Oil on canvas, relined, measurements with frame: 102 x 81, canvas measurements: 107 x 87. Exceptional scene where we observe, in the central plane, the Sleeping Child Jesus, to his left Saint John the Baptist and in the upper plane, to the Virgin Mary crowned with Saint Joseph. Composition very close to the preserved models of the Neapolitan painter Angelino Medoro (Naples, 1567 - Seville, 1631). Italian painter who landed in Seville attracted by the artistic atmosphere of the city or following the tendency of numerous Italian painters to emigrate. He embarked for the Viceroyalty of Peru, staying before for some years in the New Kingdom of Granada and the Kingdom of Quito. The first dated American work is the Virgen de la Antigua (1587-88) in the Hernández de Roa chapel of the Santo Domingo church in Bogotá. His stay in New Granada was divided between Tunja and Santa Fe de Bogotá. According to art historian Ricardo Estabridis, Medoro arrived in Peru around 1600, the date on which he signed a contract with the Mercedarian order to paint his patron virgin. Most of his work is in Lima, having received commissions from the most important convents in that city. Reference bibliography: De Mesa, José; Gisbert, Teresa History of Cuzqueña Painting Lima, 1982.
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Four commemorative medallions, 'Earl Spencer First Lord of the Admiralty Appointed Mar 2 1795', 'Marshal Count Suwarrow Commander in Chief of the Russians', 'The Chancel, St Michaels Church' and 'Preserved From Assassination May 15 1800' commemorating the failed assassination of King George III
Mostly Great British coins including Queen Victoria 1887 halfcrown, small number of pre 1947 silver coins, Queen Elizabeth II 1977 silver proof crown, cased without certificate, two 1981 silver proof crowns, both cased one with certificate, various proof coin sets etc and various stamps including first day covers, small number of Queen Elizabeth II mint decimal stamps etc
Coin covers and stamps, including Queen Elizabeth II mint decimal stamps in presentation packs face value of usable postage approximately 50 GBP, 2006 'Sounds of Britain' coin cover containing a 2003 one pound coin, 2006 '150th Anniversary of the Victoria Cross' coin cover containing a 2006 fifty pence coin, 2007 'Abolition of the Slave Trade' coin cover containing a 2007 two pound coin, stamp first day covers etc, housed in a ring binder album
Great British, Channel Islands and World stamps, including used Queen Victoria and later stamps on stockcards and loose in containers, Guernsey mint stamps on cards, Jersey, Guernsey, Alderney and Isle of Man mint and used stamps in a stockbook, various first day covers etc and approximately 55 GBP face value of Queen Elizabeth II mint usable postage in presentation packs, in one box
Great British and World stamps, including various Royal Mail special stamps books, GB, Canadian, Cyprus, Ivory Coast, Saint Lucia, Bermuda, Ghana and other world first day covers, mostly with printed addresses, King George VI 1946 mint victory stamps including Aden, Ascension, Barbados, British Honduras etc, housed in various albums, folders and loose, in one box
Stamps and ephemera, including first day covers mostly with Scottish postmarks, silk and other postcards, 'Bon Accord' the Scottish illustrated news dated November 6 1886, envelopes with Buckingham Palace EIIR stamp, 'The York Stamp Album' containing pre and post decimal stamps etc, in one box
DOMINGO MARTINEZ (Seville, 1688 - 1749) and BALTASAR BOUTTATS (Antwerp, 1666/1682-1756)."The majestic and portentous monument of Seville", 1737.Engraving.Paper with faults glued to canvas.Size: 146 x 86 cm.Work that reflects the Funerary catafalque monument of the bishop of Seville, carried out in 1737, which was designed by Domingo Martínez. This artist was trained in his native city, Lucas Valdés being one of his teachers. The sources indicate that he was appreciated in his day, as he received important commissions such as those from the archbishop of Seville, for whom he executed several paintings for the cathedral of the Andalusian capital and the church of Nuestra Señora de la Consolación in Umbrete. During Philip V's court stay in Seville (1729-33) he was also in contact with French painters in the king's service, such as Jean Ranc and Louis-Michel van Loo, whose influence was evident in his work, combined with Murillo's direct inheritance. On the other hand, it was precisely Ranc who proposed Martínez as court painter, an offer which the painter rejected, however, as he did not wish to move to Madrid with the king. He had several disciples, and we know that his workshop trained Andrés de Rubira, Pedro Tortolero and Juan de Espinal, the latter of whom would eventually become his son-in-law and heir to the family workshop. His first major work was the decorative ensemble of the church of the Colegio de San Telmo, with paintings on the life of Christ and his relationship with the sea, executed in 1724. Six years later he produced two large paintings for the Convent of Santa Paula in Seville. In the 1730s he also executed individual works and ensembles for churches in Seville and its province, always on religious themes, as well as the portrait of Archbishop Luis de Salcedo y Azcona for the Archbishop's Palace in Seville (1739). He was equally prolific in the last decade of his life, when he executed tempera decorations for the churches of Santa Ana and San Luis de los Franceses in Seville, as well as several canvases. His last work, executed around 1748, was a set of eight canvases depicting the great masquerade held in Seville in June of the previous year on the occasion of Ferdinand VI's accession to the throne. Works by Martínez are currently housed in the Seville Museum of Fine Arts.
Cuban school; late 19th century."City View".Oil on canvas.It conserves its period frame.Measurements: 45,5 x 81 cm; 55 x 90 cm (frame). Urban landscape from which a view of the city of Cuba can be seen. The artist has used a realistic aesthetic, which fits in with the parameters of the urban environment, specifying the drawing in such a way that it is the protagonist with regard to the use of colour. The author has captured the image from a slightly high perspective, in such a way that he has managed to create a visual panoramic view that introduces the spectator into the city, observing it from a bird's eye view.During the 19th century, the Cuban school of art continued to maintain many of the aesthetic precepts and aesthetic influences that came from outside Cuba, thus continuing the pictorial translation of Western art. However, this academicism gradually disappeared in favour of an interest in highlighting national values, which was first reflected in the themes, although later a style was also enriched in accordance with the particularities and idiosyncrasies of the country itself.
Spanish school; 17th century."Bust of Saint Paul".Oil on canvas.It presents repainting, restorations, holes and faults in the frame.Measurements: 54 x 39,5 cm; 61 x 46 cm (frame).Saint Paul was a Hellenised Jew from the Diaspora, born in Tarsus. He was therefore Jewish by ethnicity, Greek by culture and Roman by nationality. He received the name Saul, which he changed to Paul after his conversion. Born at the beginning of the first century, he studied in Jerusalem under the rabbi Gamaliel, who would have been noted for his hatred of Christians. One day, when he was on his way from Jerusalem to Damascus around the year 35, he was dazzled by lightning and fell from his horse. Then he heard the voice of Jesus saying to him: "Saul, Saul, why are you persecuting me? As a result of this experience, the saint went abruptly from persecutor to zealot of Christianity. After curing the blindness of a Christian from Damascus, he began his life as a missionary until he reached Jerusalem, where he came into contact with Peter and the other apostles. In the Middle Ages numerous corporations were placed under his patronage, due to various aspects of his iconography, life and miracles. However, St Paul was never a popular saint, which is proof of the relative poverty of his iconography. In fact, his role in art is not commensurate with his importance in the spread of Christianity. In early Christian art, his only attributes are a book or a scroll, and in the 13th century his emblem appears, the sword that was the instrument of his martyrdom.
Circle of BLAS DE PRADO (Camarena, Toledo, around 1545- Madrid, 1599)."Saint Jerome.Oil on canvas.Relined.Frame of the XVIII century.Size: 130 x 108 cm; 140 x 120 cm (frame).In this canvas the theme of Saint Jerome penitent in the desert is approached through a scenographic and open composition, with a silver illumination that succeeds in the way of enhancing the pathos of the scene. The painting is attributed to Blas de Prado, whose work is characterised by monumental figures, skilfully modelled in contrasting light, as is the case here. The saint is depicted full-length, chiselled by chiaroscuro, with his naked torso and the muscles of his legs partially covered by the draped cloak, which has an intense crimson hue. The saint is depicted in a rocky setting, open to a nocturnal landscape with a waterfall. Next to him we see the lion, lying at his feet, the skull and a crucifix, all enveloped in a nuanced half-light.Blas de Prado was a painter of whom few biographical details are known to date. He worked mainly in Toledo, where there are a number of contracts located around the city and where contemporary sources mention him. It is also known that he worked at court, earning the esteem of Philip II.It is known that he painted portraits, Francisco Pacheco considers him to be the introducer of the still life in Spain (he was Juan Sánchez Cotán's teacher) and, as well as being familiar with Italian production through his work at El Escorial, there are those who defend the possibility of a trip to Italy that would allow him to see the works at first hand, influenced above all by Michelangelo in several of the works that have been preserved.Today his paintings can only be seen in major private collections and institutions such as the Museo del Prado in Madrid, the Museo de Santa Cruz in Toledo, Valencia Cathedral, the Collegiate Church of Santa María la Mayor in Talavera de la Reina (Toledo), the Palacio de Liria (Madrid), drawings in the Uffizzi Gallery in Florence, the Louvre Museum in Paris, etc.
JEAN LOUIS DUBROCA (1757-1835). JEAN-JACQUES DESSALINES (Saint-Domingue, 1758 - Haiti, 1806)."Life of J.J. Dessalines, chief of the blacks of Saint-Domingue.Translated from French.DuBroca, Jean-Louis, author.Publisher: Juan López Cancelada in the office of Mariano de Zuniga y Ontiveros, Mexico City, 1806.Rear cover.Stamp of the Pan American Public Library.With frontispiece and nine plates.Measurements: 20.5 x 14.5 cm.The engravers of the plates are José Simón de Larrea and Manuel López López, and they consist of portraits of the leaders of the famous slave revolt led by Jena-Jacques Dessalines, together with some scenes of the atrocities committed. The rebellion against French rule in Haiti (Saint-Domingue) is described in great detail, somewhat skewed by the French approach to this revolt, but in keeping with the grim events that took place. Jean-Jacques Dessalines fought alongside L'Ouverture for Haiti's freedom, and became the new nation's first emperor: his bloodthirsty ways were notorious even in his day. The engravers depict his subjects as virtual caricatures of themselves, with oversized lips and noses and bulging eyes, and engaging in brutal atrocities, while the whites take on more human forms. The plates are exclusive to this edition and appear nowhere else, and are of high quality. Emperor Maximilian owned a copy of this book. Dubroca, the author, wrote a similarly disparaging biography of Toussaint L'Ouverture. The publisher, Juan López Cancelada, was a Spanish-born émigré who became a well-known polemicist and political agitator in Mexico: it is possible that he published this book as a warning about what might happen in Mexico with its huge "caste" population. First Mexican edition and first with plates.Jean-Jacques Dessalines (Saint-Domingue, 1758 - Port-République, Haiti, 1806) was a leader of the Haitian Revolution who proclaimed the country's independence on 1 January 1804 and became its first ruler. In 1804 he proclaimed himself emperor under the name of Jacques I. A former slave, he took part in the slave revolts in the French colony of Saint Domingue. In the service of Toussaint L'Ouverture, he reached the rank of general and when the latter was deposed by French troops sent by Napoleon to reconquer the island, he was appointed to lead the troops in the south. However, after Toussaint was arrested and sent to France and with the arrival of news of the reestablishment of slavery in other French colonies, Dessalines organised a mutiny against the French forces in October 1802, which he confronted in a bloody struggle. He finally defeated the French at the Battle of Vertières in 1803 and drove them from the island. He ordered the extermination of the remaining white minority in the country, which resulted in the deaths of between 3000 and 5000 people during the period between February and April 1804.4 In September 1804, he proclaimed himself emperor and was officially crowned on 8 October in the city of Le Cap. Between 1801 and 1805, the Haitian army made bloody raids on the eastern part of the island, with fierce troops commanded by General Jean Jacques Dessalines. The Haitian military troops led by Dessalines, who became Emperor, did the most damage to the eastern part of the island in its history. They sacked and burned the towns of Monte Plata, La Vega, Cotuí, San Francisco de Macorís, San José de las Matas and Montecristi.
JOSÉ MARÍA VÁZQUEZ (Mexico, 1765 - 18th century)."Virgen de los Dolores", 1810.Oil on copper.It has repainting.Preserves original frame in carved and gilded wood.Signed and dated in the lower right corner.Measurements: 46,5 x 35 cm; 54,5 x 43 cm (frame).The Virgin in front of the wood of the cross, which cannot be appreciated in its totality, is shown in sorrow and compunction with her hands on her chest and on them the silver reflection of the dagger. Devotion to the sorrows of the Virgin has its roots in medieval times, and was especially widespread among the Servite Order, founded in 1233. There are many and varied iconographic representations whose central theme is the Virgin Mary in her Sorrowful aspect, the first of which depicts her next to the Child Jesus, who sleeps oblivious to the future suffering that awaits him. The cross, the main symbol of the Passion, is usually present in these works, even embraced by the Child, while Mary looks on with a pathetic expression. Another aspect is that which forms part of the Pietà, similar to the previous one, although her Son is here dead, not asleep, depicted as an adult and after his crucifixion. In the oldest representations of this theme, Christ's body appears disproportionately small, as a symbol of the mother's memory of her Son's childhood, when she contemplated him asleep on her lap. Finally, the Virgin of Sorrows and Solitude also stands out for its importance, in which Mary appears alone, sometimes with her heart pierced by one or more swords. As this representation is very close to popular sentiment, the iconography of the Virgin of Sorrows is followed by that of Solitude: Mary, completely alone, is haunted by the memory of the main moments of her life, afflicted in solitude, without her Son. This theme frequently depicts the weeping of the Virgin, with torrents of tears streaming down her cheeks.The work is attributed to the colonial painter José María Vázquez, also known as Vásquez. He received his academic training at an early age under the guidance of the painter Rafael Ximeno y Planes, and later studied at the San Carlos Academy in Mexico. In 1972, thanks to a scholarship granted by his country, he was awarded a scholarship to travel with other fellow students to Spain to continue his artistic education at the Academia de Bellas Artes de San Fernando. However, this trip did not materialise. His work was widely applauded by the critics and the society of his time, who considered him one of the most famous portraitists.
School of Guatemala; first third of the 18th century."Don Francisco Rodríguez de Rivas".Oil on panel.Size: 38 x 33 cm; 50 x 36 cm (frame).Work in which the portrait of Don Francisco Rodríguez de Rivas (1662-c.1731), known for his positions of captain general and governor of Guatemala, as it is well pointed out in the border that accompanies the effigy of the protagonist. Don Francisco Rodríguez enlisted in the navy around 1680, to which he devoted ten years of his life. In 1698 he was appointed by Charles II, corregidor of the town of Rio Bamba, located in Quito. After his arrival he was appointed lieutenant captain general of Peru, his achievements in this company led him directly to the post of governor in Guatemala in 1711, although it was not until 1716 when he acceded to his post in which he remained until 1724. In this work we see the dashing, authoritative protagonist in the centre of the composition, with his command staff resting on the ground and his elegant wig. Aesthetically the work follows the precepts established by court portraiture, with the sitter in the centre of the scene and the large curtain in the background. This portrait also includes the coat of arms in the upper left-hand corner and the aforementioned border specifying the identity of the sitter.It should be noted that during Spanish colonial rule, painting was mainly religious in nature, aimed at Christianising the indigenous peoples. Local painters were modelled on Spanish works, which they followed literally in terms of type and iconography. The most frequent models were harquebusier angels and triangular virgins. Despite this influence of Spanish painting, it is worth mentioning that the establishment of the Viceroyalties was a period of artistic fecundity, fostering commissions for numerous pictorial works, sculptures and architectural structures that could satisfy the establishment of the institutions. However, in the early years of the 19th century, at the time of the independence and political opening up of some of the colonies, several artists began to represent a new model of painting with its own identity.
PEDRO LÓPEZ CALDERÓN (Mexico, first half of the 18th century)"Virgin of Guadalupe".Oil on canvas. Re-coloured.It has repainting.It has a frame of a later period.Signed and located in the central inferior zone.Measurements: 163 x 115 cm; 180 x 131 cm (frame).Inscribed in a mandorla, the praying Virgin is presented accompanied by numerous saints and little loves that occupy the rest of the composition. The work also has small borders in which the figure of the Virgin is repeated. It is noteworthy that the figures hold crowns in their hands, thus combining the theme of the Virgin's coronation with the iconography of the Guadalupana. This representation acquired great richness and variety, especially from the 17th century onwards. Our Lady of Guadalupe is a Marian devotion of the Catholic Church, whose image has its main centre of worship in the Basilica of Guadalupe, in the north of Mexico City. According to Mexican oral tradition, it is believed that the Virgin Mary appeared four times to Saint Juan Diego Cuauhtlatoatzin on the hill of Tepeyac. Juan Diego, in the last apparition of the Virgin, carried in his ayate some flowers that he had cut on Tepeyac, according to the Virgin's order. He unfolded his ayate before Bishop Juan de Zumárraga, revealing the image of the Virgin Mary, a brunette with mestizo features. Since ancient times, the Mesoamerican peoples had already venerated a deity called Tonantzin on the hill of Tepeyac, hence a certain syncretism with the assimilation of the message brought by the Virgin Mary. This event was known as the Miracle of the Roses, and was recorded in the "Nican Mopohua", a text presumably written by the Indian Antonio Valeriano.Pedro López Calderón was a Mexican painter active during the first half of the 18th century. Devoted mainly to religious painting, he collaborated regularly with orders such as the Franciscan Order of San Luis Potosí. The scholar J. Armando Hernández points out that very little information is known about this painter's biography, apart from the fact that he worked in Mexico at the beginning of the century, that he was deputy major of the confraternity and image of Nuestra Señora del Socorro of the painters' guild (Mexico City), and that he was a tertiary of the Order of Saint Augustine. He apparently found a niche in the north of the viceroyalty, especially with the Franciscan order, as evidenced by a "San Juan Nepomuceno" which belonged to the convent of Propaganda Fide in Guadalupe and the works "San Juan Nepomuceno" and "San Nicolás de Bari" in Durango. In addition, we know of a "Santa Cena" in the church of San Fernando, Mexico, and another "San Juan Nepomuceno" signed in that city in 1723. Hernández also states that it is known that in 1726 he appraised paintings that had belonged to an important captain, and in 1729 those of the Marquis of Valle de la Colina. Likewise, in 1722, together with Antonio de Torres, he appraised the paintings that had belonged to the master goldsmith Pedro de Palacios. This last piece of information, Hernández points out, gives us clues about the masters with whom López Calderón lived, such as the aforementioned Antonio de Torres and his contemporary Miguel Cabrera. Other works by López Calderón are currently preserved in the sacristy of the church of San Francisco in San Luis de Potosí, as well as in a work dedicated to him in the presbytery. It is also in the Museo Regional Potosino.
NO RESERVE China.- Claudel (Paul) Chine, first edition, full-page illustrations, scattered faint spotting, bookplate, previous owner's ink signature, original wrappers, detached, rubbed, scattered spotting, [Geneva], Albert Skira, 1946 § T'ien Hsia, plates, advertisements, occasional pencil underlining, original paper wrappers, chipping to edges, small loss to spine extremities, March 1938; folio & 4to (2)
Criminal Justice.- Compte Général de l'Administration de la Justice Militaire pour l'année 1843, woodcut device to title, tables, blue silk bookmark with light offsetting to inner margins pp.22-23, silked endpapers, handsome contemporary gilt and blind-stamped red morocco, g.e., gilt spine title, small scratch to lower cover, fractional bumping to corners and extremities, 4to, Paris, Imprimerie Royale, Mai 1846.⁂ A handsome copy with a small pencil note attributing the binding to Thouvenin. A statistical report on military justice in the French Army, dedicated to King Louis-Philippe. The first 'Compte' appeared in the 1830s, soon after Louis-Philippe's succession, and became and annual series thereafter.
Edited by the Devil.- Journal du Diable, number 1, bifolium, a few small holes to head of first f., central horizontal fold, several short tears, some staining, creased, lightly browned, folio, [Lyon], 1st January, 1867.⁂ Rare first issue of this periodical, which declares Lucifer to be as its editor-in-chief. WorldCat records only two copies (BnF and Lyon).
Linguistics.- Jakobson (Roman) Remarques sur l'Evolution Phonologique du Russe comparee a celle des autres langues slaves, [in Travaux du Cercle Linguistique de Prague, 2], first edition, presentation copy signed by the author, original wrappers, a little soiled and cover edges slightly frayed, 8vo, Prague, 1929.
Ward family.- Album of letters, notes and newspaper cuttings relating to members of the Ward family, including: Sir Henry George Ward (1797-1860), politician and colonial governor & Colonel Henry Constantine Evelyn Ward (1837-1907), ALs from Lord Strangford (1780-1855), diplomatist; TLs from Clive Wigram, first Baron Wigram (1873-1960), soldier and courtier, on behalf of the King, concerning a donation by the Begum of Bhopal to the Thanksgiving Fund, Christmas cards, postcards of The Great War etc., 39pp. excluding blanks, some laid down, some loose, original half morocco, rubbed, v.s., v.d., 4to album, 1819-1918.
Rothschild (Mayer Amschel de, Baron de Rothschild in the nobility of the Austrian empire, merchant banker, 1818-74) Release by the Rev Edward Rutter Theed to The Baron Mayer Amschel to Rothschild of freehold and covenants at Crafton, Buckinghamshire [near Mentmore], D.s. Rothschild and Theed, manuscript on vellum, 3 sheets, ruled in red, 3 red wax seals, 575 x 680mm., 8th August 1844; and 8 documents and letters relating to members of the Rothschild family, v.s., v.d. (9).⁂ First mentioned purchase of land that would become part of the Mentmore Towers estate.
NO RESERVE Wellington College.- Bill (John Hugo Hepburn, Lt.-Col. of the Indian Political Department, Deputy Gulf Resident, assassinated by Kurdish separatists in Baghdad, son of Charles Bill MP, 1843-1915, of Farley Hall, Cheadle, Staffordshire, 1877-1919) Diary at Malvern College, Wellington College and Farley Hall, autograph manuscript signed, c. 107pp., in ink and pencil, inscribed "J.H. Bill" on upper cover, advertisements at beginning and end, original cloth-backed printed boards, corners and edges with wear, covers slightly soiled and with ink stains, 8vo, 1892; and 5 other manuscript vol., v.s., v.d. (6).⁂ Bill's extensive diary of daily life as a fifteen year old schoolboy, first at Malvern College, and then from May at Wellington College. At Wellington, he records the name of his headmaster as Wick [Edward Charles Wickham (1834-1910)], his meals, his schoolwork and spare time, ("dormitory footer" and "Cock Dormitory Match"). At home at Farnley Hall, much of Bill's leisure time is consumed by shooting, riding and visiting friends.
![NO RESERVE Surrey Farmer.- Brockhamhurst Farm, Brockham, Betchworth, nr. Dorking.- [Reid (?Andrew, farmer)] Diary, autograph](https://cdn.globalauctionplatform.com/a6f3dc83-92fd-4c8e-9ea0-ae4c011559bc/3468f71a-968c-40b1-af4b-ae4c01198207/468x382.jpg)
NO RESERVE Surrey Farmer.- Brockhamhurst Farm, Brockham, Betchworth, nr. Dorking.- [Reid (?Andrew, farmer)] Diary, autograph manuscript, c. 195pp. excluding blanks, slightly browned, 6 pieces of ephemera relation to J.G. Reid loosely inserted, original cloth-backed boards, corners and edges slightly rubbed, spine worn but holding, chipped at head and tail with small loss, sm. 4to, 1st June 1917 - 29th October 1921; and 2 other farming diaries, v.s., v.d. (3).⁂ "Fri Nov 29th [1917] George ploughing morning the women Ivie & I finished carting swedes this morning 99 loads in all We sowed some wheat this afternoon have sowed part of Mangel & potatoe ground have the last lands to sow and about 3 acres far side wheat is wet."First mentioned a snapshot of a Surrey farming family's working life during the First World War and the start of the 1920s. The diary mentions three brothers, George, Ivie and John Reid, all working on a mixed arable and livestock farm near Dorking in Surrey. The diary records day to day tasks including, lambing, ploughing, harrowing, planting, harvesting wheat, thatching, and hay making.
Palestinian leader.- Amin al-Husseini (Mohammed, Palestinian Arab nationalist and Muslim leader in Mandatory Palestine, Grand Mufti of Jerusalem, c. 1897-1974) Portrait photograph signed, by C. Raad of Jerusalem, silver print photograph, signed on mount, photograph 211 x 160mm., Jerusalem, [c. 1920] § Interview with the Grand Mufti..., 6pp., on Grand New Hotel, Jerusalem notepaper, 8vo, 27th July 1930; and 2 others, including a print of the visit to Jerusalem by the Crown Prince of Germany in 1869, v.s., v.d. (4).⁂ First mentioned, photograph by Khalil Raad (1854-1957), known as Palestine's first photographer.
Africa & India.- Craven (Lt. Col. Cecil E.P., The Queen's Own Royal West Kent Regiment, of Salisbury, Rhodesia, 1899-1988) Album of photographs, ephemera and postcards, c. 125 pieces on 48pp., first 2ff. loose, photographs loose, original cloth, edges a little rubbed, v.s., album oblong 4to, 1921-32.⁂ Craven was born in Salisbury Prison for his own protection during the Matabele uprising. The album contains photographs and ephemera relating to Salisbury, Rhodesia, and Bangalore, India, including the Bangalore Hunt Hounds, RMC official lists, postcards from Salisbury, military Christmas cards, Bangalore race cards etc.
Ben-Gurion (David, first Prime Minister of Israel, 1886-1973) Typed Letter signed to Moshe Sar-Shalom, in Hebrew, 1p. & envelope, 270 x 220mm., Ministry of Defense headed paper, Jerusalem, 22nd May 1949, thanking a soldier wounded in the 1948 War of Independence for giving, "more than most soldiers - a part of your own body", and noting that it is the responsibility of the government to ensure work training, housing etc. to such wounded soldiers, folds, slightly browned, framed and glazed.
![Law.- De termino Hillarii. Anno. xvij. Edwardi tertij, [STC 9557], [Printed by Richard Tottell], [?1584] bound with De termi](https://cdn.globalauctionplatform.com/a6f3dc83-92fd-4c8e-9ea0-ae4c011559bc/28e2c519-c422-4929-b236-ae4c0119b2df/468x382.jpg)
Law.- De termino Hillarii. Anno. xvij. Edwardi tertij, [STC 9557], [Printed by Richard Tottell], [?1584] bound with De termino Hillarii anno xviii. Edwardi tertii, [STC 9560], [Printed by Richard Tottell], [?1584] and the same for the years xxi, xxii, xxix, xxx, xxxviii and xxxix, together 8 works in 1 vol., caption titles, woodcut initials, modern pencil marginalia, worm trace diminishing in size to outer margins of first 2 mentioned, some spotting or staining, lightly browned throughout, contemporary blind-stamped calf, spine in compartments, covers with arabesque centre-pieces, upper joint repaired, spine ends and corners worn, stained, small folio
Bible (English) The Bible: that is, the Holy Scriptures conteined in the Olde and New Testament, lacking first and final blank, G-G2, G7-G8, 3O7-3P4 (but with all tables at end), general and New Testament titles with woodcut device and ornamental headpiece, woodcut illustrations, general title and first leaf detached with upper cover, occasional very light damp staining, mostly marginal, loss to most of B7, small tear to &5 with loss to a couple of words, fore-edge chipped and frayed from 3H onwards, affecting some marginal notes and a few words of final two ff., [Herbert 226; STC 2166], Christopher Barker, 1595, bound with The Reuelation of Saint Iohn the apostle and euangelist, vvith a briefe and learned commentarie, written by Franc. Iunius, &c., bound between 3O6 and 2[par.] of the first, [STC 2989], Richard Field for Robert Dexter, 1594, closely trimmed at head, affecting some headlines, lower hinge cracked, contemporary panelled calf, rebacked, worn, upper cover detached, 4to; and 2 others, a 1791 English Bible and a defective work on English History (3), all sold not subject to return.
Manchester.- The Miraculous Child: or, Wonderfull News from Manchester. A most true and certain Account, how one Charles Bennet, a Child but Three years old (on the 22th of June 1679.) doth speak Latine, Greek and Hebrew, though never taught those Languages..., some small marginal chips and tears, final leaf with loss to lower corner, not affecting text, disbound, [Wing M2212], for F. L., 1679; housed in rear pocket of a reproduction of four tracts about The Wonderfull Child, all issued in 1679, edited by William E. A. Axon for the Chetham Society, modern calf-backed boards, 4to, 1901. ⁂ ESTC lists only 3 copies of the first worldwide.
Woman author.- Behn (Aphra) Histories, novels, and translations, written by the most ingenious Mrs. Behn; The second volume, the greatest part never before printed, first edition, lacking engraved portrait, some foxing or staining, lightly browned, contemporary panelled calf, rebacked, corners worn, couple of small areas of loss to leather of lower cover, [Wing B1711A etc.], 8vo, Printed by W.O[nley]. for S[amuel] B[riscoe] and sold by M. Brown, at the Cross-keys on Ludgate-hill, 1700.⁂ Published separately from the first volume. It is rare at auction.
NO RESERVE Jerusalem.- A Brief Guide to Al-Haram Al-Sharif, Jerusalem, published by the Supreme Moslem Council, first edition, 7 photographic plates of the Temple Mount, two small instances of worming, present throughout, scattered spotting, original printed wrappers, upper cover with pink ink stain to very outer margin, upper joint split at base, with small loss to corner, lower cover a little foxed, clipped at upper corner (as with all copies) for purposes of the Council's internal accounting, Jerusalem, 4to, 1924.⁂ A rare guide to the al-Haram al-Sharif, or Temple Mount. Written from a religious Muslim perspective, it nevertheless acknowledges the historic Jewish connection with the site. Photographs include The Dome of the Rock and the Al-Aqsa Mosque.
Dr. Samuel Johnson subscriber.- Jones (Rhys) Gorchestion beirdd Cymru: neu flodau godidowgrwydd awen, first edition, list of subscribers, ink library stamp to verso of title and within text of N2v (text legible), G1 with blind-stamp within text (which remains legible), spotted, occasional staining, library buckram, spine gilt, spine ends chipped, corners little worn, 4to, [Shrewsbury], Stafford Prys, 1773.⁂ Collection of early Welsh poetry, to which Dr. Johnson subscribed. He considered Welsh one of the 'cultivated tongues', and his interested in the language led him to encourage the publication of a reprint of John David Rhys' Cambrobrytannicæ Cymraecæue linguæ institutiones (1592), in order to preserve the language.
Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 6 vol., vol. 1 third edition, vols. 2-6 first editions, engraved portrait frontispiece, 3 engraved folding maps, errata leaves in vol. 2 & 3, vol. 4 3UI with short marginal tear, vol. 6 2M3 with small loss to lower corner, vol. 3 line 18 with misprint "Honorious" and p.177 correctly numbered, vol. 1 with Watson's 'An Apology for Christianity ...' bound at end, scattered faint spotting, bookplates, contemporary calf, vols. 1-3 with upper covers detached, a little rubbed, 4to, 1777-88.
![NO RESERVE [Villette (Charles Louis de)] Essay on the Happiness of the Life to Come, [translated by Miss Hunt], first English](https://cdn.globalauctionplatform.com/a6f3dc83-92fd-4c8e-9ea0-ae4c011559bc/0fe87cd4-1508-4c8c-9529-ae4c01192d4c/468x382.jpg)
NO RESERVE [Villette (Charles Louis de)] Essay on the Happiness of the Life to Come, [translated by Miss Hunt], first English edition, half-title small part of corner torn away and laid down, slightly browned, new endpapers, modern calf-backed boards, [ESTC lists 8 copies], 8vo, Bath, Printed by R. Cruttwell, Sold T. Cadell and C. Dilly, 1793.
Presented by Fuseli.- Darwin (Erasmus) The Botanic garden. A poem, in two parts, 2 parts in 1, third edition of part 1, fourth edition of part 2, 21 engraved plates (of which 2 are frontispieces), including 'The Tornado' by William Blake after Henry Fuseli, which does not appear in earlier editions, part 2 with directions to binder f. at end, part 1 lacking binder's f. following p.218, part 2 lacking half-title, first frontispiece detached, offsetting, some foxing, contemporary diced calf, gilt, upper cover detached, lower joint split, but holding firm, a few scuffmarks, rubbed, [Henrey 612], 4to, Printed for J. Johnston, 1795-1794.⁂ An excellent association copy. Provenance: 'Harriet Duchess of St Albans Septr 6 1829 This book was given to the Duchess when Mrs Coutts by Mr Fuseli' (ink inscription to title, and the recipient's engraved armorial bookplate to front pastedown). Harriet Beauclerk had first been married to the banker Thomas Coutts, who was Henry Fuseli's great friend and patron. The celebrated actress was famous for her beauty, and was painted by George Romney and Sir Thomas Lawrence.
Moore (John) The Works of Tobias Smollett, 8 vol., engraved portrait frontispiece, light offsetting, vol. 3 and 5 with some heavy spotting to rear, red morocco, vol. 7 with 3 small stains to spine, spines and extremities rubbed, g.e., 1797 § Walpole (Horace) Memoirs of the Reign of King George the Second, 3 vol., first edition, 6 engraved portrait plates, light offsetting, very occasional spotting, contemporary calf with red morocco labels to spine, vol. 3 with small abrasions to upper joint, extremities a little scuffed, 1846 § Motley (John Lothrop) The Rise of the Dutch Republic, 3 vol., 6 plates, morocco-backed cloth, 1904; and 10 others history, literature and music, v.s. (24)
Middle East.- Lawrence (T.E.) Seven Pillars of Wisdom, first trade edition, fifth impression, 4 folding maps, plates and illustrations, original brown cloth, gilt, dust-jacket, very small tear upper joint head, very small chip upper fold head, light surface soiling, a sharp and fine example overall, 1935; Revolt In The Desert, first edition, third impression, folding map, plain plates, ink ownership inscription and other manuscript inscription to front endpaper, related news clipping tipped-in front pastedown, 2 items of related ephemera loosely inserted, very occasional marginal soiling, front endpaper with incisions, endpapers browned, original cloth, light surface soiling and bumping, 1927, 4to (2) ⁂ Ink ownership inscription, 'J. H. Irving. Leavenheath. 1955'. Manuscript inscription reads "'To T.E.L., who shared sleep amongst the Kings' Died 19th May 1935. Buried 21st May / 35 (a bunch of lilac and forget-me-nots by a young girl". It is possible that this was intended as a caption to a photograph, perhaps once inserted into the incisions to the endpaper, conceivably depicting Lawrence's grave. The news clipping shows a photograph of Lawrence's cottage, announcing its handover to the National Trust; also present a printed pamphlet relating to the Memorial of Lawrence in St. Paul's Cathedral and a 1950s postcard of Lawrence.
NO RESERVE Jones (Rev. Richard) An Essay on the Distribution of Wealth, and on the Sources of Taxation, first edition, lacking half-title, errata slip bound-in, occasional pencil underlining, scattered spotting and marginal soiling, modern morocco-backed boards, gilt, housed in a modern slipcase, 8vo, 1831.
Gaskell (Peter) The Manufacturing Population of England, its Moral, Social, and Physical Conditions...with an Examination of Infant Labour, Sir Robert Peel's copy with his bookplate, very occasional light spotting, hinges strengthened with tape, contemporary calf-backed boards, gilt, quite rubbed, spine faded and lifting, 8vo, 1833.⁂ Examines the effect of steam-powered machinery on the lives of workers, contrasting pre-industrial conditions with the 'fourteen or sixteen hours, in a heated and crowded mill', bringing about 'an utter destruction of all social and domestic relations' (p. 23). An interesting association copy, as Peel's father, also Sir Robert Peel, introduced the 1819 Cotton Mills and Factories Act, the first to attempt to regulate the hours and conditions of children working in the cotton industry.
NO RESERVE Near East.- Vincent (L.H.), E.J.H. Maclay and F. M. Abel. Hébron le Haram El-Khalîl: Sépulture des Patriarches, 2 vol. including plate vol., first edition, 28 plates, most photogravures, illustrations, plates loose as issued, in original cloth-backed boards, lacking ties, a little rubbed, text in original printed paper wrappers, loss to spine extremities, a little rubbed, folio, Paris, 1923.
Brontë (Charlotte) "Currer Bell" Jane Eyre. An Autobiography, first American edition, small tear to title, not affecting text, New York, 1848 bound with Dickens (Charles) The Cricket on the Hearth, first American edition, New York, 1846, with 4 others, together 6 works in 1 vol., binders label to pastedown, some light foxing, closely trimmed at head and fore-margin, affecting text, lacking advertisements, hinges cracked but covers holding, contemporary calf-backed cloth, spine gilt, rubbed, upper joint cracked, 8vo, [c.1848]. ⁂ One volume containing six early American editions. The four not mentioned are Agnes Searle (1845), Margaret Graham (1847), The Hunchback of Notre-Dame (1844), and The Magic Goblet (1845).
Ruskin (John) The Stones of Venice, 3 vol., first edition, 1851-53; The Seven Lamps of Architecture, first edition, 1849; Modern Painters, 5 vol., 1851-60, plates and illustrations, some hand-coloured, most with tissue-guards, uniformly bound in near contemporary morocco by Matthews, g.e., gilt, very slight bumping to corners and extremities, 4to, (9)
Hugo (Victor) Les Misérables, 10 vol., first edition, half-titles, vol. 1 without title, scattered spotting, contemporary half-cloth, sunned spines, bumping to corners and spine extremities, one or two joints beginning to split at backstrip, but holding firm, a little rubbed, 8vo, Brussels, 1862.⁂ Scarcer than the Paris edition of the same year. The first 2 volumes were also published a few days before the Paris edition.
Austen (Jane) Pride and Prejudice, half-title, the frontispiece, title, illustrations, head- and tail-pieces, initials and decorations all by Hugh Thomson, ink ownership inscription to half-title, frontispiece tissue-guard torn with some loss, scattered foxing to first and last few leaves, cracked hinges but holding firm, original pictorial dark green cloth, gilt, with peacock design to upper cover and peacock feathers to spine, lightly rubbed, tear along lower joint, very slight shelf-lean, g.e., [Gilson E78], 8vo, George Allen, 1894.
NO RESERVE Moore (George) Esther Waters, first edition, occasional light spotting, 1894 § Sister Teresa, first edition, portrait frontispiece, ink ownership inscription to title and p.1, some light foxing, 1901, some cracking at gutter, original cloth, lightly rubbed, corners and spine ends bumped, slight shelf-lean, t.e.g.; and 39 others, literature, including a 25 vol. set of Scott's Waverley Novels, Melrose Edition, v.s. (41)
Polar.- Ross (Sir John) Narrative of a Second Voyage in Search of a North-West Passage and of a Residence in the Arctic Regions ..., 2 vol. in 1 (including Appendix), first edition, 45 engraved, lithograph and mezzotint plates, 21 hand-coloured and 3 trimmed, 6 charts and maps, 1 folding, list of subscribers at end, some new tissue-guards, scattered spotting, bookplate, contemporary calf, rebacked retaining original backstrip, slight bumping to corners and extremities, 4to, 1835.
Burton (Sir Richard Francis) A Plain and Literal Translation of the Arabian Nights' Entertainments, now entituled The Book of The Thousand Nights and a Night, 17 vol., Bassorah Edition, limited to 1000 copies, plates, vols. 1, 5, 8 & 16 hinges becoming broken, vol. 16 with first 2 ff. detached, original cloth, rubbed, some with backstrip beginning to split at joints, bumping to corners and extremities, 8vo,The Burton Club, [c.1903].
Yeats (William Butler) In the Seven Woods, first edition, one of 325 unnumbered copies, unopened, lightly browned endpapers, original cloth, printed paper label to upper cover, additional paper label loosely inserted, spotting, slight bumping to corners and extremities, [Wade 49], 8vo, Dundrum, The Dun Emer Press, 1903.
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