegeben wurden. 1762 gingen etliche davon an George III von England. Der Kupferstecher Antonio Visentini hat die vorliegende Vedute als „tavola V“ in seinem „Prospectus Magni Canalis Ventiarum“ bereits 1735 veröffentlicht (Succi, 2013, S. 191). Sie gelangten in die königlichen Sammlungen in Windsor Castle.Der Prototyp des zweitgenannten Bildes, das den Palazzo Ducale rechts zeigt, steht im Zusammenhang mit jener Vedute, die aus der Sammlung H. Kress in das El Paso Museum of Art, Texas kam, dort in den ähnlichen Abmessungen 61,5 x 108 cm (Constable, Links 1989, Nr. 88) jedoch mit unterschiedlichen Details. Auch hier kann der Betrachter den Blick über die gesamte Weite vom Dogenpalast bis hin zur Marienkirche schweifen lassen. Ein Hauptinteresse gilt hier dem Dogenpalast mit seinen gotischen Arkaden, den beiden Säulen – Markus und Theodor – sowie der Bibliothek des Sansovino. Kompositionell auffällig ist, dass der entsprechend rot-beigefarbigen Fassade des Palazzo rechts ein langes, ähnlich farbiges Tuch über das Deck eines Schiffes links gebreitet ist – ein Farbeffekt, der die Gesamtansicht zusammenbindet.Provenienz:Privatsammlung.Anmerkung:Vergleichbare Werke befinden sich in der Sammlung Edward Speelman (52,5 x 71 cm), sowie im Museum of Art in Indianapolis (55 x 73 cm, Inv.Nr. 53.8) aus der Sammlung Martindale, ferner in der Sammlung Liechtenstein. Das Gemälde „Piazzetta verso sud“ findet sich in der National Gallery, Washington, aus der Sammlung Castle Howard (104 x 153 cm, Inv. Nr. 1945.15.3.). Ferner sei hier auf die Ausstellung „Art Master Monaco“ hingewiesen, die im Oktober 2019 in Montecarlo stattfand. Literatur:Dario Succi, La Serenissima nello specchio di rame, 2013, S. 191.Vgl. Andreas Henning, Axel Börner, Andreas Dehmer (Hrsg.), Canaletto. Ansichten vom Canal Grande in Venedig. Kabinettausstellung anlässlich der Restaurierung zweier Gemälde von Giovanni Antonio Canal, genannt Canaletto, Dresden 2008.Vgl. Octave Uzanne, Canaletto, New York 2008.Vgl. Dorothea Terpitz, Giovanni Antonio Canal, genannt Canaletto. 1697-1768, Köln 1998.Vgl. William G. Constable und J. G. Links, Canaletto. Giovanni Antonio Canal 1697-1798, Oxford 1989.Vgl. William G. Constable, Canaletto, Oxford 1962.Vgl. Vittorio Moschini (Hrsg.), Canaletto, Athenäum, Bonn 1955.Sowie die Kataloge der genannten Museen. (1390201) (11) (†)Giovanni Antonio Canal and workshop,also known as “Canaletto”,1697 Venice – 1768 ibid.The painter Giovanni Antonio Canal was commonly known a Canaletto to distinguish him from his father Bernardo Canal. His work is to be discerned from that of his nephew Bernardo Bellotto, who was active in Dresden and Poland and was also known by the nickname Canaletto.A pair of paintings THE GRAND CANAL WITH THE CHURCH OF SANTA MARIA DELLA SALUTEand THE GRAND CANAL WITH DOGE’S PALACE AND PIAZZETTAOil on canvas.53 x 119 cm.Accompanied by an expert’s report by Dario Succi, Gorizia, in copy.The two vedutas show probably the most striking views of the Serenissima in a decidedly elongated landscape format. The almost panoramic paintings offer vast views across the Grand Canal and the city. The buildings and palaces that appear increasingly smaller in the background also convey an impressive image depth. The high quality of painting and the style point to Canaletto, but in collaboration with his workshop. Canaletto repeated these vedutas in collaboration with his workshop and the enclosed expert’s report by Dario Succi points out that it was common practice for the artist to work with his staff to fulfil the numerous orders for foreign clients, especially for collectors in England, in addition to the master’s exclusively autographed works. The engraver Antonio Visentini published the present veduta as “tavola V” in his Prospectus Magni Canalis Venetiarum as early as 1735 (Succi, 2013, 191). They finally came to the royal collections at Windsor Castle.The prototype of the second painting titled The Canal Grande with Doge’s Palace and Piazzetta, which shows the Palazzo Ducale on the right, is related to a veduta which originated from the H. Kress Collection and came to El Paso Museum of Art, Texas. There, with similar dimensions 61.5 x 108 cm. (Constable, Links 1989, n. 88) but different details.

William James, tätig 1730 – 1780DER CANAL GRANDE IN RICHTUNG DER BASILIKA SANTA MARIA DELLA SALUTEÖl auf Leinwand. Doubliert.75 x 126 cm.In ornamental reliefiertem Rahmen.Beigegeben eine Expertise von Dario Succi, Gorizia, das Werk um 1770 datierend, in Kopie.Unter hohem, hellblauen Himmel mit wenigen hellen Wolkenformationen der Blick über den ruhig verlaufenden Canal Grande, in Richtung der Punta della Dogana an der Spitze, auf deren Dach die goldene Kugel zu erkennen ist, auf der die Skulptur der Fortuna steht. Die rechte Bildseite nimmt jedoch fast ganz der Platz mit der Treppe zur Basilika Santa Maria della Salute mit ihrer übergroßen Kuppel mit Laterne ein. Zahlreiche elegante Figuren in barocker Kleidung flanieren auf diesem Platz, der von rechts durch die Sonne beschienen wird. Auf der linken Seite fällt der Blick auf das Ufer mit der Piazzetta, dem Dogenpalast, den Campanile, der ein kompositorisches Gleichgewicht zur Kirchenkuppel schafft, und auf die monolithischen Säulen. Zahlreiche Gondeln und Bootstypen sind auf dem sanftwelligen Gewässer zu sehen.Succi führt das Gemälde unter Einbringung einiger Variationen auf eine Radierung von Antonio Visentini zurück, welche 1742 veröffentlicht wurde. Der Stich wiederum geht auf ein Werk Canalettos zurück. Dessen Gemälde wurde von dem berühmten Kaufmann und Sammler Joseph Smith erworben, dann 1762 zusammen mit der Sammlung an den englischen König verkauft und wird heute im Schloss Windsor aufbewahrt (Constable, Canaletto, 1989, Nr. 170).Biografische Angeben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards‘ „Anedoctes of Painters“, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der – abgesehen von einer kurzen Unterbrechung im Jahr 1751 – zehn Jahre lang von 1746 bis 1755 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten.Anmerkung:Succi verweist auf ein vergleichbares Werk des Malers, welches sich heute im Besitz der Rafael Valls Gallery, London, befindet. Das Gemälde Horse Guards Parade from St. James‘s Park, welches 1993 auch in der bedeutenden Ausstellung „Canaletto & England“ in Birmingham ausgestellt wurde (Katalog Nr. 57).Literatur:Vgl. für das vorausgehende Werk Canalettos: W. G. Constable, Giovanni Antonio Canal, 1697-1768, Oxford 1989, Nr. 170.Provenienz:Privatsammlung. (1390161) (13)William James, active 1730 – 1780THE GRAND CANAL IN THE DIRECTION OF THE BASILICA SANTA MARIA DELLA SALUTE Oil on canvas. Relined.73 x 125 cm.Accompanied by an expert’s report by Dario Succi, Gorizia, dating the work to 1770, in copy.William James was a highly esteemed artist in 18th century London. Some of his London views were exhibited at the annual exhibition of the Society of Artists between 1767 and 1771. The exhibition of 1767 featured two paintings depicting the western end of Westminster Bridge.

[MOLIERE (JEAN BAPTISTE POQUELIN DE)]Oeuvres de Monsieur Molier, Tome premier, vol. 1 (of 2), engraved frontispiece, woodcut printer's device, woodcut head- and tail-pieces, light spotting, contemporary speckled calf gilt, initials PC blind-stamped on each cover, neatly rebacked preserving original gilt panelled spine with raised bands, 8vo, Paris, Estienne Loyson, 1664Footnotes:THE UNRECORDED FIRST VOLUME OF LOYSON'S PRINTING OF MOLIERE WITH A CONTEMPORARY ENGLISH PROVENANCE. Three editions of the collected works by Moliere were published in Paris between 1663 and 1664 without the consent of the author - these are known today as 'éditions collectives factices'. Our edition was previously known only by volume 2 referred to by Guibert in his bibliography, who writes 'le Tome I à son nom n'a été jamais découvert' (Guibert II, p. 560). The works contained in this first volume are:Les Précieuses ridicules, Paris, Claude Barbin, 1660Sganarelle ou Le Cocu imaginaire, Paris, Estienne Loyson, 1665L'École des maris, Paris, Jean Guignard, 1663Les Fâcheux, Paris, Jean Guignard, 1663Provenance: Phillip Constable, early ownership inscription dated 1669 and initials blind-stamped on covers. Philip Constable can be identified as possibly either Philip Constable (b.1622), brother of Sir Marmaduke Constable, 2nd Bt. of Everingham; or Philip Constable (b.1651), son of Sir Marmaduke Constable. The family had ties with the continent, and with Louvain in particular (see A. Hamilton, The Chronicle of the English Augustinian canonesses regular of the Lateran, at St. Monica's in Louvain (now at St. Augustine's priory, Newton Abbot, Devon) 1548[-1644], pp.232-234.).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com