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County of Renfrew Special Constable Insignia. A very fine quality unmarked silver coloured metal example, the Prince of Wales’s Badge over a decorated circle, ‘County Of Renfrew Special Constable’ in the centre the Royal Crest for George V, pin back and numbered ‘178’ (JCGp177). Another pattern as per (JCGplate7/16) 3.5cm circular with ‘S.C’ on a domed gilt ground, ‘Special Constable’ in gilt on a blue enamel ground, pin back, the anchor point missing. Thirdly, a small chromed and enamelled lapel badge as per (JCGplate7/17), Imperial crown, town Arms ‘S’ ‘C’. Number 341. Together with a white metal button of the Renfrew County Police, a damaged Prince of Wales’s white metal badge and a white metal Imperial crown, good condition apart from where stated (6) £140-£180

Fighter Aces of the Luftwaffe by Col. Raymond F. Toliver and Trevor J. Constable with a forward by Adolf Galland. Good with original dust cover. ISBN: 0-88740-909-1

Dwelly, Edward The Illustrated Gaelic Dictionary [revised edition] - corrected proof copy Herne Bay: 'Printed and published by the Author Singlehanded', 1911. 8vo, a corrected proof copy with the author's notes and several loosely inserted letters, including one from the author dated 1914, where he discusses compiling his own Gaelic dictionary, and a further, incomplete, letter discussing the dictionary, original green cloth gilt; E. MacDonald & Co. Faclair Gaidhlig. Kent, [n.d.] Parts 1-32, but lacking parts 5-6, 13-15, 17, original wrappers, worn with some loss in places; Carmichael, Alexander Carmina Gadelica... Edinburgh: T. and A. Constable, 1900. 2 volumes, original boards with parts of dust-jacket remaining (30)

Literature 1900-1910 18 volumes, comprising La Gallienne, Richard. Rudyard Kipling. 1900, original cloth; Moore, George. Sister Teresa. 1901, first edition, dustwrapper; Gosse, Edmund. Hypolympia. 1901. small 8vo, original parchment somewhat soiled; Masefield, John. Salt-Water Ballads. 1902, original cloth, spine faded; Conrad, Joseph. Typhoon. 1903, original cloth; Crawford, F. Marion. Whosoever Shall Offend. 1904, dustwrapper; Davies, W.H. A Poet's Pilgrimage. 1918, presentation copy inscribed to C.W. Beaumont [?], 1918, dustwrapper; Davies, W.H. Beggars. 1909, first edition, original cloth; London, Jack. The Sea-Wolf. New York, 1904, first edition, original pictorial cloth, spine slightly creased; Lowndes, Mrs Belloc. The Heart of Penelope. 1904, presentation copy from the author, original cloth, spine slightly discoloured; De la Mare, Walter. Poems. 1906, original green cloth; De La Mare, Walter. The Listeners and other Poems. 1912, original maroon cloth gilt; Leslie, Shane. Songs of Oriel. Dublin, 1908, first edition, cloth-backed boards, acetate wrap-around torn; Ogilvie, W.H. My Life in the Open. 1908, presentation copy from the author, original cloth; Shaw, Bernard. The Admirable Bashville. A. Constable & CO., 1909, first separate edition from the Grant Richards sheets with new title page and printed wrappers; Wodehouse, P.G. The Intrusion of Jimmy. New York, 1910, stamps and ownership inscription, and soiling, to front endpapers, original pictorial cloth, slightly rubbed; Herbert, A.P. Poor Poems and Rotten Rhymes. Winchester, 1910, first edition, original brown wrappers; Machray, Robert. Sentenced to Death. 1910, presentation copy from the author, original cloth; sold not subject to return (18)

Thomas, Edward 13 books, comprising The Woodland Life. Edinburgh: William Blackwood and Sons, 1897. First edition, 8vo, original green cloth, ownership signature to front free-endpaper, a little light foxing; [Idem] The Happy-go-Lucky Morgans. London: Duckworth & Co., 1913. First edition, 8vo, original green cloth gilt, ownership signature, a little light foxing, a little discolouration to covers, date stamp to rear paste-down; [Idem] The South Country. London: J.M. Dent & Co., 1909. First edition, 8vo, original green cloth gilt, a little light foxing; [Idem] Celtic Stories. Oxford: Clarendon Press, 1918. Third edition, 8vo, original green paper-covered boards; [Idem] Norse Tales. Oxford: Clarendon Press, 1921. Second edition, 8vo, original green paper-covered boards; [Idem] Lafcadio Hearn. London: Constable and Company Ltd., 1912. First edition, 12mo, green cloth; [Idem] The Childhood of Edward Thomas. London: Faber and Faber Limited, 1938. 8vo, original green cloth gilt, dust-jacket a little faded; and another copy; Thomas, Helen Time & Again, memoirs and letters. Manchester: Carcanet, 1978. First edition, 8vo, original cloth, dust-jacket, signed by the editor, Myfanwy Thomas, with additional ownership signature; Coombes, H. Edward Thomas. London: Chatto & Windus, 1956. 8vo, dust-jacket, neat gift inscription; Eckert, Robert P. Edward Thomas. London: J.M. Dent & Sons Ltd., 1937. 8vo, some tears to dust-jacket; Moore, John The Life and Letters of Edward Thomas. London: William Heinemann Ltd., 1939. 8vo, original cloth; Gant, Roland, editor Edward Thomas on the Countryside. London: Faber and Faber, 1977. 8vo, dust-jacket not price-clipped (13)

Tolstoi, Leo, and Russian writers A collection comprising Tolstoi, Leo Resurrection, a novel. London: The Brotherhood Publishing Co., 1900. Tall 8vo, original boards, a little soiling to covers; [Idem] The Letters of Tolstoy and his Cousin Countess Alexandra Tolstoy (1857-1903). London: Methuen & Co. Ltd., 1929. 8vo, original red cloth; [Idem] Resurrection, a novel. London: Archibald Constable & Co. Ltd., 1905. 8vo, original green cloth gilt; [Idem] Patriotism and Christianity. London: Walter Scott, Ltd., 1896. 8vo, original purple cloth; and another copy; [Idem] Hadji Murad, and other Stories. London: Thomas Nelson and Sons, 1912. 8vo, original blue cloth; [Idem] The Morals of Diet. London: The Free Age Press, [n.d.] 12mo, original card wrappers; [Idem] Patriotism and Government. Maldon: The Free Age Press, 1900. Tall 12mo, original wrappers; [Idem] "A Great Iniquity". Manchester: Ancoats Brotherhood, 1906. Tall 12mo, original wrappers; [Idem] What is Art? London: The Brotherhood Publishing Company, 1898. 8vo, original red cloth gilt, ownership inscription; Maude, Aylmer Tolstoy on Art and its Critics. London: Humphrey Milford, Oxford University Press, 1925. 8vo, original wrappers, edge-worn; Tchertkoff, Vladimir - Leo Tolstoi Christian Martyrdom in Russia. London: The Brotherhood Publishing, 1897. 8vo, original wrappers, some foxing; Chekov, Anton Plays. London: Duckworth & Co., 1913. 8vo, original brown cloth gilt; and another copy; Pasternak, Boris Safe Conduct. An Early Autobiography and Other Works. London: Elek Books, 1959. 8vo, dust-jacket not price-clipped; and 11 others (25)

Beveridge, Erskine Coll and Tiree, their prehistoric forts and ecclesiastical antiquities Edinburgh: T. and A. Constable, 1903. 4to, number 43 of 300, Sir Arthur Mitchell's copy, 2 maps (1 folding), original quarter morocco gilt, spine neatly repaired, endpapers renewed

Highland Tours 23 volumes, comprising Garnett, T. Observations on a Tour through the Highlands and Part of the Western Isles of Scotland. London: T. Cadell, Junior, & W. Davies, 1800. 2 volumes, 4to, hand-coloured folding map, 52 hand-coloured aquatints, contemporary tree calf, some toning and offsetting; [Larkin, Philip] Sketch of a Tour in the Highlands of Scotland. London: Baldwin, Cradock, and Joy, 1819. 8vo, original boards; [Macky, John] A Journey through Scotland. London: J. Pemberton, 1732. Second edition, 8vo, modern quarter calf; Johnson, James The Recess, or Autumnal Relaxation in the Highlands and Lowlands... London: Longman, Rees, Orme, Brown, & Co., 1834. 8vo, modern quarter calf, a little dampstaining to title-page; Mawman, J. An Excursion to the Highlands of Scotland and the English Lakes. London: J. Mawman, 1805. 8vo, folding map neatly repaired with tape, plates; [Simond, Louis] Journal of a Tour and Residence in Great Britain... Edinburgh: George Ramsay and Company, 1815. 2 volumes, 8vo, 21 tinted plates, contemporary calf neatly rebacked; [Grant, Anne] Letters from the Mountains. London: Longman, et al., 1806. 8vo, 3 volumes bound as one, contemporary half calf; Knox, John A Tour through the Highlands of Scotland and the Hebride Isles... London: J. Walter et al., 1787. 8vo, contemporary half calf; Bede, Cuthbert A Tour in Tartan-Land. London: Richard Bentley, 1863. 8vo, contemporary half calf rebacked with a later spine; Nicolson, Alexander Report on the State of Education in the Hebrides. Edinburgh: Thomas Constable, 1866. 4to, modern blue quarter morocco; MacKenzie, Osgood Hanbury A Hundred Years in the Highlands. London: Edward Arnold, 1921. 8vo, original green cloth gilt, neat gift inscription to free-endpaper; and 10 others (23)

Scorsesby, William An Account of the Arctic Regions, with a History and Description of the Northern Edinburgh: Archibald Constable and Co., 1820. First edition, 2 volumes, 8vo, 2 folding frontispieces, 4 folding tables and 21 (of 23) plates and maps only, modern red cloth gilt, some browning, a few plates and leaves neatly repaired (2)

Scottish Highlands and Islands 14 books Cochrane, Robert Programme of Excursion and Illustrated Descriptive Guide to the Places to be Visited in the Western and Northern Islands and Coast of Scotland. Dublin: The Royal Society of Antiquaries of Ireland, 1899. 4to, original cloth gilt with later green morocco gilt spine; Mitchell, Sir Arthur List of Travels and Tours in Scotland, 1296-1900. Edinburgh, 1902. 8vo, one of 125 copies, contemporary half calf neatly rebacked; [Idem] Supplementary List..., with tipped-in ALS from the author, 8vo, green cloth; Mackenzie, W.C. History of the Outer Hebrides. Paisley: Alexander Gardner, 1903. 8vo, number 71 of 50 copies, original quarter morocco; MacGillivray, William Report on the present state of the Outer Hebrides..., 1830. 8vo, excerpt from a journal, green quarter calf; Monro, Sir Donald Description of the Western Isles of Scotland. Glasgow: Thomas D. Morison, 1884. 8vo, one of 250 copies, modern quarter calf; "The Royal Route:" A ten days' tour in Scotland. Liverpool: Hewson and Procter, [n.d.] Second edition, 8vo, modern cloth with laid-down original wrappers; Keene, Charles - John Leech, et al Mr. Punch in the Highlands. [London:] The Amalgamated Press, Ltd., [n.d.] 8vo, quarter cloth; Goodrich-Freer, A. Outer Isles. Westminster: Archibald Constable & Co Ltd., 1902. 8vo, original red cloth gilt; Mitchell, Sir Arthur & C.G. Cash A Contribution to the Bibliography of Scottish Topography. Edinburgh: Scottish History Society, 1917. 2 volumes, 8vo, red cloth; Mason, James Twelve Years' Residence on the West Coast of Scotland. London: Gurney & Jackson, 1894. 8vo, original blue cloth gilt; Wordsworth, Dorothy Recollections of a Tour Made in Scotland A.D. 1803. Edinburgh: Edmonston and Douglas, 1874. Second edition, 8vo, original cloth gilt; Frazer, James A Reminiscence of the Highlands of Scotland in 1843. London: Chapman and Hall, 1873. 8vo, original green cloth gilt (14)

The Scottish Highlands and People 6 volumes, comprising MacEachern, Dugald The Sword of the North. Inverness: Robert Carruthers & Sons, 1923. 8vo, inscribed to the front free-endpaper by the author: "To Mrs Forman, née Campbell Fraser, from Dugald MacEachern", original red cloth gilt, covers slightly soiled; Campbell, Duncan Reminiscences and Reflections of an Octogenarian Highlander. Inverness: The Northern Counties Newspaper and Printing and Publishing Company, Limited, 1910. 8vo, portrait frontispiece, original brown cloth gilt; Keltie, John S. History of the Scottish Highlands, Highland Clans and Highland Regiments. London: William Mackenzie, [n.d.] 'New Edition', 2 volumes, large 8vo, contemporary red half morocco gilt; Carruthers, R. The Highland Note-Book... Edinburgh: Adam & Charles Black, 1843. 12mo, original green cloth gilt; Maciver, Evander - Rev. George Henderson, editor Memoirs of a Highland Gentleman. Edinburgh: T. and A. Constable, 1905. Large 8vo, original red quarter morocco gilt, various ownership notes and a note lightly pasted onto the half-title (6)

Literature A collection of works, including Austen, Jane The Novels. London: J.M. Dent, 1892. 10 volumes, 8vo, original cloth gilt; Bernard Shaw, George Androcles and the Lion, Overruled, Pygmalion. London: Constable and Company Ltd., 1916. 8vo, original green cloth gilt, soiled and worn, lacking ffep., and seven further volumes by Bernard Shaw, all worn with some leaves detached; Thackeray, William Makepeace Vanity Fair. London: Bradbury and Evans, 1859. 8vo, contemporary green half calf gilt, some chips to leaves, one leaf detached; and another work by Thackeray; Aesop Select Fables of Esop. London: R. and J. Dodsley, 1761. 8vo, frontispiece, 14 plates, contemporary calf, joints split, some corners slightly torn slightly affecting text; Dickens, Charles Our Mutual Friend. London: Chapman and Hall, 1865. 2 volumes, 8vo, contemporary purple half morocco gilt; Brontë, Charlotte, Emily & Anne Novels of the Sisters Brontë. Edinburgh: John Grant, 1924. 11 (of 12) volumes only, 8vo, original green cloth gilt; 'Eliot, George' [Mary Ann Evans] Works. William Blackwood and Sons, 1889. 8 works in 7 volumes, 8vo, contemporary half calf gilt; Lamb, Charles Works. London: J.M. Dent & Sons, Ltd., 1914. 12 volumes, 8vo, contemporary blue half calf gilt; and two others (55)

RUC ASSISTANT CHIEF CONSTABLE TUNIC, CAP, TROUSERS AND BLACKTHORN SWAGGER STICK

Pastell auf Papier 23,7 x 35,5 cm Unter Glas gerahmt. Unten links mit der roten Stempelsignatur "Degas" (Lugt 658) sowie nur schwach erkennbar mit dem ovalen roten Stempel "ATELIER ED. DEGAS" (Lugt 657) versehen. - Auf Papier aufgezogen.Lemoisne 224; Michel Schulman, Edgar Degas: Digital Critical Catalogue MS-1350Wir danken Michel Schulman, Paris, für freundliche AuskünfteProvenienzAtelier Degas, 4. Vente, Nr. 49 a; Sammlung Albert Pra, Paris; Vente Pra, Paris, Hôtel Charpentier, 17. Juni 1938, Lot 13; Galerie Schmit, Paris; Privatsammlung, SchweizAusstellungenParis 1975 (Galerie Schmit), Degas, Nr. 12 ("Etude de ciel"); Paris 2005 (Galerie Schmit), Maîtres Francais des XIXème et XXème siècles, Nr. 19 ("Rivage et ciel"), jeweils rückseitig mit dem Galerie-EtikettLiteraturJacques Lassaigne/Fiorella Minervino, Degas, Paris 1974, Nr. 327 mit Abb. S. 101Edgar Degas hielt sich im Sommer 1869 in den Seebädern Villers-sur-Mer und Etretat an der französischen Kanalküste auf. Hier entstand unter dem Eindruck des Meeres und des endlos erscheinenden Himmels eine Reihe von Landschaftspastellen - ein Novum für den Großstadtmaler. Tatsächlich blieb diese stimmungsvolle Serie eine singuläre Episode in seinem Oeuvre, da Degas bei der Arbeit im Freien unter Problemen mit seiner Sehkraft zu leiden begann. In diesen zarten Landschaftsstudien entdeckte Degas erstmals das für sein gesamtes weiteres Schaffen so wichtige Medium der Pastellkreiden für sich und gelangte in der Verwendung dieser Technik schnell zu höchster Ausdruckskraft. „Im Pastell war ein adäquates Sprachmittel gefunden, um die verhaltene Farbigkeit und die Linienarabesken einer Landschaftssilhouette in schnell gesetzten Farbstrichen zu entwickeln. […] Als Cézanne im Aquarell ein ihm angemessenes Medium erkannte, machte Degas, beginnend mit der Landschaftssuite von 1869, das Pastell, neben der Zeichnung mit Bleistiften, Kreiden und Kohle, zu seinem zentralen Darstellungsmittel. Rasch fand er heraus, dass sich in dieser Technik Strichführungen wie selbstverständlich mit malerischer Dichte verbinden oder dass sich feste Stofflichkeit mit zarten, den Papiergrund zur Mitwirkung verhelfenden Transparenzen konfrontieren lässt. Er zeichnete mit Stiften verschiedener Härte, während er mit den Fingerkuppen, mit weichen Pinseln und Wischern malerische Wirkungen zu erzielen vermochte.“ (Götz Adriani, Edgar Degas. Pastelle, Ölskizzen, Zeichnungen, Ausstellungskat. Kunsthalle Tübingen/Nationalgalerie Berlin 1984, Köln 1986, S. 50). Die flüchtigen Naturerscheinungen dieser von Wind und Wolken bestimmten Meereslandschaft, in denen Farben und Helligkeitswerte einem steten Wandel unterworfen sind, erfasste der Künstler meisterhaft in zartesten Nuancierungen. Er folgt damit den englischen Meistern der Romantik, die sich in den 1820er und 1830er Jahren in intensiven Naturbeobachtungen mit den Erscheinungsphänomenen von Himmel und Wolken beschäftigten. Insbesondere John Constable wurde mit seinen Ölstudien von Wolkenformationen berühmt, denen er sich mit größer Ausführlichkeit und naturwissenschaftlichem Anspruch widmete; sein Zeitgenosse William Turner begann um 1810 mit aquarellierten, atmosphärischen Himmelsbeobachtungen, die er zu dynamischen Abstraktionen steigerte.

Peter Dreher - - 1932 Mannheim - 2020 Freiburg Schöne Tage im Hochschwarzwald. 1999. Öl auf leinwandkaschiertem Karton, auf Aluminium. Jeweils oben mittig mit eingeritztem Datum und Uhrzeit. Verso signiert, datiert '13.9.99' und betitelt. 72 x 129 cm (28,3 x 50,7 in). Jeweils: 24 x 33 cm (9,4 x 13 in). [SM]. • Seine Landschaftsdarstellungen sind vergleichsweise selten auf dem Markt zu finden. • Drehers Werk steht in der Tradition einer virtuosen Landschaftsmalerei im Sinne der Romantik. • Die Werke des Künstlers sind in renommierten internationalen Sammlungen vertreten, wie dem Art Institute of Chicago, der Sammlung Deutsche Bank, oder dem Museum Frieder Burda, Baden-Baden. PROVENIENZ: Galerie Herrmann & Wagner, Berlin (direkt vom Künstler erworben). Sammlung Guido Sammelselg (1956–2013), Estland. Privatsammlung (2013 vom Vorgenannten erworben). AUSSTELLUNG: Peter Dreher & Thorsten Hallscheidt. Phenomenon of Time, Galerie sphn (später Galerie Herrmann & Wagner), Berlin, 10.9.-30.10.2004. Majestätische Berge, sonnenbeschienene Wälder und Wiesen, tiefblaue Seen und eine einzigartige Pflanzenwelt - der Hochschwarzwald im südlich gelegenen Baden-Württemberg bietet mit seiner vielfältigen Flora und Fauna ein atemberaubendes Panorama. Die Landschaft ist Protagonist in Peter Drehers großformatigem Ölgemälde 'Schöne Tage im Hochschwarzwald' von 1999. Dem in Mannheim geborenen Künstler gelingt es, die einzigartige Stimmung der Region einzufangen: Die Lichtverhältnisse, die Himmelsfläche und die pastellige Farbpalette prägen das Werk und tragen zu seiner Besonderheit bei. Diese wird zusätzlich durch die Unterteilung in zwölf einzelne Bildtafeln gesteigert. Durch die Montierung auf einen gemeinsamen Untergrund hebt Dreher diesen Eindruck allerdings sofort wieder auf und die Tafeln verschmelzen zu einer Einheit. Auf die Dekonstruktion folgt zugleich die Konstruktion. Besonders ist zudem, dass der Künstler in den drei Reihen ein fortlaufendes Panorama präsentiert: Die Bildausschnitte dokumentieren den Tagesverlauf an zwei aufeinanderfolgenden Tagen, nämlich am 13.9.1999 und 14.9.1999, zu unterschiedlichen Uhrzeiten - beides hält der Künstler in den einzelnen Tafeln fest. Durch die Aneinanderreihung der Tafeln und die unterschiedlichen Tages- und Uhrzeiten evoziert der Künstler eine Dynamik, die den künstlerischen Arbeitsprozess dokumentiert. Das Gemälde ist Teil der gleichnamigen Werkreihe 'Schöne Tage im Hochschwarzwald', die zwischen 1975 und 2005 entsteht und 13 Werke umfasst. Charakteristisch für alle Werke ist der deutliche Bezug zur Landschaftsmalerei und der Aspekt der Wiederholung. Mit unserem Werk und der Serie demonstriert Dreher eine große Leidenschaft für die hochalpine Landschaft und damit auch für die Landschaftsmalerei im Allgemeinen. Die tief angelegten Horizonte, Hügelketten, leere Himmelsflächen und eine Landschaft, die sich schließlich zu beiden Seiten beliebig fortsetzen ließe, verweisen deutlich auf ein Landschaftsverständnis im Sinne der Romantik. Die Natur und im Besonderen der sich ständig verändernde Himmel wurden bereits von Künstlern wie John Constable (1776-1837), William Turner (1775-1851) oder Caspar David Friedrich (1774-1840) festgehalten. Friedrichs Werk 'Der Mönch am Meer' (1808-1810, Alte Nationalgalerie, Berlin) zeigt dies exemplarisch. Im Himmel spiegelt sich das subjektive Empfinden der Künstler wider und der Maler wird so selbst zum Naturbeobachter. Peter Dreher reiht sich in diese lange Tradition der Landschaftsmalerei ein. Der Aspekt der Wiederholung ist essenziell für das Gesamtwerk des Künstlers. Bestimmte Modelle, wie das Glas oder eben die Landschaft, tauchen im Werk wiederholt auf und werden in unterschiedlichen Varianten gezeigt. Diese Werke bezeugen eine intensive Auseinandersetzung des Künstlers mit dem Malvorgang selbst. Drehers Kunst zeigt, dass der Seheindruck zwar wiederholbar ist, aber immer zu unterschiedlichen Ergebnissen führt. Mit seiner Kunst vertritt der Künstler den Anspruch von Zeitlosigkeit und Authentizität. [SL] Aufrufzeit: 19.06.2021 - ca. 16.31 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONPeter Dreher -1932 Mannheim - 2020 Freiburg Schöne Tage im Hochschwarzwald. 1999. Oil on board laminated with canvas, on aluminum. Each with scratched date and time in upper center. Signed, dated '13.9.99' and titled on the reverse. 72 x 129 cm (28.3 x 50.7 in). Each: 24 x 33 cm (9,4 x 13 in). [SM]. • His landscapes are relatively rare on the market. • Dreher's work stands in the tradition of romanticist landscape painting. • His works are part of renowned international collections, among them the Art Institute of Chicago, the Deutsche Bank Collection, Frankfurt am Main, or the Museum Frieder Burda, Baden-Baden. PROVENANCE: Galerie Herrmann & Wagner, Berlin (acquired directly from the artist). Collection Guido Sammelselg (1956-2013), Estonia. Private collection (acquired from above in 2013). EXHIBITION: Peter Dreher & Thorsten Hallscheidt. Phenomenon of Time, Galerie sphn (later Galerie Herrmann & Wagner), Berlin, September 10 - October 30, 2004. Called up: June 19, 2021 - ca. 16.31 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

WILLIAM BURTON: 2 titles: A HISTORY AND DESCRIPTION OF ENGLISH PORCELAIN, London, Cassell, 1902, (1200) numbered (77), frontis and title page detached, original cloth gilt, armorial bookplate of Frederick Walter Carter; PORCELAIN, ITS NATURE, ART AND MANUFACTURE, London, B T Batsford [1906], 1st edition, original blind stamped cloth gilt + R L HOBSON: PORCELAIN, ORIENTAL, CONTINENTAL AND BRITISH, London, Archibald Constable, 1908, 2nd edition, original decorative cloth + W J POUNTNEY: OLD BRISTOL POTTERIES, Bristol, J W Arrowsmith, 1920, 1st edition, original cloth gilt + ARTHUR HAYDEN: SPODE AND HIS SUCCESSORS, London, Cassell, 1925, 1st edition, original cloth gilt + FRANK HURLBUTT: BOW PORCELAIN, London, G Bell, 1926, 1st edition, large 4to, original blind stamped cloth gilt + F SEVERNE MACKENNA: 18TH CENTURY ENGLISH PORCELAIN, Leigh-on-Sea, F Lewis, 1970, (600) numbered (267), 4to, original cloth gilt, d/w (7)

JOHN CRAWFURD: A HISTORY OF THE INDIAN ARCHIPELAGO CONTAINING ACCOUNT OF THE MANNERS, ARTS, LANGUAGES, RELIGIONS, INSTITUTIONS AND COMMERCE OF ITS INHABITANTS, Edinburgh for Archibald Constable, London, Hurst, Robinson, 1820, 1st edition, 3 vols, 34 engraved plates as called for including one coloured, one large coloured folding map, vol 1 lacks half title, contemporary half calf marbled boards, morocco gilt spine labels, re-backed preserving original spines, bookplates of Novar of Raith, Ronald Craufurd Munro Ferguson, 1st Viscount Novar (1860-1934), the sixth Governer General of Australia from 1914-1920, (3)

CATRIONA MCPHERSON: 6 titles: AFTER THE ARMISTICE BALL, London, Constable, 2005, 1st edition, original cloth, d/w; THE BURRY MAN'S DAY, London, Constable, 2006, 1st edition, signed, original cloth, d/w; BURY HER DEEP, London, Hodder & Stoughton, 2007, 1st edition, original cloth, d/w; THE WINTER GROUND, London, Hodder & Stoughton, 2008, 1st edition, signed and dated, original cloth, d/w; DANDY GILVER AND THE PROPER TREATMENT OF BLOODSTAINS, London, Hodder & Stoughton, 2009, 1st edition, signed, original cloth, d/w; DANDY GILVER AND AN UNSUITABLE DAY FOR A MURDER, London, Hodder & Stoughton, 2010, 1st edition, original cloth, d/w, all titles vgc, (6)

GEORGE BERNARD SHAW: SAINT JOAN, A CHRONICLE PLAY IN SIX SCENES AND AN EPILOGUE, London, Constable, 1924, 1st edition, signed and inscribed on ffep, Shaw's compliment slip signed and inscribed by his secretary loosely inserted, original cloth, spine browned

COLLECTION OF 13 TITLES from the library of Sylvia Townsend Warner (1893-1978) and Valentine Ackland (1906-1969), comprising in chronological order: W P FRITH: MY AUTOBIOGRAPHY, London, Richard Bentley, 1889, 7th edition, original cloth worn, inner joint weak, book plate of Sylvia Townsend Warner; ARTHUR PONSONBY: SCOTTISH AND IRISH DIARIES, London, Methuen, 1927, 1st edition, original cloth, book plate of Valentine Ackland; E & B BARNARD: A SEVENTEENTH CENTURY COUNTRY GENTLEMAN, Cambridge, W Heffer, inscribed to Valentine Ackland from Sylvia Townsend Warner, original cloth gilt; THOMAS BALSTON: THE LIFE OF JONATHAN MARTIN, London, MacMillan, 1945, 1st edition, original cloth, bookplate of Valentine Ackland; MARY VIVIAN HUGHES: A LONDON FAMILY, London, Geoffrey Cumberlege, 1946, 1st edition, signed and inscribed from Valentine to Sylvia, original cloth, bookplate of Sylvia Townsend Warner; JAMES FERGUSSON: JOHN FERGUSSON, London, Jonathan Cape, 1948, 1st edition, original cloth, bookplate of Valentine Ackland; JOHN RUSKIN: PRAETERITA, intro Kenneth Clark, London, Rupert Hart-Davis, 1949, ownership signature of Valentine Ackland, original cloth; EARL OF ILCHESTER: LORD HERVEY AND HIS FRIENDS, London, John Murray, 1950, 1st edition, ownership rubber stamp of Valentine Ackland, original cloth, spine dulled; MORCHARD BISHOP: BLAKE'S HAYLEY..., London, Victor Gollancz, 1951, 1st edition, original cloth, ownership signature and bookplate of Valentine Ackland; C BRUYN ANDREWS (ED): THE TORRINGTON DIARIES, ill Eyre & Spottiswoode, 1954, abridged edition, original cloth, bookplate of Valentine Ackland; HAROLD NICOLSON: GOOD BEHAVIOUR, London, Constable, 1955, 1st edition, original cloth, bookplate of Valentine Ackland; MABEL KATHLEEN ASHBY: JOSEPH ASHBY OF TYSORE 1859-1919, A STORY OF ENGLISH VILLAGE LIFE, Cambridge, 1961, 1st edition, signed (in initials) to Sylvia Townsend Warner, original cloth, d/w; PETER QUENNELL (ED): THE JOURNAL OF THOMAS MOORE 1818-1841, London, B T Batsford, 1964, revised edition, original cloth, d/w, rubber stamp of Valentine Ackland (13)

SIR WALTER SCOTT: 3 titles: THE LAY OF THE LAST MINSTREL, London, Longman, Hurst, Rees and Orme, Edinburgh, A Constable, 1808; MARMION, A TALE OF FLODDEN FIELD, Edinburgh, Archibald Constable, London, William Miller & John Murray, 1808, 1st edition; THE LORD OF THE ISLES, Edinburgh, Archibald Constable, London, Longman, Hurst, Rees, Orme and Brown, 1815, 1st edition, all works uniform large 4to, blind stamped calf gilt, all edges marbled, marbled end papers, armorial bookplates of Sir William Browne Ffolkes (3)

BALFOUR, Ronald. Rubaiyat of Omar Khayyam. Constable, 1920, 4to, with 38 mounted colour and black and white plates, original covers, lacking spine strip

Johnson (B.S.) Travelling People, 1st edition, London: Constable, 1963, original cloth, dust jacket, printed price on flap crossed through with 2 later manuscript prices 15/- & 7/6 written beside, tiny nick and tear to front panel, very slight toning to rear panel, 8voQty: (1)NOTESA good copy of the author's first book.

Robinson (William Heath, illustrator). Shakespeare's Comedy of A Midsummer-Night's Dream, London: John Constable, 1914, 12 tipped-in colour plates, a little light spotting, original cloth, a little light fading and dust soiling, dust jacket, spine a little rubbed, a few small chips and tears, 4toQty: (1)NOTESScarce in the dust jacket.

Manner of John Constable (British, 1776 - 1837), cottage in a rural setting with figure in the foreground, oil on canvas, 34.5 x 45cm

Page, William (Ed.). The Victoria History of the Counties of England: Buckingham, in four volumes plus separate Index, London: Archibald Constable and Company Limited, and St Catherine Press, 1905-1928, quarto, uniformly bound in full crushed morocco with contrasting title labels (5)

A Collection of Coalport Woodland Animals, John Constable and Other Decorated Plates

A Berks Special Constable wooden baton - 38cm

A Gilded Spelter Presentation Clock Under Glass Dome French, dated on the presentation plaque 1895, dial signed 'HRY MARC PARIS' case with hand painted porcelain panels and dial, the 7 day movement stamped HY MARC PARIS, casting to rear stamped BRUNFAUT, on gilt wood base with presentation plaque which reads ''PRESENTED TO THOMAS LOOSEMORE by the Inhabitants of Northleigh, Southleigh & Farway as a mark of appreciation of his Eight Years of Services in Their District as Police Constable April 1895, with paper clipping relating to the story of the clock from the Honiton Express, March 1997, clock with key in working order.

Sir Frank Short (1857-1945), mezzotint, A Sussex Down after John Constable, signed in pencil, label verso, 14 x 25cm

Nansen (Fridtjof). ''Farthest North'', being the Record of a Voyage of Exploration of the Ship Fram 1893-96, 1st edition, London: Archibald Constable and Company, 1897, 2 volumes, octavo, original blue pictorial cloth gilt, numerous plates, volume 2 covers mottled - Broegger (W. C., & Nordahl Rolfsen). Fridtiof Nansen 1861-1893, 1st edition in English, London: Longmans, Green, and Co., 1896, octavo, original blue cloth, pictorial vignette to front board in silver, spine slightly defective - Amundsen (Roald, & Lincoln Ellsworth). The First Flight across the Polar Sea, London: Huthcinson & Co., [1927], octavo, original cloth, ink-stamps of Bradford Public Library to versos of plates - Lachambrée (Henri, & Alexis Machuron). Andrée and his Balloon, London: Archibald Constable & CO, 1898, octavo, original cloth (qty: 5) Sold as seen, not subject to return.

An antique George V Police truncheon by Hiatt & Co Birmingham. Showing Constable written within a red and gilt cartouche [38.4cm in length]

A group of twelve medals to include 1939-1945 Star, Africa Star with North Africa 1942-43 clasp, Burma Star, Italy Star, France and Germany Star, Defence, George VI Naval General Service with S.E. Asia 1945-46 clasp, naming P/JX 245775 W.E. BROWN. LDG SIG. R.N., E.R. II Police Exemplary Service medal, Constable William E. Brown, Malta George Cross 50th Anniversary medal, Operation Overlord medal, Russia 40th Anniversary medal and 55th D-Day Anniversary medal, framed for display, 23 x 29cm.

THE ROYAL INNISKILLING FUSILIERS Being the History of the Regiment from December 1688 to July 1914', Constable & Company Ltd. 1928 A/F together with facsimile version of James Joseph Sheahan - 'History and Topography of Bucknghamshire' 1971 and F. Bottarelli - 'Exercises Upon The Different Parts of Italian Speech; with references to Veneroni's Grammar' fourth edition 1802 (3)

L. M. MONTGOMERY - 'THE WATCHMAN AND OTHER POEMS', London Constable & Company Ltd. 1920, possibly the British first edition of this rare work by the author of "Anne of Green Gables"¦Condition Report:No dustjacket, scratched spine, foxing throughout.¦

Framed Recognition WW1 Certificate from the County of Stafford: to Samuel George Holden Special Constable

A vintage Manchester Special Constable truncheon, 40cm long

A group of art related books, to include Constable, Turner's Early Sketch Books, Turner Prints, Turner Sketches, Turner and George VI, Turner at Manchester, Turner Watercolours and various others. (17)

Rackham, Arthur (ill) - 2 vols - Undine by De La Motte (W L Courtney trans) - William Heinemann 1912 to/w Snowdrop and Other Tales by the Brothers Grimm, London, Constable & Co Ltd, re-issued 1920 (2)

A Victorian turned and painted wood police truncheon inscribed 'Constable' beneath crowned 'VR' cypher, 30 cm to/w a later truncheon with leather wrist-strap (2)Good condition, all legible, wear commensurate with age, no damage

ROYAL IRISH CONSTABULARY CONSTABLE'S OFFICIALLY SEALED PARCHMENT CERTIFICATE OF CHARACTER (FORM 37/3) DATED 14TH SEPTEMBER 1920 - CONSTABLE WILLIAM PHAIR

Bachmann Branch-Line OO Gauge five and eight plank tank wagons, comprising 37-032 five plabk 'Constable Hart', boxed; 32-029 five plank steel floor wagon 'Hopton-Wood Stone', boxed; 37-026 five plank steel floor wagon 'Tarslag', boxed; eight plank wagon 'T.Burnett & Co.', boxed; 37/100 (Club 2002) wagon 'Marcroft', boxed; 37-158 eight plank wagon 'Stewarts & Lloyds Ltd', boxed;37-126 eight plank end door wagon 'Izal', boxed and 37-150K eight plank fixed end wagon 'Metropolitan R C & W Co', boxed (8)

T F Dale, The History of the Belvoir Hunt, Archibald Constable & Co, Westminster 1899, number 34/75 of this parge paper edition.

King Albert's bookSkeaping, John"Animal Drawing"Milne, A A"Fourteen Songs from When we were Very Young", E H Shepherd, music by H Fraser Simpson, boards, illustratedWardell, Helen Gibbings, Robert (ills)"Beasts and Saints", Constable & Co 1934, illustrated, inscription on ffep, pictorial boards, blindstamped decoration, rather wornBarker, Cicely M"The Book of Flower Fairies", Blackie & Son, colour plates, green cloth with gilt titlesMarryat, Captain "Children of the New Forest", illustrations by Sir John Gilbert, George Routledge, frontis with tissue guard loose, pictorial cloth and other volumes (2 boxes)BOOKS NOT COLLATED UNLESS OTHERWISE STATED, PLEASE ENSURE YOU ARE SATISFIED BEFORE YOU BID

FRAMED WATERCOLOUR - RICHARD CONSTABLE - IMAGE 32CM X 10CM

THE FOLIO SOCIETY, twenty one titles comprising The First Colonists: Hakluyt's Voyage to North America, Clarendon's History of the Great Rebellion, Elizabeth I, The Jubilee Years 1887 - 1897, The Bayeux Tapestry and the Norman Invasion, Hogarth's England, Rides Round Britain, Shades of the Alhambra, My Life Thomas Bewick, a Shropshire Lad, England's Constable, Einhard The Life of Charlemagne, Blessington-d'Orsay A Masquerade, The Red Badge of Courage, All Quiet on the Western Front, William Hazlitt Essays, The Diary of a Nobody, Diary of a Provincial Lady, A Memoir of the Forty-Five, The Hundred Years War, also nine Folio Diaries, authors of specific titles available upon request, three ARNO PUBLICATIONS, all by HEINRICH SCHLIEMANN, Troy and its Remains, Mycenae, Tiryns

Henry Croly - Where John Constable Stood, gouache, signed lower right, 44x51cm

A 20th century Coalport porcelain urn, of campagna form, decorated with a landscape in the manner of John Constable, inscribed to the base 'To commemorate the bi-centenary of the birth of John Constable, limited edition No.38/100', h.32cmCondition report: Repair to top wing.Repairs to the whole finial with chips to outer rim and restoration.Main body with yellowing.Box is tatty and stained.

Öl auf Leinwand (doubliert). 112 x 165 cm.Im zeitgenössischem Rahmen.ProvenienzPrinzessin Labadini, Mailand. – Graf Seilern, Paris. - Arthur Hamilton Lee, Viscount of Fareham, London, vor 1923. – Viscountess Ruth Lee of Fareham (née Ruth Godfrey). – Courtauld Institute, University of London, Lee of Fareham Collection, Nr 57. – Auktion Christie’s, London, 25.11.1966, Lot 16. - Fine Arts Corporation, Delaware. – Sammlung J. Paul Getty, Sutton Place, Surrey. - J. Paul Getty Museum, Malibu. – Auktion Christie’s, New York, 5.6.1980, Lot 112. – Europäischer Kunstbesitz.AusstellungenItalian Paintings at the Royal Academy, London, 1930. - J.P. Getty Museum, ständige Sammlung collection, Malibu/Kalifornien (vor 1990). - Paintres de Venise, Lodeve 2000. - Giorgione- Bellini – Tiziano, Die Braut und die Göttin, Kunsthistorisches Museum, Wien, 2007. - Pittura Veneziana da Tiziano a Longhi, Tokyo 2007. – Amore e Psiche – la favola dell’Anima, Turin, Palazzo Barolo / Manuta, Palazzo Tè / Monza, Reggia Reale, 2013.LiteraturE. Fornoni, Notizie Biografiche su palma il Vecchio, Bergamo 1886. - G. von Ludwig, Archivialische Beiträge zur Geschichte der venezianischen Malerei, in: Jarhbuch der Königlich Preussischen Kunstsammlungen", 1903, S. 77. - T. Borenius: The Picture Gallery of Andrea Vendramin, 1923, Bd. 1, n 12. - T. Borenius: A catalogue of the pictures… collected by Viscount and Viscountess Lee of Fareham, London 1923-1926. – A. Locatelli-Milesi: Giacomo Palma il Vecchio, in: Bergomium, Bergamo 1928, VIII, S. 214. - A. Venturi, La storia dell'arte Italiana, Mailand 1928, S. 418 u. 436. - W. G. Constable: Dipinti di raccolte inglesi alla mostra italiana a Londra", in: Dedalo, 1930, S.26. - G. Gombosi: Palma il vecchio, 1932, S.174. - A. M. Spahn: Palma il vecchio, 1932, S. 180. - G. Gombosi: Palma il Vecchio, 1937, S. 137, 100. - B. Berenson: Italian Painters of the Renaissance, Venetian School, London 1957, Bd. I, S.124. - G. Mariacher, Palma il Vecchio, 1968, S. 93 u. 101; G. Mariacher, Jacopo Negretti detto Palma il Vecchio, 1975, S. 207. - Philip Rylands, Palma il Vecchio, 1988, 67/2,S. 233f. - M. Vallés-Bled: Peintres de Venise, 2000, catalogo della mostra, Lodève 2000, S. 20f, Nr. 8. - A. Gentili: La sposa e la dea, Ausst.-Kat. Kunstistorisches Museum, Wien 2006. - AA. VV.: Pittura a Venezia da Tiziano a Longhi, Ausst.-Kat. Tokyo 2007, S. 32f, I 13-16. - Elena Fontanella (Hrsg.): Amore e Psiche – la favola dell’Anima, Ausst.-Kat. Turin/Manuta /Monza 2013.Weibliche Akte finden sich früh in der italienischen Kunst, vornehmlich in Darstellungen der griechischen und römischen Mythologie. Niemals zuvor jedoch wurden sie mit einer Sinnlichkeit wiedergegeben wie bei den großen Venezianern zu Beginn des 16. Jahrhunderts, bei Giorgione, Palma Vecchio und Tizian. Wie Gentillini gezeigt hat, verbreitete sich die Darstellung der schlafenden Venus nach dem Erscheinen der neoplatonischen Schrift Hypnerotomachia Poliphili (1499), die von entscheidender Bedeutung war für die Verbreitung klassischer Bildmuster. Eine der berühmtesten Xylographien der Publikation zeigt eine schlafende Nymphe, die von einem Satyr entdeckt wird, begleitet von der griechischen Inschrift PANTON TOKADI, „Mutter von Allem” (vgl. Abb. 1). So wird die schlafende Nymphe mit der Venus Gentrix gleichgesetzt und der schöpferischen Kraft der Liebe inmitten der fruchtbaren Natur gehuldigt. Das erste und berühmteste Beispiel dieser neuen Ikonografie stellt Giorgiones Dresdener Venus dar (vgl. Abb. 2). Palma Vecchio selbst hat das Thema mehrmals behandelt, wofür das vorliegende Gemälde ein exemplarisches Beispiel ist. Das Gemälde kann ab antiquo zurückverfolgt und als jenes Werk identifiziert werden, das im Nachlassinventar Palma Vecchios aus dem Jahr 1529 als “ein großes Gemälde auf Leinwand mit einem nahezu fertigen Akt” bezeichnet wird, wobei ein zweites, größeres Gemälde, ein tellero, ebenfalls erwähnt wird.Seit der Mitte des 19. Jahrhunderts befand sich das Werke in mehreren herausragenden Sammlungen und wurde unter anderem in der Londoner Royal Academy und im Courtauld institute ausgestellt. Es fand schließlich Eingang in eine der bedeutendsten US-amerikanischen Sammlungen, in jene J. Paul Gettys in Malibu. Palma Vecchio reüssierte in Venedig zu Beginn des 16. Jahrhunderts und wurde vor allem durch Darstellungen junger Frauen berühmt, Belle genannt, die zwischen Idealdarstellung und Bildnis oszillieren. Palma Vecchios Venus und Amor in einer Landschaft, heute im Fitzwilliam Museum, Cambridge, kann als unmittelbares Vorbild für die vorliegende Komposition angesehen werden. (vgl. Abb. 3) Während der Akt in Cambridge aufgrund der Attribute zweifellos als Venus identifiziert werden kann und somit an die Tradition des Quattrocento anknüpft, offenbart die vorlegende Darstellung die Kenntnis der Hypnerotomachia Poliphili.Obgleich die Figur des Amor mit seinen Attributen fehlt, kann der weibliche Akt als Venus identifiziert werden, wobei die weibliche Figur, die Göttin, aus jeglichem narrativen Zusammenhang und aus traditionellen Darstellungsmustern herausgenommen ist. Elemente wie der Haarschmuck, der Ehering und der Schleier (dem Symbol der weiblichen Keuschheit) sowie der Blick der Figur aus dem Bild - zu ihrem Gatten - verorten sie eher in das 16. Jahrhundert denn in eine ferne mythologische Welt. Im Gegensatz zu den zahllosen schönen jungen weiblichen Figuren, deren Gesten und Attribute uneindeutig bleiben, haben wir es hier mit Venus zu tun, die sich als Braut präsentiert. In ähnlicher Weise sollte zehn Jahre später Tizian die berühmte Venus von Urbino für Guidobaldo della Rovere malen - eine Liebesgöttin, die am Hofe im Schlafgemach liegend die jugendliche Braut in die Liebe einweist.Die Infrarotreflektografie des Gemäldes zeigt einen vorzüglichen Erhaltungszustand und nahezu keine neueren Restaurierungen. Es weist zudem die charakteristischen Pentimenti der Werke Palma Vecchios, vor allem in der Stellung der Beine der Figur, die zuvor weiter ausgestreckt waren. Der originale Intaglio-Rahmen ist ein Meisterwerk der venezianischen Rahmenkunst, er kann dem Meister Jacopo da Bergamo, einem Freund Palma Vecchios, zugeschrieben werden. Jacopo da Bergamo ließ sich bei der Gestaltung wahrscheinlich durch den berühmten Ara Grimani inspirieren, einem römischen Marmor aus dem ersten Jahrhundert vor Christus, der 1526 als Teil der Sammlung Grimani nach Venedig gelangte.

A gilt framed oil on canvas in the style of Constable, possibly re-lined, 32cm x 38cm

Thomas Hurry-Houghton: 'Memorials of the Family of Hurry, of Great Yarmouth, Norfolk, and of America, Australia, and South Africa', Liverpool, C. Tinling, 1926, 14 portrait plates and 4 ills. of crests as called for, ex University of London library, (markings neat and fairly unobtrusive), contemporary cloth gilt, all edges gilt; together with Charles S. Romanes: 'The Calls of Norfolk and Suffolk, Their Paston Connections and Descendants', Constable, 1920, privately printed for the editor, limited edition, (105/300), numbered and signed and inscribed by Romanes to FFEP, numerous plates throughout including portraits, crests, ills. from photographs + large folding pedigree in rear pocket as called for, 4to, original cloth gilt, top edge gilt (2)

Johannes Kip after Leonard Knyff: 'Melton Constable in the County of Norfolk, the Seat of the Honourable Sir Jacob Astley K.t and Bartt.', engraved folding estate plan, circa 1707, from Britannia Illustrata, plate 51, plate impression approx 35.5 x 49cm, loose in packet

Harry Craddock: 'The Savoy Cocktail Book', London, Constable & Company, 1930, 1st edition, signed and inscribed "Here's How! Harry Craddock", verso dedication page, this book formerly being the copy of Collis-Phillips Halpin, a contemporary and personal friend of Harry Craddock's, who worked as a cocktail bartender and dancer in London, including the Regency Club in Piccadilly Circus, with his contemporary pencil ownership signatures to verso and recto of FFEP, and his signature in shortened form "Phil" in pencil at head of dedication page. Later inscribed presentation by Collis-Phillips Halpin to the present owner on half title dated 1977 in blue ballpoint, and with his manuscript on page 284 giving the method of serving champagne and port, and beneath stated "My original cocktail "Emerald Isle" was afterwards bottled and sold as Green Goddess. Needless to say I was not given a prize, neither was my cocktail put on exhibition! Collis-Phillips Halpin". Illustrations and decorations printed in black and colours throughout by Gilbert Rumbold, orginal cloth backed art deco texturised boards in black, gold and green, later professionally rebacked preserving original backstrip. Together with Harry Craddock's sword stick (a/f), the poor condition attributed by Collis-Phillips Halpin owing to its use one evening by Harry Craddock to eject a gentleman who had become inebriated and abusive to other customers and who refused to leave a party of ladies alone, Harry reputedly hitting the man so hard across the shoulder that the blow broke the end of the stick completely. To those who saw the incident Harry Craddock apologised on behalf of the client and himself, and the American cocktail Bar erupted in cheers from the men and dainty clapping from the women. A unique association copy of an iconic work from the flamboyant Art Deco period heyday of London's Hotel and Cocktail Bar scene. Provenance Reverend Nigel Plastow, further information available on request (2)

Arthur Rackham (illustrated): 'The Fairy Tales of the Brothers Grimm', London, Constable & Co, 1909, 1st trade edition, 40 tipped in coloured plates as called for (all tissue guarded and VGC, leaf that plate 22 tipped onto loose, but present and plate VGC), original pictorial cloth gilt, backstrip part detached and worn at head with small part loss of cloth, ownership signature verso half title of Phyllis Sandemann (1895-1986), nee Phyllis Legh, Suffolk Artist, daughter of Thomas Wodehouse Legh, 2nd Lord Newton, and author of 'Treasure on Earth', [1952], about her childhood at Lyme Park, Cheshire

Fridtjof Nansen, 2 titles: 'Farthest North', London, Archibald Constable, 1897, 1st edition, 2 volumes, etched frontispiece to volume 1, photogravure frontispiece to volume 2, 127 plates of which 16 in colour, 92 illustrations to the text, 3 (of 4) folding colour maps, title pages printed in red and black, original pictorial cloth gilt, 'In Northern Mists, Arctic Exploration in Early Times', London, William Heinemann, 1911, 1st edition, 2 volumes, tipped in coloured frontispieces, plus numerous black and white illustrations in text as called for, ex library, rebound library cloth gilt, plus Herbert Ponting: 'The Great White South, or with Scott in the Antarctic', Duckworth, 1935, 11th impression, map + 166 ills., mainly from photos, as called for, original cloth and in the uncommon dust wrapper (slightly worn with some small part losses (5)

'Rubaiyat of Omar Khayyam', illustrated by Ronald Balfour, with 38 mounted colour and black and white plates, London: Constable and Company Ltd, 1920

Mard Addy signed 16x12 The Flintstones in Viva Rock Vegas colour promo photo. Mark Ian Addy (born 14 January 1964) is an English actor. He is known for varied roles in British television, including Detective Constable Gary Boyle in the sitcom The Thin Blue Line (1995-1996) and Hercules in the fantasy drama series Atlantis (2013-2015). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

L Constable, Hare, Pheasant & Grouse, signed verso, oil on canvas, 60cm x 50cm

After John Constable (British, 1776-1837). The Haywain, oil on canvas, 50.5cm high, 76.5cm wide.

RARE PROVINCIAL DUNDEE SILVER TABLESPOON BY WILLIAM CONSTABLE - CIRCA 1800