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Naval Interest - A late 18th century vellum-bound manuscript volume, inscribed on front 'Signals' with cut and inscribed pages within depicting regulation flag signals 18.4 x 14.5 cm; lot also includes loose-leaf signal instructions, addressed to Captain Edmund Crawley, HMS Lion; an ink and watercolour wash Naval memorandum issuing Admirals directions for anchoring his squadron in Yarmouth Roads, signed Wm. Geo. Fairford; the Memorandum of Service for Edmund Crawley from 1767-1828, two pen and ink drawings of a Naval Officer with ratings and other figures aboard HMS Trafalgar37 completed pages, 19 blank pages and 8 loose additional documents/drawings

A unique and amusing Victorian manuscript volume, bound in gilt morocco, 'The Adventures of Mrs and the Misses Davy in "Furrin Parts", July 30th 1853', the text profusely illustrated with pen and wash drawings and vignettes, telling their story travelling from their Sheepstead home (Nr Abingdon) to Southampton to embark for Le Havre and then onwards by coach to Germany; the second half of the book depicts the Scottish Tour of Brown, Jones and Robinson and their families, 1856Good, sound (if scuffed) binding with tear at top of spine; no losses; 52 leaves (104 pages of text and drawings (end of book blank)

Alken, Henry Thomas.Military Duties, Occurrences, &c., &c., by Henry Alken. Collected and Published by Thomas McLean. 26 Haymarket [contemporary manuscript title so lettered]. [London: c.1820-1823]. Gr. 8° (278 x 195 mm). Mit 55 (von 56) altkolorierten, geätzten Tafeln, die jeweils in Holzschnitt- Rokoko- Bordüren montiert wurden. Prachtvoller Maroquinband d. Z. mit Rücken- und Deckelgoldprägung, dreiseitigem Goldschnitt, sowie Steh- und Innenkantenvergoldung. Einbd. leicht berieben, insgesamt sehr gute Erhaltung.

DIONÍS BAIXERAS VERDAGUER (Barcelona, 1862 - 1943)."Port view".Oil on canvas.Signed in the lower left corner.Measurements: 50 x 81 cm; 73 x 103 cm (frame).In this port scene, Baixeras transmits us a costumbrista image devoid of all folkloric eagerness. On the contrary, he captures the everyday moment charged with harshness, but also with poetry, with sailors repairing their boats on a cold winter morning. He also highlights the gradual remoteness of the boats, glimpsed through the humid atmosphere. All of this is resolved with his characteristic thick and emphatic brushstrokes.A disciple at the Escuela de la Lonja of Martí Alsina and, above all, of Antonio Caba, during his student years Baixeras received the nickname of "el medallas" (the medal winner), due to his ease in winning competitions. He exhibited for the first time in 1882, at the Sala Parés in Barcelona, and four years later he traveled to Paris, where he was enthusiastic about the peasant-themed realism of Millet and Bastien-Lepage. During these years he won awards at the Fine Arts Exhibitions of Madrid (1884, third medal) and Paris (1886, honorable mention). Back in Barcelona he made great compositions of historical character, such as those of the auditorium of the university (1888), those of the seminary (1904, destroyed in 1936) and those of the dome of the hall of Sant Jordi of the Generalitat (1928). In 1907 he made a series of drawings of documentary type, focused on the representation of the corners of Barcelona that would disappear with the construction of the Via Layetana, which earned him a prize from the City Council. In 1926 he joined the Royal Academy of Fine Arts of Sant Jordi, and was linked to the Artistic Circle of Sant Lluc since its foundation. During his last years he wrote some interesting memoirs, the original manuscript of which is currently preserved in the Academy of Sant Jordi. Baixeras devoted himself mainly to naturalistic painting, with marine or rural themes, in works that show a certain influence of the school of Olot. He meticulously elaborated his works in the workshop, so his previous drawings have much more freshness and interest. In 1908 he made a collection of drawings, of great documentary value, of places in old Barcelona that were to disappear during the construction of the Via Layetana. His work is preserved in the Metropolitan of New York, the Museum of Art and Industry of Roubaix (France) and the MACBA, among others.

Sir Lawrence Alma-Tadema, OM, RA (British, 1836-1912)Clotilde at the Tomb of her Grandchildrensigned and dated 'L. Alma Tadema 1858' (lower left) oil on canvas 81 x 111cm (31 7/8 x 43 11/16in).Footnotes:Provenance: Jules Verspreeuwen, Antwerp by 1882 and thence to Edward Verspreeuwen, Antwerp by 1913.Private collection.Anon. sale, Sotheby's, London, 14 July 2016, lot 14.Exhibited: Antwerp, Salon Exposition d'Anvers, August-September 1858, priced 400 francs.London, Grosvenor Gallery, The Works of L. Alma-Tadema, 1882, no.7.Liverpool, Walker Art Gallery, 1911, no.1087.Royal Academy, Winter Exhibition of works by Deceased Members, 1913, no.122.Literature: E. W. Gosse, 'Lawrence Alma Tadema, R.A.', in Modern Artists: A Series of Illustrated Biographies, ed. F. G. Dumas, London, 1883, p.79 and 83.C. Vosmaer, Alma-Tadema Catalogue Raisonne, unpublished manuscript, c.1885, no.10.G.M. Ebers, Lorenz Alma-Tadema, his Life and Works, New York, 1886, pp.6-7.M.H. Spielman, 'Laurence Alma-Tadema', Magazine of Art XXL, 1896-7, p.45.H. Zimmern, Sir Lawrence Alma-Tadema, London, 1902, pp.19-20.R. Dircks, 'The Later Works of Sir Lawrence Alma-Tadema', Art Journal, 1910, p.25.V.G. Swanson, Sir Lawrence Alma-Tadema, 1977, p.11.V.G. Swanson, The Biography and Catalogue Raisonné of the Paintings of Sir Lawrence Alma-Tadema, Devizes, 1990, pp.124-5, no.35.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Circle of Joseph Highmore (London 1692-1780 Canterbury)Portrait of Rachel Busk, later Mrs Richard Milnes (d. 1835), half-length, wearing a pink dress and holding flowersOil on canvas 74.5 x 62cm (29 5/16 x 24 7/16in).Footnotes:ProvenanceRichard Slater Milnes (1784-1802), Fryston Hall, Ferrybridge, Yorkshire, by descent to Robert Crewe-Milnes, 1st Marquess of Crewe (1858-1945), Fryston Hall and later Crewe Hall, Cheshire from circa 1904, and thence by descent untilSale, Sotheby's, London, 27 May 2015, lot 44.LiteratureInventory of Contents of Crewe House, Curzon Street, London, 1913, vol. 1, p. 273, in the gallery, as by G. Romney;Manuscript Catalogue of Pictures at West Horsley, vol. 3, p. 6An Inventory [...] of Pictures at West Horsley Place, Surrey, The property of the Marquess of Crewe, 1938, p. 24, in the ante roomThis lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Florence Nightigale interest: a bronze Royal British Nurses Association badge, Margaret M. Beveridge 3882; together with a copy of a religious publication with manuscript pencil dedication to Nurse Beveridge: "Margaret Beveridge New Zealand with Florence Nightingale's best wishes London July 20/97"; also Beveridge's R.N.B.A. Trained Nurse's Registration Certificate, her portrait photograph, and other items. Margaret Beveridge was born on the 31st August 1862 in Kinross. Her family sold their estate and moved to New Zealand in December 1892, where Margaret entered Christchurch Hospital as a student nurse, qualifying in May 1896. She married Alexander Brooke Boyd at St Mary's Church, Christchurch, in July 1898.

Manuscript. Poems by Ms Gill, with stanzas of various lengths, titled in neat copperplate script on ruled lines, unpaginated, mostly original compositions, inscribed on the ffe Miss Gill Park Field House, Bath and signed in several places Thomas Gee, two leaves excised at end, quarter maroon over patterned paper covered boards, 1845 and circa, a similar manuscript - Miscellany of Writings, etc by George Tutin [of] Howgrave, including A Treaties on the Life and Exploits of Napoleon First, marbled leaves, a number of leaves excised, 1872 and a third by the sister of Samuel Gower of Brompton Grange, including "Thoughts suggested by the absence of a brother on his passage to Port Natal", calf worn, spine split, April 1850 (3)

MANUSCRITO.- D. MANUEL de Bragança, Rei de Portugal.- English poems: [23 poemas].- Século XX (1916-1917).- 45 f.; 21 cm.- B., Autograph manuscript. Section, containing about 45 sheets (35 pages used) with 23 autograph poems, by the king's own hand, some dated 1916 and 1917, written during his exile, on the outskirts of London. The poems are written in English (19), French (1) and Portuguese (3). On the first page, dated London 1916-1917, a significant dedication: “To my brother Antonio, Count of Sabugosa, I dedicate this book of essais [sic]. Although they are but a very poor and unskilled attempt at poetry, I know he will not laugh at them nor at the clumsy author. M”. The section, paper lined, has a label from an Oxford typography (Fox, Jones & Co.) on the top cover, with the handwritten indication: “Spoilt specimen copy”, which may indicate that the original was intended to be published. Section in brochure, packed in its own box, in the form of a binding, signed Victor Santos, profusely gold tooled, with multiple borders, with a royal crown in the centre of the upper cover, with the inscription “Manuel II - English poems”. Protective case.

CHOUL, Guillaume du.- DISCOVRS | DE LA RELIGION | DES ANCIENS | ROMAINS, | De la castrametation & discipline militaire d’iceux. | Des bains & Antiques exercitations | Grecques & Romaines, | [...] | Illustré de Médailles & figures retirées des marbres Antiques, | qui se treuuent à Rome, & par notre Gaule. | [gravura com a marca do impressor].- A Lyon: Par Gvillavme Roville, à l’Escv de Venize. M. D. LXXXI. [1581].- 339, [57], 154, [9, 1 br.] p.: il.; 24 cm.- E., Guillaume du Choul (ca. 1496-1560), French humanist, historian and antiquarian, born in Lyon, known for his extensive medal collection. The edition, consisting of two parts, with independent title pages and pagination, but forming a single typographic unit, is illustrated with a large number of xylographic figures: 554 images of medals, 47 figures in the first part, four of which are full page; 44 full-page figures and five smaller ones, in the second part, emphasizing representations of military themes and images relating to the Roman baths. Copy slightly cropped, but keeping good margins; light handling; smaller (tidal) stains on the last leaves; three sections almost loose. Ownership manuscript on the free endpaper: [illegible]cion del Paraguay. May 14/78. Pd. Berasaluce. Non-contemporary binding (17th century?), full polished calf, keeping the original endpapers in plain paper. Brunet, II, 857.

NUNES, Pedro.- PETRII NONII | Salaciesis, DE ARTE | ATQVE RATIONE NAVIGANDI | LIBRI DUO. | EIVSDEM in theoricas Planetarum Georgij Purba- | chij annotationes, & in Problema mechanicum Aristo | telis de motu nauigij ex remis annotatio vna. | EIVSDEM de erratis Orontij Finœi Liber vnus. | EIVSDEM de Cropuscolis Lib. 1. Cum libello Allacen de causis Crepusculorim. [gravura xilográfica com as armas de Portugal].- Conimbricæ: In ædibus Antonij à Marij, Vniuersitatis Typographi. Anno 1573.- [10], 201 [i. é 200], [2], 56, [2 br., 2], 63 [i. é 64], [3, 1 br.] p.: il.; 28 cm.- E., Pedro Nunes (1502-1578), born in Alcácer do Sal, of Jewish family, studied at the University of Salamanca; he was the main cosmographer of the Kingdom and professor at the University of Coimbra, having benefited from the protection of the Court, namely from the infants D. Luís, D. Henrique and D. Duarte, who were his disciples. According to Henrique Leitão, “De arte atque rationi navigandi”, published here for the first time, it is considered “the author's most important book and, therefore, the most important book of Portuguese Science”. Joint edition of four important scientific texts, the first two with consecutive pagination and a single common title page. The two remaining texts with independent title pages and pagination, show the particularity that the dates of the foot press were manually amended, at the time, from 1571 to 1573. Both have the indication on the face of “Secunda editio”. Copy missing the 6th preliminary leaf that should contain the errata and, on the verso, a representation of the compass rose; with slight browning and occasional slight tide stains. Face of the second part (De erratis...) slightly shorter. Circular stamp (±25 mm) erased on the three title pages, resulting in slight abrasion; minor restoration on the last sheet. Interesting ownership manuscript on title page, signed by Caspar Hersbach Agrippinas (Cologne printer and publisher), dated 1619. Recent binding, full canvas in shades of parchment. Anselmo, 861. BN (16th century), 523. Library of King D. Manuel II, 308, 310 and 311.

PINTO, Fernão Mendes.- PEREGRINAÇAM | DE | FERNAM MENDEZ | PINTO, E POR ELLE ESCRITA: | QVE CONSTA DE MVITAS, E MVITO | estranhas cousas que vio, & ouvio no Reyno da | China, no de Tartaria, no de Pegú, no de Mar- | tavão, & em outros muitos Reynos, & senho- | rios das partes Orientais, de que nestas nos- | sas do Occidente ha muyto pouca, ou ne- | nhüa noticia.- Em Lisboa: Na Officina de Antonio Craesbeeck de Mello, 1678.- [4], 145 [i. é 445] p.; 29 cm.- E., Second Portuguese edition of the famous travel book, rarer than the first, with considerably fewer copies being known. Fernão Mendes Pinto (1510/14-1583), famous traveler and adventurer, born in Montemor-o-Velho, left for India in 1537, having stayed in the East for about 21 years. The “Peregrinação”, a fantastic account of his troubled adventures, was originally published on the initiative of Fr. Belchior Faria, 31 years after his death, from the original manuscript bequeathed by the author to Casa Pia dos Penitentes. Cropped, stained and handled copy (paper a little fragile), with some foxing and restorations, mostly marginal, but affecting the text in sections Y, Z and AA, in a total of 10 sheets; last sheet (from the Index), with blank verso, facsimile on old paper; occasional ink stains. Stamp of Quinta das Lágrimas on the title page and 17. Interesting contemporary binding, made fully of sheepskin, recovered, with blind decoration on the covers, with new endpapers and a protective case. Edition not mentioned in the main consulted catalogues, namely, Samodães, Ameal, Palha, Ávila Perez, etc. Inocêncio, II, p. 288. Leite de Faria, 2 (with detailed description). Reiss & Auvermann (Auction 40), 644. Arouca, P 183.

MANUSCRITO.- REGRA do Mosteiro de Santa Marta de Lisboa.- 1 documento.- Século XVII (1626).- 20 f.; 31 cm.- E., Manuscript on parchment. The building that currently houses the Hospital de Santa Marta was initially (1569) an asylum for victims of the plague, in Lisbon. In 1577, during the reign of D. Henrique and on the initiative of the priests of São Roque, it went from being a retreat to a monastery. In 1583, D. Jorge de Almeida, Archbishop of Lisbon, authorized the establishment of a convent of Poor Clares nuns of the second order of Saint Francis, under the invocation of Saint Martha, having as founders three nuns from the Convent of Saint Clare of Santarém. The document is part of the “Regra do Mosteiro de Santa Marta de Lisboa”, granted in the third year of the pontificate of Pope Urban VIII (1623-1644), which follows the rule of Saint Clare. Manuscript consisting of 20 leaves of parchment, carefully ruled and calligraphed in round roman, with imposition of 31 lines per page. Features the following decoration: on the front of the first sheet, a large illuminated initial O (112x103 mm), representing the Virgin and Child, the page framed by four vegetal strips, in trompe-l'oeil, the lower one containing two medallions with the images of Saint Francis and Saint Clare; the remaining 19 leaves include a large card at the end of the introductory text (f. 4r.), 22 initials illuminated in blue, red and gold, 17 with three lines and five with two, and six initials calligraphed in red. The rule itself is developed into 23 chapters, which exhaustively regulate the life of the nuns, highlighting the following epigraphs: The rule itself is developed into 23 chapters, which exhaustively regulate the life of the nuns, highlighting the following epigraphs: Que as freiras morem continuamente encerradas em o mosteiro; Do habito das freiras; Em que maneira hão de estar as freiras em o dormitorio; Do silencio; Da maneira de falar; Do jejum & abstinencia das freiras; Da freiras enfermas; Do torno & da guarda delle; Do locutorio; Da grade & guarda della; Das pessoas que hão de entrar em o mosteiro; Da Abadessa; etc. Exceptionally well preserved document, consisting of two sections, each with five folded sheets, covered in a simple binding with red silk shantung lining; the set is modernly stored (certainly in the workshop of master Império Graça) in an ingenious red shagreen box/case, in the form of a binding, with elaborate gold decoration on the covers and spine.

MANUSCRITO.- CARLOS II, Rei de Espanha.- Carta executória de fidalguia- Século XVII (1676).- 75 f; 32 cm.- E., Manuscript on parchment. Execution of nobility charter (or letter of coat of arms) granted in the name of the Council of His Excellency El-Rei Don Carlos II, of Spain (1661-1700), to Don Garcia de Medrano y Varrio (or Barrio), neighbour of the village of Almagro, Granada jurisdiction, by H.M.'s fiscal attorney, Don Juan de Muriel. At the end: Dada en Granada a beynteiocho dias del mes de mayo de mil y seisc[ent]os y setenta y seis años. Executory letters of nobility were introduced during the reign of Fernando and Isabel, the Catholic Monarchs, and continued to be produced until the 19th century. They witnessed the blood cleansing of the applicants and their ancestors, as well as their faith, free from any heresy. At the same time, they defined their coat of arms and established the right to use them. The document is developed on 75 sheets of parchment (2 white), carefully ruled and calligraphed in Gothic characters, the last being occupied by an extensive visa. In the first two folios we find three large full-page (31x22 cm) illuminations, with the following representations: on the verso of the first folio the Virgin Mary; in front of the second folio, a genealogical scheme with 13 blue circles inscribed in gold (oxidized); on the verso of the same sheet, the applicant's coat of arms held by an angel or archangel with a sword (St. Michael?). In front of the next page, with two lateral vegetal stripes, the beginning of the text, with the first three lines (plus lines 21 and 22) illuminated in blue, red and gold. The text also includes three dozen illuminated initials, with one or two lines, two large letters and seven lines totally or partially painted. Document well preserved, fully legible, with only some oxidation in the gold decoration. Full crimson velvet binding, not contemporary, with two silver clasps. Protective case in burgundy canvas.

Persian Illuminated Manuscript Assortment (3) items on paper including a crowded cavalry battle scene having Farsi text outlined in gold ink; a carpet decorated Quran page having text; a study of a peacock and a musician seated on rocks holding a bowed string instrument; all matted behind glass in similar gold lacquered wood frames Property from: a Chicago, Illinois (Streeterville) estate Height: 14 inches, Width: 9 1/2 inches (cavalry battle)Frame Size: 18 1/2 inches by 14 inches Condition: Very Good, minor warpage to paper at edges of cavalry scene; flattened creases and spots of discoloration to Quran page; small losses to paper at center right edge and lower left corner of musician study Disclaimers: not examined out of frames Category: Fine Art > Asian Paintings & Prints Estimated Sale Time: 1:27 pm (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Sales Tax (United States Only): Kansas (6.5%), New Jersey (6.625%), Pennsylvania (6%), Washington (10.5%) Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4Photograph #5Photograph #6Photograph #7

Accompanied by an authentic manuscript of the writer, containing a dedication “… to my young friend Arnaldo, in honor of his beautiful sister Ornella ”, so reads the authentic letter from E. Hemingway that accompanies the billiard cue belonging to him, given as a wager to Mr. Arnaldo Zamperetti.The manuscript comes with a calligraphic appraisal drawn up by the judicial graphologist enrolled in the register of the Court of Catania, Dr. Valentina Mavica. Sixty years after his death (2 July 1961), to end of an adventurous, turbulent, enigmatic and intense existence, Ernest Hemingway remains one of the most influential personalities in American literature. In addition to the writer, beyond to the journalist and war chronicler, in addition to the Nobel Prize that binds him to everyone's memory, every single event of his life has been well collected and documented by numerous biographers; the inner intolerance amplified by alcohol, the adventure in Africa as a hunter, the scars of war, the makeshift air landings, the wounds that marked him during his most difficult years. But there is also an unreleased Ernest Hemingway. He is the man of great charm, who has collected four wives and an unknown number of romantic relationships. He is the Hemingway suitor and lover, sensitive to female beauty, who in 1948 clashed with Antonio De Curtis , our Totò, in Stresa, for the much contested verdict by Miss Italia. The mask tragicomic most representative of Italy was part of the jury of the Beauty Contest that cheered the post-war years on the ve del Verbano. At the Regina Palace Hotel, the aesthetic canons of a femininity that no longer exists: between chaste bikinis and soft sizes, that edition won the Trieste Fulvia Franco : 1 meter and 66 centimeters for sixty kilos of beauty, the advantage linked to belonging to a city on the border with Yugoslavia which has become "free territory" and political endorsement of an Italy to be rebuilt . Hemingway had landed the day before in Genoa and chose to go there, for an amarcord journey through the rooms of Des Iles Borromées, where he had set some of the pages of “Farewell to weapons ", inspired by his military experience in Italy. It was he who, the evening before the final of the Competition, decided to bet on the Bolognese Ornella Zamperetti, then finished second between controversy, legal disputes and indemnity claims. In the billiard room of his hotel, between spirits and carom games, after betting on the microphones of journalists, the North American writer put his billiard cue, the one that had accompanied him, into play with the brother of the aspiring Miss Italy throughout his youth, however, betting everything on the losing choice. This event is also mentioned in the pages of Andrea Di Robilant's book: “Autumn in Venice. Hemingway and the last muse " (Corbaccio publisher). Box dimensions H 5x57x10 cm 40s

Oliver Cromwell (Lord Protector 1599-1658): Letters Patent in the name of Oliver Cromwell Lord Protector, a recovery by Arthur Sparke and Obediah Grevile against L'Estrange Calthorpe and Miles Greenwood of 250 acres of meadow and 100 acres of pasture in Stow Bardolph Norfolk, manuscript on vellum, scribed by Pynsent, dated Easter 1657 Westminster 48cm x 62cm (framed)

BLOCH, Ernest (1880-1959). A manuscript musical quotation from "Voice in the Wilderness." With other related material. (qty)BLOCH, Ernest (1880-1959). A manuscript musical quotation in the composer's hand of 4 bars of the opening cello theme from "Voice in the Wilderness," signed by the composer, and further inscribed by him, [?]"Charles-Haute Savire - 1 Nov. 1938", on a piece of thin card measuring 89 x 146mm., with "No.120" inscribed on verso. With a one-page autograph letter, signed by Bloch, to "Mr Griffith", dated Oct 30 1945, listing some of his works; and a printed score of Bloch's "Schelomo" inscribed on the title by Thomas Beecham, the cello part marked by Fournier throughout, and with 58 individual instrumental parts for the same work, many marked for performance. Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). (qty)

BRITTEN, Benjamin (1913-76). A manuscript musical quotation from the Piano Concerto, signed and dated.BRITTEN, Benjamin (1913-76). A manuscript musical quotation in the composer's hand of 4 bars from the Piano Concerto, signed by the composer and dated "Aug 18th, 1938" which was the date of the concerto's premiere, on a piece of thin card with dimensions 88 x 146mm. Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). 

BRUCH, Max (1838-1920). A manuscript musical quotation from the slow movement of the Violin Concerto.BRUCH, Max (1838-1920). A manuscript musical quotation in the composer's hand of 5 bars of part of the theme from the slow movement of the Violin Concerto, signed by the composer and dated "Berlin, 18.3.1914", on card with dimensions of 164 x 180mm., in common mount with a monochrome photographed portrait of the composer to the left. Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). 

COPLAND, Aaron (1900-90). A manuscript musical quotation from the Concerto for Clarinet. With a one-page autograph letter by Copland. (2)COPLAND, Aaron (1900-90). A manuscript musical quotation in the composer's hand of 3 bars from the Concerto for Clarinet, inscribed and signed by the composer "Solo Clar. in Bb Concerto for Clarinet, Aaron Copland ... with humor, relaxed" in the lower margin of a monochrome photograph by Viktor Kraft of the composer sitting at a piano, overall dimensions 235 x 155mm. With a one-page autograph letter by Copland, signed, to "Mr Coombs", dated "Aug 19 1955", requesting a copy of the score of 'Appalachian Spring' (a few chips with very slight loss). Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). (2)

ELGAR, Edward (1857-1934). A manuscript musical quotation from "In the South."ELGAR, Edward (1857-1934). A manuscript musical quotation in the composer's hand of 2 bars from "In the South," signed by the composer and dated "Nov 25 1912", on a piece of thin card with dimensions of 133 x 158mm. Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). 

HINDEMITH, Paul (1895-1963). A manuscript musical quotation from an unidentified work. With 8 other items. (9)HINDEMITH, Paul (1895-1963). A manuscript musical quotation of 4 bars from an unidentified work, signed by the composer, on a thin piece of cards with dimensions 44 x 120mm., laid down on a larger sheet of paper, with, on the verso, a more substantial manuscript musical quotation by Mina Härma, signed; with a one-page autograph letter, signed by Paul Hindemith, and dated 19.XI.22, to "Direktor [?]Hertzka"; and other short manuscript musical quotations, each signed, by Arnold Bax (piece unidentified), Mario Castelnuovo-Tedesco (from his 1st Piano Concerto), Eric Coates ("Knightsbridge" from the London Suite), Carl Orff ("O Fortuna" from Carmina Burana), Wilhelm Peterson-Berger (piece unidentified) and William Walton (piece unidentified, but signed and dated Jan 25th 1938). Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). (9)

MASSENET, Jules (1842-1912). 20 Mélodies, [Paris, c. 1903], cloth, inscribed by the composer with a musical quotation.MASSENET, Jules (1842-1912).  20 Mélodies. Quatrième Volume. [Paris:] Heugel et Cie., [n.d. but c. 1903]. 4to (280 x 195mm). Title printed in green, printed musical notation (some staining at lower margins of the first few leaves). Contemporary [?or original] grey cloth (some staining). SIGNED and dated 1903 by Massenet on the verso of the title with a manuscript musical quotation in the composer's hand of the opening line of song number 8 in the collection, "Ne donne pas ton coeur aux roses du chemin." Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). 

MILHAUD, Darius (1892-1974). A folded sheet with quotations from 7 of his string quartets in the composer's hand. With 3 other related items. (4)MILHAUD, Darius (1892-1974). A folded sheet of printed staves with manuscript quotations in the composer's hand from the first 7 of his string quartets, inscribed, "à mon cher éditor ami Monsieur [?]Hertzka. Souvenir de Darius Milhaud Oct. 1925"; with a printed score of Milhaud's "Concerto pour Violoncelle et Piano" inscribed by the composer to Pierre Fournier; another heavily marked-up score for the same work; together with a manuscript list of the composer's works in his own hand. Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). (4)

PROKOFIEV, Sergei (1891-1953). A manuscript musical quotation signed and dated by the composer.PROKOFIEV, Sergei (1891-1953). A manuscript musical quotation, the piece unidentified, in the composer's hand, signed and dated 1934 by the composer. Provenance: inscribed on the verso "with all good wishes, Joseph Hiscox, Aug. 25th 1932"; from the Collection of the late Dr Elkan Lewis (1931-2020). 

STRAUSS, Richard (1864-1949). A manuscript musical quotation from "Till Eulenspiegel", signed.STRAUSS, Richard (1864-1949). A manuscript musical quotation in the composer's hand from "Till Eulenspiegel", signed by the composer and dated "Baden-Baden 11 [?]JJune 1906", on a small folded sheet of paper with dimensions 104 x 177mm. Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). 

STRAVINSKY, Igor (1882-1971). A manuscript musical quotation from the Pastorale for Violin and Piano.STRAVINSKY, Igor (1882-1971). A manuscript musical quotation in the composer's hand from the "Pastorale for Violin and Piano", signed by the composer and dated "New York 8-1-35", on a piece of paper with dimensions 113 x 150mm., in common mount with a photograph of Stravinsky to the right. Provenance: from the Collection of the late Dr Elkan Lewis (1931-2020). 

SHAKESPEARE, William (1564-1616). Julius Cæsar. A Tragedy. As it is now Acted at the Theatre Royal, London, 1691, stitched. THE SECOND QUARTO EDITION.SHAKESPEARE, William (1564-1616).  Julius Cæsar. A Tragedy. As it is now Acted at the Theatre Royal. London: "Printed for Henry Herringham, and Richard Bentley at the Post-House, in Russel-Street, Covent Garden", 1691. 4to (201 x 162mm). Small woodcut device on title, 60-pages (title cropped at head and foot with slight loss to letters of title and last line of imprint, with "9" in "1691" truncated, small piece torn away from lower edge of title, affecting letters, text cropped at lower edges with loss of signatures and some catchwords and occasionally affecting the last line, a few leaves cropped at upper edge, browned throughout, rusthole in pp.25/26 not affecting letters, variable staining, more pronounced to final leaf, a few darker spots, some corners creased). Stitched. Provenance: old manuscript library label pasted at lower margin of title, not affecting letters. THE SECOND QUARTO EDITION; the first appeared in 1684. Only three of Shakespeare's plays appeared in quarto format in the 17th-century, The Taming of the Shrew, Macbeth, and Julius Cæsar. cf. Arber II, 64 (citing the first quarto edition of 1684); Bartlett 117 (erroneously citing this as the "sixth edition") ; Jaggard p.319; cf. Lowndes VI, 2283; Pforzheimer 886; Wing S2922A.

MEDITERRANEAN PORTS AND HARBOURS - A collection of c. 120 manuscript coastal charts in an album, 230 x 315mm., dated variously 1720-1804.MEDITERRANEAN PORTS AND HARBOURS - A collection of c. 120 manuscript coastal charts in pen-and-ink and grey wash, dated variously between 1720-1804, including Antibes, Alicante, Genova, Cagliari, Ferrara, Gibraltar, Ibiza, La Ciotat, Lampidosa, Languedoc, Livorno, Majorca, Marseille, Malaga, Malta, Menorca, Messina, Naples, Palermo, Taranto and Tangiers, some titles in baroque cartouches, each chart with a compass rose and scale, many with plans of fortifications, a few unbound at the end, 230 x 315mm., bound in an album of contemporary limp vellum (a little worn and stained). Provenance: some old illegible Italian annotation and arithmetic to lower cover.

Rubaiyat of Omar Khayyam ... Reproduced from a manuscript written and illuminated by F. Sangorski and G. Sutcliffe, London, [1911], original pictorial cloth gilt. With 6 other editions of the same work. (7)Rubaiyat of Omar Khayyam translated into English verse by Edward Fitzgerald with an Introduction by A. C. Benson ... Reproduced from a Manuscript Written and Illuminated by F. Sangorski and G. Sutcliffe. London: Siegle, Hill and Co., [1911]. 4to (316 x 230mm). Title printed in red and black, plates and decorations printed in colours and gold, text printed in red, blue and black (some very light mainly marginal spotting and staining). Original pictorial buckram gilt with an elaborate design incorporating a peacock, top edges gilt, others uncut (some ink spotting on lower cover, corners a little rubbed). Provenance: "Aunt Lydia from Robert, Xmas 1912" (inscription on front free endpaper); Alex Bridge (modern ex-libris sticker and signature dated 20.2.1948). With 6 other editions of the same work, namely The Second Edition of Edward Fitzgerald's Ruba'yat of 'Umar Khayyam ... edited, with an introduction and notes, by Edward Heron-Allen (London, 1908, original parchment-backed paper boards), Rubaiyat of Omar Khayyam (London, Hodder and Stoughton, [1909], coloured plates by Edmund Dulac, original decorated buckram gilt), Rubaiyat of Omar Khayyam. A Variorum Edition ... Edited by Frederick H. Evans (London, Temple Sheen Press, 1914, original buckram-backed paper boards, ONE OF 300 COPIES), The Rubaiyat of 'Umar Khaiyam translated from the French of J. B. Nichols by Frederick Baron Corvo ... with Sixteen Illustrations in Colour by Hamzeh Carr (London, John Lane, 1924, original coloured pictorial buckram, dust-jacket), The Rubaiyat of Omar Khayyam (London, London County Council Central School of Arts and Crafts, 1931, original paper boards) and Rubaiyat of Omar Khayyam ... Decorated by Charles Meacham (Birmingham, Birmingham School of Printing, Central School of Arts and Crafts, 1931, original cloth-backed decorated paper boards). (7)

JACKSON, Holbrook (1874-1948). Oscar Wilde's Salome, London, 1938, original wrappers. NUMBER ONE OF 50 COPIES. With 7 other books. (8)JACKSON, Holbrook (1874-1948).  Oscar Wilde's Salome. London: The Fanfare Press, December 1938. 8vo (195 x 140mm). Original decorated wrappers with gold printed title label laid down on upper wrapper (a few short tears and nicks). NUMBER ONE OF 50 COPIES inscribed "for E.A.B. from H.J." With 5 other works in 7 vols., namely Frank Harris and Lord Alfred Douglas's New Preface to "The Life and Confessions of Oscar Wilde" (London, The Fortune Press, 1925, original buckram, FIRST EDITION), a manuscript translation into English of works relating to Oscar Wilde by Carl Hagemann, in 2 vols., the first vol. titled "Oscar Wilde. Studies in Modern World-Literature. By Carl Hagemann", Frank Harris's The Man Shakespeare and His Tragic Life Story. Second and Revised Edition (London, April 1911, original cloth, stained), the same author's My Life and Loves (Paris, The Obelisk Press Books, [1926], parts 2 and 3 (only), original wrappers) and the same author's Mein Leben. Selbstbiographie (Berlin, 1927, original hessian lettered in red and blue). The lot sold not subject to return. (8)

"THE PHONEY-WAR", DUNKIRK, THE BATTLE OF BRITAIN AND THE BLITZ - "The Leader Foolscap Folio Diary for 1940". Manuscript diary on c. 50 leaves kept by Thomas A. Johnson."THE PHONEY WAR", DUNKIRK, THE BATTLE OF BRITAIN AND THE BLITZ - "The Leader Foolscap Folio Diary for 1940" [title printed on upper wrapper]. Folio (320 x 210mm). Manuscript diary on c. 50 leaves ruled in red and blue, with extensive daily entries kept from 1st January to 16th September 1940, after which, following the enlistment of the diarist, they become sparser or non-existent. Provenance: Thomas A. Johnson (contemporary signature, in the same hand as the diary, on the upper wrapper - see note). A FASCINATING, MOVING AND OCCASIONALLY UNSETTLING DAY-BY-DAY ACCOUNT OF LIFE IN WARTIME PROVINCIAL ENGLAND in which world events are thrown into poignant relief by mundane descriptions of domestic life, including a great deal of gardening, listening to concerts and plays on The Home Service and numerous visits to "the Pictures" ("Askey film awful"). The opening of the diary is remarkable for its apparent lack of interest in the war - a testament to its initial "phoney" status - which it does not allude to until the 13th March when the entry abruptly states, "Finns agreed to Russia's terms." From there on, the international situation plays an increasingly prominent and anguished part in the entries as it starts to intrude upon the everyday life and emotions of the writer and his family: on 18th March, for instance, "Hitler met Mussolini"; on 8th April, "British lay mines in Norwegian waters"; on 9th April (in a much larger hand than the rest of the entry), "Germany invaded Denmark and Norway. War started in earnest"; on 13th April, "Navy sank 7 Destroyers at Narvik. 1000 men lost. Dora here. Rolled back lawns. Tidied old greenhouse"; on 22nd April, "Planes droning all night"; on 6th May, "3 Destroyers gone west"; on 16th May, "War waging fiercely. The greatest Battle ever known"; on 19th May, "Put sweet peas out. Mowed back lawns. Churchill spoke 1st time as Prime Minister"; on 21st May, "Germans advancing rapidly towards English Channel. French traitors fail to blow up bridge"; on 29th May, "B. E. F. withdrawing to coast due to Belgian surrender"; on 13th June, "Terrible war news. Afraid France is done for"; on 14th June, "Germans enter Paris. Fine day, to Hooton. Home 5. Did gardening"; on 17th June, "France stops fighting. Terrible news. Britain left alone to fight";  on 21st June, "Hitler meets French in forest to discuss peace terms. Felt very miserable"; on 28th June, "Nazis been over Speke. Dropped bombs. Washed hair"; on 29th June: "Hitler to march through London on Aug. 15th"; on 19th July, "Hitler plans to invade to-night!!!"; on 22nd July, "3rd air raid warning 1-45 - 2am. All got up and went to shelter. I had to get out for fear of suffocating. Ma had brandy"; on 27th July, "Poles starving. 2000 dying each day. [?]Em gathering Dora's apples"; on 13th September, "Felt hellishly miserable. Cannot stand many more goodbyes! Germans ready for invasion. Troops massed"; on 16th September (having enlisted), "Diary must end from to-day onwards. Complete change of life for me from 16th until after the war. Went on [?]9.30 train. Raining. Felt very miserable. Drills etc. Had kit and coat stolen. Did not sleep well." On the verso of the final leaf, under the heading "Air Blitz Kreig[sic] Aug 11/40", is listed a tally of aircraft losses on either side from 11th August to 20th August, 1940, in which German losses are a great deal higher than British ones. The keeper of these diaries is almost certainly the composer, arranger and music teacher Thomas Arnold Johnson (1908-89) who would have been about 32 at the time of writing. The attribution can be made with some confidence since many of the entries mention place names in the locale of Neston, the Wirral, where he lived his whole life, and also describe composing, arranging and teaching music, and list, on an almost daily basis, every major piece of music he listened to, in the evenings, on the Home Service. It is not known in which capacity or rank he served in the war but we do know that, happily, he survived it and went on to a long and successful career in music.

PRONY, Gaspard Clair François Marie Riche de (1755-1839). Neue Architektur Hydraulika, 1801, vol. II only (of 2), engraved plates, contemporary paper boards. With another book. (2)PRONY, Gaspard Clair François Marie Riche de (1755-1839).  Neue Architektura Hydraulika ... Zweiter Theil welcher die umstandliche Beschreibung der Dampfmafchinen enthalt. Aus dem Franzöfifchen von Karl Christian Langsdorf. Frankfurt: Andreaischen Buchhandlung, 1801. Volume II only (of 2). 4to (247 x 210mm). Tables, 39 fine folding engraved plates (one plate torn across without loss, one plate repaired on verso, some light spotting and staining mainly to text). Contemporary [?or original] paper boards with orange lettering-piece on spine (rubbed, some staining). Provenance: old illegible signature at foot of title; old manuscript and stamped library numbers to front endpapers. Brunet III, 846 (citing the first edition of 1790-96); Poggendorff Biographisch-Literarisches Handwörterbuch der exakten Naturwissenschaften II, 534. With F. Garnier's Traité sur les Puits Artésiens ou sur les Différentes Espèces de Terrains dans lesquels on doit Rechercher des Eaux Souterraines ... Second Édition (Paris, 1826, 4to, 25 folding engraved plates (one heavily browned), original printed wrappers (tatty). The lot sold as a collection of plates, not subject to return. Provenance: from the Collection of Peter and Margarethe Braune. (2)

[Petit Grimoire.] Lille: Imprimerie de Blocquerel, [c. 1840], woodcut plates, old vellum.[Petit Grimoire.] [Colophon, possibly stamped:] Lille: Imprimerie de Blocquel, [c. 1840]. 8vo in 6s (148 x 100mm). 6 woodcut plates, all but one printed in red and black, illustrations and tables, 4-pages of publisher's advertisements for other occult books at the end (lacks all before the "Prélude" including title, but title supplied in manuscript, hinged throughout, some light browning). Old vellum [?pre-dating the book], yapp edges, with title in manuscript on the spine (stained and wrinkled). Provenance: pencil annotation to first text leaf. A "Grimoire" is a book of magic spells and invocations.

[?SOUTHEY, Robert (1774-1843)]. "Of Arthour and of Merlin". Autograph manuscript on 20 leaves, the later part possibly in Robert Southey's hand, contemporary calf.[?SOUTHEY, Robert (1774-1843)].  "Of Arthour and of Merlin", [n.d.], 4to (246 x 195mm.). Autograph manuscript on 20 leaves, in 2 distinct hands, the later part, written as prose on 4-pages, possibly in Robert Southey's hand [see note]. Contemporary calf gilt. Provenance: Federick William Cosens (1819-89, armorial bookplate with motto "Sub robore virtus"); 2 old catalogue descriptions laid down on front pastedown, the first referring to the present manuscript, but not mentioning Southey; the second referring to a printed copy of "The Byrth, Lyf, and Actes of King Arthur" (1814) edited by Southey. A pencil note on the front free endpaper states: "The second portion in the autograph of Robert Southey (?J.R.R.). The first part probably copies for him in his work of editing the Morte Darthur. J.R.R. A.19 Mss." 

HERTZ, Heinrich Rudolf (1857-94). Untersuchungen ueber die Augbreitung der Elektrischen Kraft, Leipzig, 1892, contemporary vellum. FIRST COLLECTED EDITION of Hertz's highly important series of papers on electromagnetic waves.HERTZ, Heinrich Rudolf (1857-94).  Untersuchungen ueber die Ausbreitung der Elektrischen Kraft. Leipzig: Johann Ambrosius Barth, 1892. 8vo (220 x 140mm). Woodcut printer's device on title, illustrations and diagrams. Contemporary vellum-effect half paper and marbled boards, author and title in old manuscript on spine (a few letters rubbed away). Provenance: "Ergentum v, Prof. Bruch, iv. 136" (faint inscription on front free endpaper [significance unclear]); "Allgemeine Elektricitats-Gesellschaft Bibliothek" (red stamp at foot of front free endpaper); remnants of the top of a bookplate torn away from front pastedown; from the Collection of Peter and Margarethe Braune. FIRST COLLECTED EDITION of Hertz's highly important series of papers on electromagnetic waves which includes the proof that they travel at the speed of light and that they can be created and sent through space by means of wireless telegraphy; they have been of profound and lasting importance to 20th-century technology. Honeyman 1669; Norman 1061; PMM 377: "Experimental proof by Hertz of the Faraday-Maxwell hypothesis that electrical waves can be projected through space"; Sparrow Milestones of Science 101; Waller 1137.

DINGLER, Johann Gottfried (1778-1855, editor), and others. Polytechnisches Journal, Stuttgart [and Berlin], 1820-1908, vols. 1 - 323 bound in 302 vols. and 2 index vols. (lacking vols. 69, 261 and 270), folding plates, various bindings. (304)DINGLER, Johann Gottfried (1778-1855, editor), Emil Maximilian DINGLER (1806-74, editor), and others.  Polytechnisches Journal. Stuttgart and Berlin: In der J. G. Cotta'schen Buchhandlung [with variants to the imprint and editors later in the run], 1820-1908. Volumes 1 - 323 bound in 302 volumes (lacking vols. 69, 261 and 270) and with 2 index volumes; vols. 1 - 280: 8vo (218 x 130mm) and vols. 281 - 323: folio (310 x 220mm). Folding engraved and lithographed plates at the end of the octavo vols., a few hand-coloured, some printed on pale blue paper; half tone and wood-engraved illustrations in the folio vols. (some spotting and staining, a few plates loose or detached). Vols. 1 - 74 in contemporary [?or publisher's] near-uniform blue paper boards with manuscript spine labels, yellow edges; vols. 75 - 323 in contemporary [?or publisher's] near-uniform marbled paper boards with orange gilt lettering pieces (variously worn, but generally in a remarkable state of preservation). Provenance: unidentified blue institutional stamps on titles; from the Collection of Peter and Margarethe Braune. A VERY SUBSTANTIAL RUN OF THIS CELEBRATED GERMAN SCIENTIFIC JOURNAL, the oldest German technical journal not affiliated to a trade association, and one of the most important technical journals of the 19th-century. Johann Gottfried Dingler, the German chemist and industrialist, founded and edited the journal from its inception until 1840, when it was taken over by his son Emil. After 111 years of continuous publication, the Journal ceased publication in 1931 in the wake of the world economic crisis. An old typed catalogue index card for the set indicates that the three missing volumes in the sequence (i.e. vols. 69, 261 and 270) have been missing for some time, although the same index card records the presence of 3 further folio vols. at the end of the run (1909-11) which are not here present. The first of the 2 index volumes, dated 1843, covers vols. 1 - 78; the second, dated 1853, covers vols. 79 - 118. Kirchner 3940; Poggendorff I, 573. Sold as a periodical, not subject to return. (304)

WIEDEMANN, Christian Rudolph Wilhelm (1770-1840). Archiv für Zoologie und Zootomie, Berlin, 1800, 6 vols., folding plates, contemporary green paper boards. FIRST EDITION. (6)WIEDEMANN, Christian Rudolph Wilhelm (1770-1840).  Archiv für Zoologie und Zootomie. Berlin: In der Hoffischen Buchhandlung, 1800-03. 6 volumes, 8vo (205 x 200mm). 15 folding engraved plates, 2 of which hand-coloured, tables, some folding. Contemporary [?or original] green paper boards, spines with red lettering-pieces (some wear to spines, extremities rubbed). Provenance: "Ausgeschieden. Senckenbergische Bibliothek" (cancellation stamps on titles); library labels and manuscript shelf numbers at foot of spines; illegible signature and some early annotation to front free endpapers; from the Collection of Peter and Margarethe Braune. FIRST EDITION. (6)

Der Königl. Akademie der Wissenschaften in Paris. Physische Abhandlungen, Breslau, 1748-54, 10 vols., plates, contemporary paper boards. With Mémoires de l' Institut National des Sciences et Arts (Paris, [1792-1803], 4 vols., boards). (14)Der Königl. Akademie der Wissenschaften in Paris. Physische Abhandlungen. Breslau: Berlegts Johann Jacob Korn, 1748-54. 10 volumes, large 8vo (215 x 135mm). Woodcut ornaments on titles, 200 engraved plates and maps, some folding, woodcut illustrations and diagrams, tables (variable browning, spotting and staining). Attractively bound in contemporary marbled paper-backed boards, spines with manuscript labels, uncut. Provenance: annotation to front pastedown of vol. one with later manuscript collation tipped-in; from the Collection of Peter and Margarethe Braune. With Mémoires de l' Institut National des Sciences et Arts, pour l' An IV de la République. Sciences, Mathématiques et Physiques (Paris, [1792-1803], vols. I - III and V [only], 4to, engraved plates, contemporary paper boards). The lot sold not subject to return. (14) 

OSWALD WALLACE: PERDITA AND OTHER POEMS, Rye, James Cole, 1884, 1st edition, signed and inscribed to 'Robert Lockhart from his cousin...', some manuscript corrections and annots, contemporary half morocco gilt marbled boards worn, aeg, 2 copies on COPAC + ROBERT CALVERLEY TREVELLYAN: THE DEATH OF MAN AND OTHER POEMS, London, George Allen & Unwin, [1919] (750), unopened, original cloth backed boards, d/w (small part losses) + SIR THOMAS MALORY: THE DEATH OF KING ARTHUR BEING THE TWENTY-FIRST BOOK OF SIR THOMAS MALORY'S BOOK OF KING ARTHER AND OF HIS NOBLE KNIGHTS OF THE ROUND TABLE, ill Catherine Donaldson, London, MacMillan, 1928 (525), 12 plates as list, original parchment backed boards, d/w (soiled and part losses) (3)

Two early printed leaves, double columns, 36 lines, each leaf with old manuscript at foot 'probably printed by Caxton...', f/g, from the collection of Derek Cottam (2)

Small manuscript on vellum, from a Book of Hours, mid-18th century, Flanders or The Netherlands, text from Psalm 69 from the Hours of the Virgin Matins, 15 lines written in dark brown ink with many initials in red or blue and one in gold leaf, elaborate blue pen work stemming from the initial letter 'D', approx 90 x 60mm, double glazed, from the collection of Derek Cottam

Two manuscript Bible leaves on vellum, circa 1250, manuscript text in two columns, each of 50 lines, each with one pen work initial letter in red and blue, approx 170 x 120mm, double glazed, from the collection of Derek Cottam (2)

Manuscript leaf on vellum, from a Book of Hours, probably mid-14th century, text in brown ink with initials in blue, red and gold leaf, 20 manuscript lines, approx 120 x 95mm, double glazed, from the collection of Derek Cottam

Manuscript vellum leaf from a Book of Hours, mid-15th century, written in dark brown ink with initials in blue, red and gold leaf, 14 lines, elaborate floriate border in blue, red, green and gold leaf, approx 120 x 100mm, double glazed, from the collection of Derek Cottam

Manuscript leaf in the Amharic language on vellum, probably goatskin, and dated to the 17th century or earlier, script on both sides in black and red, approx 185 x 175mm, f/g, from the collection of Derek Cottam

Arabic manuscript written in black and red decorated with gold and gold flecks, glazed paper, late 18th century, approx 170 x 100mm, f/g, from the collection of Derek Cottam

A Mongolian manuscript, an astrological document written in Tibetan script with coloured diagrams on both sides of the paper, 19th century, approx 75 x 180mm, f/g, from the collection of Derek Cottam

Four Indian Devanagari/Sanskrit manuscript leaves circa 1800, six lines of text written by a skilled scribe in dense red and black ink within a ruled orange and black border, each leaf approx 98 x 158mm, housed in two glazed frames, from the collection of Derek Cottam

A Tibetan Buddhist Sutra manuscript page with text in Tibetan script on both sides of mulberry-leaf paper, probably dating from the late 18th or early 19th century, 9 line text written in silver ink by the monks using a stylus on a background surface of china black ink, approx 110 x 410mm, f/g, from the collection of Derek Cottam

Two 19th century Indo-Persian gouache manuscript pages leaves, both depicting figures in procession with animals, writing verso, each 15 x 23cm.

A collection of twenty-eight 18th and early 19th century red wax glyptic intaglio impressions, depicting aristocratic armorials, both coats of arms and crests, Classical Grand Tour tableaux after the Antique, etc, some mounted, manuscript inscribed, [28]

A post-Medieval bronze tripod cauldron, cast with crowned lion masks, wrought iron swing handle, tapering feet, traces of verdigris, 23cm high over handle, 16.2cm diam, loose manuscript partial collector's label, 17th century or earlier

Sopronov (White Russian Émigre; d. 1944)A pair, Paddy Fields and Fishing Outrigger Catamarans, On a Beach Near Colombo, Sri Lankasigned, titled and inscribed manuscript labels to verso, oil on naval drill, 30cm x 44cm, [2]"The artist was a White Russian refugee [...] who arrived, penniless, in Colombo about 1940 and was given a job as resident decorator in the Galle Face Hotel [which still operates under this name]. He painted 6 or so 'murals' on large sheets of brown paper [...] for the ball-room. He also painted, in oils, many scenes of Ceylon which are much prized by residents of the time. Being unable to get canvas for his painting, he managed to scrounge white naval drill from the Navy - on which these pictures are painted. He died, a relatively rich man, before the end of the war", indistinctly signed and inscribed manuscript labels to verso.

A large collection of Lincolnshire manuscript legal documents circa 17th-early 20th Century, including Manor Court Rolls, Enclosure Awards, Terriers, Field Books, Deeds, Wills etc etc, 25+ bound vols & 130+ loose vellum & other wills, probates, conveyances etc., all Lincolnshire, these circa 1759-1900, mainly Spalding & environs, the bound volumes including folio leather gilt book "A Map and Survey of Lands in the PArish of MAblethorpe and County of Lincoln the Property of Thomas BAdcock Esquire Taken in the Year 1797 by Thos' Simpson", large folding m/s pen & ink enclosure map, plus 8 pages of m/s entries land boundary details etc, plus some well executed sketches of buildings at end; suede folio volume "Parish Terriers Moulton 1716, Holbeach 1699, Spalding 1646, Weston 1710, Pinchbeck 1581", hundreds of pages of m/s entries, mainly circa 18th Century; Manor of Whaplode Haybeach Court Roll from 28th Nov. 1913, 18pp m/s entries, plus further 26pp entries Whaplode Kirklee at end, folio, contemporary full vellum, m/s title to cover; large folio suede volume "Moulton Award 1803", approx 100 pages m/s entries 1645-1904; "Moulton Salt MArshes Act 1873 Assessors Note Book No.4", 50+pp m/s entries & cuttings; "Holbeach Field Book", 1809, 90 pages m/s entries; "Whaplode Terrier", 1798 copy of 1662 court sessions at Spalding, 100+ pages of m/s entries, contemporary full vellum, m/s title to front cover; "Rental & Terrier of the Manor of Whaplode Church", circa 400 pages of m/s entries from 1733-1919, folio, full vellum, m/s title to front cover; "Holbeach & Whaplode Inclosure Allotments", 100+ pages of m/s entries from 1819, folio, full vellum, m/s title to front cover, plus several other bound vols mainly 19th Century wills, Deeds etc, Spalding & environs. .***Sold Subject to the Manorial Document Rules, Court Rolls may not be removed from England and Wales.

A small collection of mainly Victorian books, autographs, ephemera etc, including [S. Prout Newcombe]: 'Little Henry's Holiday at the Great Exhibition', London, Houlston & Stoneman, [1851], 168,[12]pp, sepia engraved frontis and engraved title + 2 sepia engraved plates, plus 10 other engraved plates (some by E. Whimper) and ills. in text, 18mo, original blindstamped cloth gilt, all edges gilt, uncommon; 'Sketches by Seymour', bound volume of 52 assorted humorous/caricature lithograph plates after Robert Seymour (1798-1836), dated c.1861-1865, Enid Marx's copy with her pencil ownership signature dated 1938 to verso FFEP, no letterpress, lithograph title 'The Book of Cockney Sports Whims & Oddities', contemporary cloth gilt; 60+ clipped signatures of various members British aristocracy, 1878-1885, including Marquis of Sligo, Lord Monteagle, Lord Cadogan, Earl Camperdown, Duke of Norfolk etc, mounted on 5 separate leaves; Manuscript cash book 1849, Downe Farm, Girvan, 45 pages of m/s entries, original stitched wraps; Martineau's History of the Peace, 1877-78, 4 volumes, uniform orig. cloth gilt, etc.

Thomas Chalmers (1780-1847), Presbyterian minister, theologian, author, social reformer, leader of Church of Scotland & Free Church of Scotland, a book of manuscript notes taken at his lectures/sermons in Edinburgh 11th November 1829-2nd April 1830, 140 pages of manuscript entries, old cloth backed boards, later rebacked

Seventeen mainly vellum documents 1649-1869, mainly Redenhall, Norfolk, including 1649 vellum document, 19 lines of manuscript in Latin, relating to, and signed by, Thomas Fuller (1573-1659), of Redenhall with Harleston; 1705 Redenhall vellum document, 36 lines of m/s in Latin, also relating to Fuller family; 1711 Redenhall document Simon Fuller & William Brookes, signed with wax seals; 1731 Redenhall vellum document "The Probate of Samuel Fuller's Will, senior, Redenhall", and 1751 vellum probate of John Fuller's will, Redenhall; 3 19th Century Redenhall vellum admissions, William Bingham Lord Ashburton, 1850, Sir Robert Shafto Adair, 1865, Robert Alexander Shafto Adair, 1871, plus vellum Enfranchisement Lord of the Manor of Redenhall to Right Honourable Lord Waveney, 1873; large 3 page 1852 vellum mortgage indenture, Bakers Barn Farm, Starston & Redenhall, with m/s plan; large 3 page 1851 vellum mortgage indenture, freehold estate in the parishes of Starston & Redenhall, with hand coloured m/s plan; plus 5 other Redenhall documents 1868/69; plus large 3 page vellum lease indenture of a farm at Thelveton, 1827, with hand coloured m/s plan (17)

Large two page 1877 vellum indenture, conveyance of a freehold and copyhold farm at Alpington and East Poringland in Norfolk, Execs. of the late Robert Wells, of Norwich, to John Furness, of Forncett Grove, Forncett St Peter, Norfolk, with manuscript pen, ink & wash plan of Framingham, East Poringland, Alpington, approx 30 x 48cm, signatures and wax seals (generally VGC)