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With Manuscript Notes & Comments by Luce & Berman[Berkeley] Luce (A.A.) & Jessop (T.E.) The Works of George Berkeley, Bishop of Cloyne, 9 vols. roy 8vo L. 1964 - 1957, (various dates), together with, Luce (A.A.) The Life of George Berkeley, Bishop of Cloyne, roy 8vo L. 1949, First Edn., Presentation Copy from Author to David Berman. Together 10 vols. all with m/ss notes and comments by A.A. Luce, & Prof. Berman throughout, & with m/ss., typed & printed items loosely inserted in some vols., orig. wine coloured cloth, some joints worn. (10)* A very important Association Copy.

Irish National Volunteers (J.E. Redmond, Esq., M.P., President). Cyclostyled typescript Programme for a Review and Presentation of Colours at the Mardyke Football Grounds, Sunday November 22nd 1914, with a cyclostyled manuscript sheet setting out the duties of various named individuals, signed in actual manuscript C.W.L. Alexander, dated 16 Nov. '14, and with a printed invitation to the ceremony issued to Professor C.W.L. Alexander. (1)

Association Copies [Berkeley] Jessop (T.E.) A Bibliography of George Berkeley, with An Inventory of Berkeley's Manuscript Remains by A.A. Luce. 8vo L. 1934. First Edn., interleaved inscribed in Greek on hf. title, Feb. 1934, with many m/ss annotations, & notes, and with an original A.L. Signed from author to Prof. David Berman loosely inserted with other material, in full blue mor. binding, spine faded, with letters 'A.A.L.' in gilt on front cover; also, Keynes (Geoffrey) A Bibliography of George Berkeley, Bishop of Cloyne, Oxford 1976. First Edn., with m/ss notes by Prof. Berman throughout, and with some insertions, including 2 A.L.s. from author to Prof. Berman, cloth & d.w. Rare. (2)

Victorian Hostess & HorticulturistAn Important Collection Relating to Lady Dorothy NevillLady Dorothy ("Dorothy") Fanny Nevill (1826-1913) was one of the five children of Horatio Walpole, 3rd Earl of Orford.At the age of twenty scandal struck when she was discovered, "innocently but most imprudently," unchaperoned in a Norfolk greenhouse with George Smythe, a notorious womanizer. Rumours spread, first of a pregnancy and then of a miscarriage, but in 1847 her wealthy forty-year-old cousin Reginald Nevill rescued her - by marriage. They had six children, four of whom survived infancy.Lady Dorothy travelled extensively and cultivated a wide circle of friends - literary, artistic, political. She became a leading society hostess, her salons attracting many celebrities. Active in the Conservative party (she was a founder member of the Primrose League), she aroused Tory horror by her friendship with the Liberal Unionist leader, Joseph Chamberlain.In 1851 the Nevills acquired Dangstein, a large property near Petersfield in Sussex. Lady Dorothy turned the garden into a horticultural centre, with exotic plants kept in seventeen greenhouses. She became an authority on orchids and corresponded with William and Joseph Hooker at Kew and with Charles Darwin.Her husband died in 1878, leaving all his money to their children to curtail her spending, she moved to Stillyans near Heathfield. Towards the end of her life she wrote several volumes of memoirs, and after her death her son edited her life and letters. Her biography, Exotic Groves ,written by her kinsman Guy Nevill, was published in 1984.The Collection includes the following:Photograph albumA magnificent Volume, beautifully bound, containing photographs of Lady Dorothy's celebrated friends, in elaborate filigree frames, often with their letters or autographs on the back, and illuminated pages in manuscript. 31 x 28 cm. Bound in green morocco, the upper board overlaid with a wooden board with radiating green-yellow leaf pattern and with silver mounts bearing the Nevill crest, and clasp. 48 ff. Loaned in 2000 to the National Portrait Gallery, London, for the exhibition "Escape to Eden: Five Centuries of Women and Gardens." The frontispiece consists of an inscription ("Dolly On a Sunbeam and in a drop of water") painted on the skeleton of a leaf, surrounded by an illuminated pattern of coats of arms in the form of a star.The portrait photographs include: ·Horatio Walpole, Earl of Orford (Lady Dorothy's brother), with illuminated coats of arms as border·The [second] Duke of Wellington, decorated with a blue flag; autograph letter on back·Lord Salisbury, Conservative leader and Prime Minister·Lord Ellenborough, Conservative politician (with letter)·Samuel Wilberforce (Bishop of Oxford and opponent of Darwin)·Disraeli (with autograph)·Members of the Nevill family·Field Marshal Viscount Wolseley (with letter)·Edward, Duke of Clarence (grandchild of Queen Victoria and heir to the Prince of Wales)·Joseph Chamberlain, Liberal Unionist leader (with letter)There are also illuminated pages containing speeches by the statesman Robert Lowe (with letter); a history of the Nevill family in the British Museum; and a speech by Disraeli; besides photos of various houses such as Dumford, the home of Richard Cobden. "Poems and Leaves"Manuscript Volume in brown straight grained morocco with gold tooled borders and edges and marbled endpapers, bound by Birdsall & Son, Northampton. 22 x 15.5 cm. 45 ff, the rest blank. Entitled "Poems and Leaves written out by Dorothy Nevill." Poems, epitaphs, thoughts, all in beautiful calligraphy, many exquisitely illuminated, two written on leaf skeletons; some in German, Italian and Latin."The Service for the Burial of the Dead"Manuscript Volume bound in black morocco with gold tooled borders and crosses. 25 x 19 cm. 18 ff, the rest blank. Printed book label: "Stolen, from Dangstein." A transcript of the service for the Burial of the Dead, from the Book of Common Prayer, in beautiful calligraphy and exquisitely illuminated.Newspaper obituaries of Lady DorothyStraight grained black morocco, 37 x 29 cm. Gold tooled internal edges. Romeike & Curtis, Ludgate Circus, EC. Silk endpapers. 71 pp.Letters of condolence on the death of Lady Dorothy, 1913. 77 pp.Letters or telegrams from many celebrities, including Queen Alexandra, Field Marshal Lord Roberts, Hubert Tree, Ellen Terry, the Royal Family, Edmund Gosse, and Charlotte Knollys on behalf of the King and Queen.Books by, about, or belonging to Lady Dorothy·The Reminiscences of Lady Dorothy Nevill. L 1906. Signed by her. Also signed "To Horace Nevill from his affectionate mother Dorothy D Nevill October 1906." 336 pp., frontispiece. Grey cloth.·Leaves from the note-books of Lady Dorothy Nevill, edited by Ralph Nevill. L 1907. Signed by her. 359 pp., frontispiece. Brown cloth.·Under Five Reigns by Lady Dorothy Nevill, edited by her son. London, 1910. 16 b/w illus. 356 pp. Signed by author. With letter to her dated 5 Oct 1910. Red cloth.·Another copy. 2nd edn 1910. Signed by her. 356 pp.·My Own Times by Lady Dorothy Nevill, edited by her son. London 1912. 339 pp. 7 col & b/w illus. Signed by her. Blue cloth. ·The life and letters of Lady Dorothy Nevill, by Ralph Nevill. L 1919. 8 b/w ill. 307 pp. Blue cloth.·Small volume bound in green half calf containing biographies of (a) Lady Palmerston, by A. Hayward (June 1872), 21 pp; sent to Lady Dorothy Nevill by the author; (b)Louisa, Lady Rothschild by Rt Hon GWE Russell 1910, 8 pp; (c)Virginia Somers, 1910, 7 pp. Letter tipped in from Adeline M. Bedford.·Sir Henry Barkly, Notes on the Testa de Nevill returns for County of Gloucester. Reprinted from the Transactions of the Bristol and Gloucestershire Archaeological Society, vol XIV. Not published. 1890. Presentation Copy from the author to Mrs Chaworth Masters. 172 pp.

With Presentation Inscription to Ambassador BullittLaclos (Choderlos) Les Liaisons Dangereuses, sm. 8vo Paris [1936]. Original blue limp morocco. with W.M.C. Bullitt's book label. (1)* The front loose blank bears manuscript Presentation Inscription to Bullitt dated Oct. 14, 1936 from Morton Fullerton (1865 - 1952), an American journalist on the staff of 'Le Figaro,' En Souvenir de nos exercises en semantiques pendant votre charmant accueil de tout a l'heure. Fullerton's note hints at but does not reveal the reason for his choice as a gift of this 1782 French classic, with its theme of sexual depravity and manipulation.

Address to Parliament by King James II [1685?]Manuscript: Draft (incomplete and unsigned, but in a contemporary hand), King James II's address to the opening of Parliament in May 1685.The King thanks the members for their kind works, and assures them any funds he will require of them will be wisely spent. However, he reminds them of several immediate financial exigencies: the need to refurbish the Navy ('ye Strength and Glory of this nation'), the requirements of the revenue, the debts of the late King, and the expense that will be involved in dealing with the rebellion in Scotland (the Argyll Rebellion which was in fact quickly crushed). As a m/ss., w.a.f. Rare. (1)

Dublin Interest: [Alderman W. Russell] Workman's Industrial Association, an interesting and detailed manuscript minute Book, dated from 1901 - 1910, it notes at the inaugural meeting it was decided to start its object of promotion of Irish Manufacturers, Art and Industry and the providing means to procure fresh goods at reasonable prices. The contents are generally administrative, as a manuscript, w.a.f. (1)

An Exile Romancing about IrelandManuscript: [Irish Poetry & Songs] A 19th Century Booklet containing neatly written copies of Poems and Songs of Irish Interest, evidently assembled by an Irish Exile in England, mostly well known poems of exile and nostalgia, some from the Irish, possibly some original material and drawings, approx. 78pps., with blue mor., as a manuscript, w.a.f. (1)

Medical interest: Manuscript Page, 29cms x 23cms, printed text in Latin, with MS additions in English. Invitation to a Dr Faulkner to attend a lecture on surgery given by a Dr Hervey, on Monday 11 April (year not specified), at 5 o'clock, followed by dinner at 5.30 - together with a reminder to the recipient to pay his fees and annual subscription.The letterhead bears the arms and motto of the Royal College of Physicians in London, of which Dr Arthur Brooke Faulkner was elected a fellow in 1808 (in which year 11 April did fall on a Monday).Arthur Brooke Faulkner (1779-1845) was the youngest son of Hugh Faulkner of Wellbrook and Seville Park, Co. Tyrone, and Castletown, Co. Carlow. Having been appointed physician to the forces, he served on the staff in Spain, Holland, Sicily and Malta. While he was in Malta there was an outbreak of the plague, and by his vigorous exertions in enforcing quarantine he limited its spread. On his return to England in 1815 he was knighted for his services.The speaker at the lecture he attended in 1808 appears to have been Dr Thomas Hervey (1751-1824), the pioneer of smallpox vaccination. (1)

The 17th Century Grain Crisis in KilkennyCo. Kilkenny: [Haydocke (Josiah)] An interesting 17th Century Manuscript Document sent to the Lord Lieutenant, in accordance with instructions he has been monitoring the price of grain in the county. He states that recently the price had almost doubled, which he attributes to merchants and bakers from out country buying up. If not prevented it will endanger a causeless death and famine. As a manuscript, w.a.f. (1)

[Co. Wexford] Military Interest: O'Brien (James) A printed document 'Order Under Martial Law,' dated 6 July 1921, Signed in manuscript H. Cummings, Lieutenant General, Military Governor ordering the detention under martial law of James O'Brien, St. Johns Siding, Enniscorthy, in the Camp at Spike or Bere Island. As a document, w.a.f. (1)

Roberts (Oliver Michael). The Herald of Dawn. Dublin, For the Author by George Roberts 1919, with a drawing by the author's mother. Sm qto grey printed wrappers, 6 pp (partly unopened). Laid in are an ALS from Liam Ó Rinn and a TLS from Cecil O'Neill-Watson, thanking the publisher for copies; also an unsigned sheet (on back of an envelope addressed to Miss G. Roberts, Dalkey) with what appears to be a manuscript account of the author, probably by the publisher (his father or uncle?).An interesting item. Rare. (1)

Co. Meath: A valuable Manuscript Reference for Mullaaghea, Kells, Co. Meath from 1937 to 1956/57 detailing the names of the deceased during this period. The names are entered by year in descending order of monies paid, from 10 shillings down to one shilling, in wrappers, as a manuscript, w.a.f. (1)

Irish Merchant in 18th Century Maryland, U.S.A. Co. Louth: [Edward Fottrill] An 18th Century Manuscript Legal Document relating to lands owned in Baltimore, granting power of attorney on behalf of the heirs of the Estate Robert and Acsah Taffee, Signed by Forbes and Thwaites and are attested by those of ten merchants and inhabitants, dated 10 July 1764, as a manuscript, w.a.f. (1)

Yeats Family An album inscribed by Erma Norah Franks of Weston House, Churchtown, Dundrum, a gift from her mother, containing her manuscript copies of poems by W.B. Yeats, also a drawing in the style of a Cuala Press card signed E.C.Y[eats], and a poem by Joseph Campbell in Lily Yeats' hand and Signed by her; (with) a Victorian album of cabinet photos of members of the Franks family; and a prayer book inscribed to 'Nonie Franks / on her Confirmation Day / from her godmother / Lucy Franks / March 28 [19]34'. As an Album, w.a.f. (3)

Specifications for Two Houses in Co. Cork, 1883A Manuscript containing specifications for two houses to be built on the lands of Kipaddar South in the Barony of Duhallow, Co. Cork, under the terms of the Landed Property Improvement (Ireland) Acts of 1847 and later. Owner, Robert Reeves Esq. To be built by the Office of Public Works funded by a loan from the Treasury of £150. Signed by E. Thornton, 17 July 1883, 6pps., as a m/ss, w.a.f. (1)

A Discovery of Major ImportanceAN CLÓ-CHUMANN Ltd A strongly bound hf. morocco folio ledger containing the original manuscript Minutes of meetings of the board of Directors, 322 numbered pages, 1903-09, some countersigned by Eoin MacNeill, including full details of the company's business and financial situation over half a decade; also the company's letter-book, containing carbon copies of outgoing mail, 1903-07, manuscript and typescript, 998 numbered pages, in a worn calf-backed ledger, including copy letters to various writers, printers, publishers,suppliers etc. Includes five copy letters to Pearse, pp. 436, 763, 823, 934, 963, copy letters to Hyde and many others(see index at front), e.g. copy letter on p. 634 to P. Kelly complaining about late arrival of copy for 'An Claidheamh Soluis'; copy letter p. 494 to (the writer) Mícheál Breathnach about proofs; copy letter p. 495 to the secretary of the typographical union denying a complaint about apprentices; estimates p. 713 to P. Ó Dálaigh for printing Gaelic League Ardfheis reports; p. 681, reply to Ms. O'Farrelly about supply of books; etc. An absolute treasure-house of information about the printing and publishing scene in Gaelic Dublin in the first decade of the last century.An Cló-Chumann was set up by a group associated with Conradh na Gaeilge as an independent concern, to print for commercial customers as well as Conradh. It printed work by authors including Pearse and many others, before it eventually failed essentially for financial reasons. Little has been known about its business in detail, but the two present volumes will for the first time allow a full history to be written. A discovery of major importance.The letter-book is very fragile (India-paper pages), and patrons are requested to view with great care.

The Stones of the City[Dublin Corporation] Proceedings of Paving Committee, 16 July - 31 December 1912. Large folio hf reversed calf, morocco title label, stout cloth boards, titled 'Paving Committee' on upper board, cloth hinges, a.e.m., custom-made by Sealy Bryers & Walker, left hand pages with printed title 'Subjects for Consideration', right hand pages 'How Disposed Of ' Circa 300 pp, brief manuscript entries and comments. Subjects include new buildings, alterations, places recommended to be taken in charge, supply of materials, wages, disciplinary matters, applications for employment, applications by employees, claims for compensation, etc. etc. (1)

Tipperary Manuscript: A manuscript 30 line Love Poem addressed to Miss Eliza. White of Tipperary, by Robert White, Grafton St., Dublin, on Tuesday March 18th, 1817, per favour Leonard Doherty Esq., Jnr. Tipperary. He hopes for her wisdom and happiness, with the aid of some meteorological images :Be happy and be blest, thro' space and time,And think of him, whose friendship prompts the rhyme. As a m/ss., w.a.f. (1)

Smith (John Chaloner) A manuscript Notebook containing various engineering works from 1898 - 1901. It includes surveys for works such as the Polawaddy Road Bridge in Belmulet Union, and the Ring of Rath na Sonaid on Tara Hill (with a sketch. In full mor. as a manuscript, w.a.f. With the authors bookplate. (1)* John Chaloner was an Inspector in the O.P.W., and his expertise was in water levels (his research formed the basis of the Shannon Hydro Programme).

Herbert (Geo.) The Temple, Sacred Poems and Private Ejaculations. 16mo L. 1674; Quales (F.) Emblems, 16mo Lond. 1660, engd. port. frontis., engd. title & plts.; Bunyan (J.) The Pilgrim's Progress from This World, to that which is to Come, 16mo L. 1749, all cont. calf; also Henry - An Account of the Life and Death of Mr. Matthew Henry, Minister .. at Hackney, 16mo L. 1716. With 4pp orig. manuscript material for a Sermon?, by Henry, dated 1695, disbound. As a lot, w.a.f. (4)

Greatest Berkeley Scholar of the 20th CenturyLuce (A.A.) Two folio volumes of Notes by A.A. Luce, TCD, on the Common Place Book of Bishop Berkeley (BL MS 39305).Arthur Aston Luce (1882-1977) was Professor of Philosophy at Trinity College, Dublin, and was Vice-Provost from 1946 to 1952; his 65-year fellowship from 1912 until his death is the longest in the history of the college. He was also Precentor of St Patrick's Cathedral. He became a world-renowned authority on Bishop Berkeley, co-authoring the nine-volume edition of Berkeley's works (1948-57) and publishing (among other works) monographs on Berkeley's philosophical commentaries (1944) and life (1949) - in addition to Fishing and Thinking (1959) and A History of the Dublin Chess Club (1967). He discovered new sources and better ways of interpreting the existing sources, and in general brought about a major reassessment of Berkeley both as a philosopher and as a person.These volumes contain his transcription and notes on Berkeley's commonplace book, which has been described as "one of the most interesting documents in the history of philosophy: it reveals the struggles of a youthful, earnest and energetic mind with the growth of skepticism and shows Berkeley's approach to the doctrine of idealism." As a manuscript, w.a.f. (1)

WWI GROUP OF THREE, WAR DIARY AND POSTCARD ALBUM, 1914-15 STAR, BRITISH WAR MEDAL AND VICTORY MEDAL 2078 PTE J A KNIGHT RAMC, HOLY BIBLE IN LEATHER CASE SIGNED ASHTON KNIGHT MAY 27TH 1901 BIRCHINGTON HOUSE 70 WEST STREET DUNSTABLE BEDS / 472108 PTE J A KNIGHT 230TH FIELD AMBULANCE RAMC EGYPTIAN EXPEDITIONARY FORCE, BEDFORDSHIRE EDUCATION COMMITTEE AND BOROUGH OF LUTON 1911 CORONATION MEDALS, MANUSCRIPT AUTOBIOGRAPHY WRITTEN IN THE FORM OF A DIARY, AUTUMN 1915 - PALM SUNDAY (MARCH 25TH 1918) WITH USUALLY LENGTHY ENTRIES WRITTEN IN INK IN AN EASILY LEGIBLE HAND FOR MOST DAYS OR WEEKLY, OCCASIONALLY ILLUSTRATED, MAROON CLOTH COVERED BOARDS, 25 X 20CM, POSTCARD ALBUM OF  APPROX 500 POSTCARDS,  SNAPSHOT PHOTOGRAPHS, PRESUMABLY TAKEN BY KNIGHT, PRINTS AND EPHEMERA,  NEATLY LAID DOWN AND CAPTIONED IN WHITE INK, SEPTEMBER 1915-1919, AND AN ALBUM OF TELEGRAMS AND GREETINGS CARDS RECEIVED ON HIS WEDDING AND ANOTHER OF MR AND MRS KNIGHT'S GOLDEN WEDDING ANNIVERSARY

Bruno GollerBallspielende Mädchen Öl auf Leinwand 50,5 x 100,8 cm Gerahmt (wohl Originalrahmung des Künstlers). Unten rechts hellbraun signiert 'Bruno Goller'. - Oberflächlich zum Teil minimalst verschmutzt.Wir danken Ricarda Dick, Literatur- und Kunstinstitut Hombroich/Sammlung Kahmen, für freundliche bestätigende Auskünfte.ProvenienzSammlung Matthias T. Engels, Linnich; seitdem in FamilienbesitzDas Oeuvre Bruno Gollers wird bestimmt von rätselhaften, scheinbar aus der Zeit gefallenen Sujets in zurückhaltender Farbigkeit, die dem Betrachter vielfältige Assoziationsmöglichkeiten bieten. Seine „Ballspielenden Mädchen“ lassen an einen Fries aus einer mittelalterlichen Buchmalerei oder ein antikes Fresko denken. Das extreme Querformat ist durch die angedeutete Darstellung farbiger Zeltplanen und hölzerner Rahmenkonstruktionen in vier Felder eingeteilt, vor denen vier Mädchen in altertümlichen Gewändern einen Ball werfen oder in den Händen halten. Hintereinander aufgereiht agieren die Spielerinnen nicht miteinander, sondern voneinander isoliert, jede in einem individuellen Bewegungsmoment eingefangen. Die Segmentierung des Bildraumes ist ebenso wie die Verwendung erdiger Farbtöne charakteristisch für Gollers Schaffen um 1950.Das Gemälde stammt aus dem persönlichen Besitz von Matthias T. Engels, der ab 1948 als Ministerialrat des noch jungen Bundeslandes Nordrhein-Westfalen begann, Werke von regionalen Künstlern anzukaufen, um sowohl junge Talente als auch unter dem NS-Regime verfemte Künstler zu unterstützen. Die durch sein Kultusministerium getätigten Ankäufe mündeten in der Sammlung „Kunst aus Nordrhein-Westfalen“, die seit Mitte der 1970er Jahre in der ehemaligen Reichsabtei Kornelimünster ihren Platz hat. Bruno GollerBallspielende Mädchen Oil on canvas 50.5 x 100.8 cm Framed (presumably original artist's frame). Signed 'Bruno Goller' in light brown lower right. - Partially with very minimal surface soiling.We would like to thank Ricarda Dick, Literatur- und Kunstinstitut Hombroich/Sammlung Kahmen, for kind confirmatory information.ProvenanceMatthias T. Engels, Linnich; in family possession sinceBruno Goller's oeuvre is defined by enigmatic subjects which seem like relics from another time, featuring muted colour schemes and offering viewers diverse possibilities for associations. His “Ballspielende Mädchen” call to mind a frieze from a medieval illuminated manuscript or an ancient fresco. The extreme horizontal format is divided into four fields through the suggested depiction of coloured tent coverings and their wooden framework: in front of them, four girls in archaic robes throw a ball or hold it in their hands. Lined up one after the other, the players do not interact with each other; instead, they are isolated from one another, each captured in an individual moment of movement. Like the use of earthy tones of colour, the pictorial space's segmentation is characteristic of Goller's work from around 1950.The painting is from the personal collection of Matthias T. Engels, a senior principal in what was then the new federal state of North Rhine-Westphalia who began purchasing works by regional artists in order to support young talents as well as artists persecuted under the Nazi regime. The purchases made by his Ministry of Culture culminated in the collection “Kunst aus Nordrhein-Westfalen”, which has been housed in the former imperial abbey of Kornelimünster since the mid-1970s.

Rogier van der Weyden, NachfolgeMadonna mit Kind Öl auf Eichenholz. 48 x 37 cm.ProvenienzJacques Leegenhoek, Paris, 1984.LiteraturCorinna Peuckert, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 45-7, Abb. Nr. 18.Rogier van der Weyden war einer der erfindungsreichsten Maler der niederländischen Kunst des 15. Jahrhunderts. Er schuf Bildthemen, die jahrzehntelang von seiner Werkstatt und später von seinen Nachfolgern verwendet wurden. Von all seinen Schöpfungen erwies sich die Darstellung der „Maria Lactans“, der „Stillenden Madonna“ als eine der beliebtesten. Sie war vor allem für die häusliche Andacht gefragt und wurde gelegentlich auch mit einem Stifterporträt als Diptychon verlangt. Die vorliegende Tafel ist ein schönes Beispiel für einen Bildtypus, der auf dem Kunstmarkt in Brügge und Brüssel sehr geschätzt wurde. Die verschiedenen überlieferten Versionen dieses be- und geliebten Bildes unterscheiden sich in Stil, Fassung, Ornamente und Technik voneinander. Je nach dem Preis, den der Auftraggeber zu bezahlen bereit war, wurden die Figuren entweder in einer repräsentativen Umgebung, vor einer Landschaft oder einfach nur vor einem monochromen Hintergrund dargestellt.In Brügge finden sich solche Beispiele u.a. beim „Meister der Ursula Legende“, wo die Jungfrau Maria im Himmel vor einem Goldgrund gekrönt erscheint (vgl. Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum), im Gerard-David-Kreis (vgl. Madrid, Museo Lázaro Galdiano, Inv.-Nr. 3049), von Adriaen Isenbrant und Ambrosius Benson, oder gar auf einem Manuskriptbild aus der Gent-Brügger Schule (vgl. Brüssel, Auktion Romantic Agony 14.6.2008, Lot 951).Am Ende des 15. und Anfang des 16. Jahrhunderts arbeiteten in Brüssel, der Heimatstadt van der Weydens, verschiedene Maler noch unter seinem Einfluss. Darunter der „Meister der Blattstickerei“ oder der „Meister der Legende der Heiligen Katharina“. Das Nationalmuseum in Stockholm beherbergt eine „Maria Lactans“ (Inv.-Nr. NM 6179), die diesem namentlich nicht bekannten Meister zugeschrieben wird. Kompositorisch ist das Stockholmer Bild mit der vorliegenden Tafel vergleichbar und führte zu einer Zuschreibung unseres Bildes an den „Meister der Katharinen-Legende “ (E. Mai, op. cit.). Allerdings entspricht die Auffassung der Landschaft bei dem Katharinen-Meister richtigerweise noch dem gotischen Stil des 15. Jahrhunderts. Das Lempertz-Bild hingegen, mit seiner realistischeren Behandlung der Natur, der tiefen Perspektive und der Maltechnik, bei der die Figuren mit Bleiweiß modelliert wurden, ist als ein eindeutiges Werk des frühen 16. Jahrhunderts zu erkennen.Abgesehen von der Landschaftsdarstellung fügt sich das Marienbild perfekt in die ursprüngliche Tradition des Vorbilds van der Weydens ein. Die Jungfrau Maria und das Christuskind sind in Nahansicht vor einer Hügellandschaft in der Nähe eines Dorfes dargestellt. In der Ferne ragt eine mittelalterliche Burg zwischen den Bäumen heraus. Ein kleiner Fluss schlängelt sich parallel zwischen dem Weiler und der Figurengruppe. Mit dem leicht nach links geneigten Kopf bereitet sich Maria darauf vor, das Kind mit der linken Hand zu stillen, während sie es mit der anderen Hand auf ihrem Schoß hält. Sie sitzt vor einer niedrigen, mit Laub bedeckten Steinmauer. Die linke Hand des Kindes ist erhoben, während die rechte einen kleinen Apfel hält. Ein Strahlenkranz hebt beide Figuren hervor. Maria trägt einen blauen Umhang und ein rotes, mit Pelz unterfüttertes Überkleid, die Ärmel aus Goldbrokat haben goldene Knöpfe an den Handgelenken. Auf dem Brüsseler Kunstmarkt des frühen 16. Jahrhunderts waren solche Bilder mit einer derartigen Mischung von geistiger Kraft und mütterlicher Liebe, eingebettet in eine friedliche Natur, für die private Andacht sehr geschätzt. Rogier van der Weyden, follower ofThe Virgin and Child Oil on oak panel. 48 x 37 cm.ProvenanceWith Jacques Leegenhoek, Paris, 1984.LiteratureCorinna Peuckert, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 45-7, no. 18, reproduced.Rogier van der Weyden's œuvre reveals the master as the most inventive early Netherlandish painter in the 15th century, creating works of art which served as for decades onwards by his workshop and followers. Among his creations the Virgo lactans or Nursing Madonna turns out to have been one of the most popular themes used for private devotion, sometimes associated with a donor portrait in the format of a diptych. The present panel is a fine example of a pictorial type highly appreciated on the art market in Bruges and Brussels. The various surviving versions of this beloved image single out from each other by their style, setting, ornaments and technique. According to the price paid by the patron the figures were either set in a prestigious surrounding, before a landscape or just simply in front of a monochrome background.In Bruges such examples can be found among others by the Master of the Legend of Saint Ursula where the Virgin appears crowned in heaven before a gold ground (Aachen, Suermondt-Ludwig-Museum; Worcester, Art Museum) in the circle of Gerard David (Madrid, Museo Lázaro Galdiano, inv. no. 3049) by Adriaen Isenbrant and Ambrosius Benson, or even on a manuscript painting from the Ghent-Bruges school (Sale Romantic Agony, Brussels, 14 June 2008, lot 951).At the end of the 15th and early 16th centuries in Brussels - home town of Van der Weyden - painters were all working under his strong stylistic influence. Among them were the Master of the Embroidered Foliage and the Master of the Legend of Saint Catherine. The National Museum in Stockholm houses A Virgin nursing the Child holding an apple (inv. no. NM 6179) which has been attributed to the latter. Compared with the present composition it shows a clear stylistic relationship. But while the Swedish panel belongs to the 15th century gothic style, the present painting bears witness to the 16th century style with its much more realistic treatment of the landscape, the in-depth perspective and its painting technique using white lead in modelling the figures.Apart from the presence of a landscape the Marian icon fits perfectly into the original Rogerian tradition. The Virgin and Infant Christ are depicted in a close-up view in front of a hilly landscape near a village with a medieval castle at the far distance. A small river meanders parallel between the hamlet and the group. Her head slightly inclined to the left, the Virgin Mary prepares to nurse the Child with Her left hand while holding Him in Her lap with the other. She sits before a low stone wall covered with foliage. The Child's left hand is raised while the right holds a small apple and both Mary and Jesus have a halo around their heads. She wears a cloak and a red overdress lined with grey fur. Her armlets are of gold brocade with golden buttons at the wrists. It bears no doubt that the Brussels art market would have indeed appreciated such a blend of spiritual power and motherly imagery set in nature's peaceful backdrop, to adorn one's private home.

ALBUM - A substantial folio album (450 x 300mm) containing c. 600 autograph letters, envelopes, clipped signatures, clippings, mostly 18th- and 19th-centuries, including letters by Harriet Martineau (3-pages, undated, to an unknown recipient, concluding, "... Pray ask me as many questions as you please, either in person, or through the post. My mother and I shall always be happy to assist you in any way, Yours very truly, H. Martineau"), Humphry Davy (one-page, undated, sense largely irrecoverable, but including, "... I think been instrumental to what may be called a National triumph ...") and many other items including autograph letters by Lord Brougham, Lord Palmerston and Julia Pardoe, and others; clipped signatures of Robert Browning, Lord Byron, Gladstone, Robert Peel, Samuel Rogers, and others. Provenance: The album was compiled by Joseph Mazzinghi (1765-1844), an English composer of Corsican origin. He was the eldest son of Tommaso Mazzinghi, a London wine merchant and violinist who led the orchestra at Marylebone Gardens, published Six Solos for the Violin in 1763 and died in November 1771. John Mazzinghi, probably an uncle, made a number of English translations of librettos for the King's Theatre in the Haymarket, including several by Da Ponte. Felice Mazzinghi (possibly another uncle) published a keyboard sonata in 1765, and five other manuscript sonatas by him are in the British Library. Joseph Mazzinghi himself was very prolific, composing many operas, between seventy and eighty pianoforte sonatas, upwards of two hundred airs for pianoforte, and as many for harp and other instruments; thirty-five or more vocal trios, of which 'The Wreath' is still remembered; and a number of songs. Many of the letters and envelopes in the album are addressed to him, or to his wife.

HOBBES, Thomas (1588-1679). Opera Philosophica, Quae Latinè scripsit, Omnia. Antè quidem per partes, nunc autem, post cognitas omnium objectiones, conjunctim & accuratiùs edita. Amsterdam: Apud Joannem Blaeu, 1668. Parts I - IV (only, of 8) bound in one volume, 4to (198 x 150mm). Woodcut printer's device on title, folding engraved portrait of Thomas Hobbes by W. Faithorne, initials, ornaments, 24 engraved plates [?only, see footnote], 6 of which folding, 7 engraved diagrams, woodcut diagrams, tables (occasional light spotting and staining, a few darker spots, a few leaves lightly browned, minor printing flaw on Qq9v). Contemporary vellum, yapp edges, traces of title in old manuscript on spine (lightly stained). THE FIRST PART OF THE FIRST COLLECTED EDITION OF HOBBES' WORKS. This work has a notoriously problematic collation. The present copy has the following sections: Problemata physica ([A] - F2, pp. 1 - 44, 2 engraved plates [unnumbered]); Examinatio et emendatio mathematicae hodiernae ([A1] - T1, pp. 1 - 146, 2 engraved plates numbered "fig. 2" and "fig. 3"); Elementorum philosophiae sectio prima de corpore ([Aaa1] - Llll3, p. 1 - 261, 12 engraved plates numbered XIV, XVI, XVII, XVIII, XIX, XXI, XXII, XXIII, XXIIII, XXVI, XXVII and a single plate numbered "XXVIII et XXX"); Elementorum philosophiae sectio secunda de homine[Aa1] - LL3 ("Finis"), pp. 1 - 86, followed by 2 [?later] blanks, 8 engraved plates numbered Ad cap. II, III, IIII, V, VI, VII, VIII and IX). Brunet II, 598: "Collection recherchée et devenue rare" [1842]; Lowndes II, 1078; Macdonald & Hargreaves 104. Sold not subject to return.

ROSS, Horatio (1801-86). "Journal of Sporting Adventures in India from 1858 to 1862." Oblong 4to (263 x 355mm.). Original manuscript journal on c. 60 leaves (first text leaf repaired at upper edge with some loss, a few leaves torn or repaired with occasional insignificant loss). Contemporary black half morocco gilt (rubbed, some old repairs). Provenance: Horatio Ross (signature on front pastedown). A FINE MANUSCRIPT JOURNAL, BY A RENOWNED SPORTSMAN AND PHOTOGRAPHER, of a hunting trip in the Bengal region of India, incorporating original watercolours and drawings throughout illustrating bear, wild boar and tiger hunting (sometimes on elephant-back). Perhaps more appealing to the modern sensibility, however, are the watercolours of extensive Indian landscapes, rich with wildlife, and the detailed depictions of life in camp which do little to belie certain stereotypes of an idealised "Raj". The Journal also includes a full-page original map of "Singowlee" [i.e. Singrauli] and a "Bird's Eye View of the District of Mirzapore". The Journal opens: "In February 1858, I was staying in Calcutta reading for my examination in Hindee. [I had an] invitation from Lane, who was then at Burdwar, to join him & some others in an expedition. Having passed the examination, I started with Peacock by train from Howrah for our destination, the rest of the party having started before us. After proceeding about eighty miles, we reached the station where we were to get out of the train & found two very smart palanquins & bearers waiting for us, & were informed that we would have to go about fourteen miles. This was the first time I had ever travelled in one of these contrivances; I, however, after a short time rather approved of it ..." Born at Rossie Castle, near Montrose in Angus, Horatio Ross, in addition to being a renowned sportsman and marksman, was a pioneer of amateur photography, being an early exponent of the processes of the Daguerrotype and Calotype, and was a founding member of the Photographic Society of Scotland.

LAWRENCE, D. H. (1885-1930). Pansies. [Colophon:] London: P. R. Stephensen, June 1929. 8vo (226 x 145mm). Self-portrait frontispiece printed in bistre, title printed in brown and blue, second title printed in red. Original stiff white wrappers printed in red and black (some light spotting and staining), slipcase (some minor wear). NUMBER 227 OF 500 COPIES SIGNED BY THE AUTHOR. The printed limitation states: "This limited edition is printed complete, following the original manuscript, according to my wish." This edition contains 14 previously unpublished poems which were not included in the first edition printed by Secker five months before. Fabes p.24; Roberts A47c. With J. B. Priestley's The Town Major of Miraucourt (London, 1930, original vellum gilt (heavily stained), ONE OF 525 COPIES SIGNED BY THE AUTHOR [this copy unnumbered]). (2)

PAPA, Giuseppe del (1648-1735). Consulti medici. Venice: Per Sebastiano Coleti, 1734. 2 volumes bound in one, 4to (238 x 170mm). Woodcut vignettes on each title (lacks all before title [i.e., blanks not called for in the collation], variable mainly marginal spotting and staining). Contemporary vellum with title in old manuscript on spine (head of spine repaired). Provenance: illegible old inscription on first title. The work was first published in 1733. Blake 114; Gamba 2046; Wellcome IV, 292.

MARITIME - Andrew WILSON (dates unknown). Naval History of the United Kingdom. Including an Account of the Naval and Maritime Transactions of the Phoenicians, Egyptians, Chinese, Carthaginians [etc.]. Cork: J. Connor, 1807. 3 volumes including Appendix, 8vo (233 x 140mm). Large folding woodcut "Plan of the Engagement between the Capes La Hogue and Barfleur, May 19, 1692" (spotted, stained and browned, and otherwise defective). Contemporary parchment-backed marbled boards, uncut, title in old manuscript on spines (tatty). Sold not subject to return. (3)

RABIQUEAU, Charles (fl. 1753-83). Le Spectacle du Feu Elementaire, ou Cours d' Electricité Expérimentale. Paris: Chez Jombert (and others), 1753. 8vo (178 x 115mm). "Avis" and errata leaf after title, woodcut ornaments, 10 folding engraved plates (plates unbound and, with the text block, detached from binding). Contemporary boards, title in old manuscript on spine (stained). Provenance: "D. Chauchol Curé d' Issurtille" (old inscription on front pastedown). FIRST EDITION. Wheeler Gift 381: "Experiments on the nature and effects of the electric discharge in illustration of the author's views."

[FINCH, Heneage, Earl of Nottingham (1620-82, editor)]. An Exact and Impartial Accompt Of the Indictment, Arraignment, Trial, and Judgment (according to Law) of Twenty nine Regicides, the Murtherers Of His Late Sacred Majesty Of Most Glorious Memory ... Together with a Summary of the Dark, and Horrid Decrees of those Caballists, Preparatory to that Hellish Fact. London: Printed for Andrew Crook ... and Edward Powel, 1660. 4to (185 x 140mm). Woodcut head-pieces, woodcut ornament at the end (some minor marginal repairs to title, with loss of one letter, variable browning throughout, but more heavily at margins, occasional spotting, piece torn away from blank margin of [Cc2], Hh[1] torn without loss). Modern old-style half calf and marbled boards, new endpapers. Provenance: old annotation to p. 279; old manuscript remedy written upside-down on final text leaf. FIRST EDITION. STC N1403 (listed under "Nottingham"). With John Milton's Paradise Lost: A Poem in Twelve Books (London, 1792, 8vo, engraved portrait and 10 plates, some detached, contemporary calf, rather worn). (2)

SPENGLER, Joseph (1736-76). Optick Catoptrick und Dioptrick in Zween Theilen. Augsburg: In verlag bey Matthaus Rieger und Guehnen, 1775. 8vo (192 x 120mm). Title within woodcut typographical border, 14 folding engraved plates, initials and ornaments, tables (lacks all before title [i.e. blanks], some mainly light spotting, staining and browning). Contemporary speckled boards, old manuscript label on spine (rubbed and scuffed). Provenance: early ink annotation to front pastedown and some faint pencil annotation to plates. FIRST EDITION. The author taught mathematics at the Jesuit University at Dillingen and was also a Jesuit priest. De Backer & Sommervogel Bibliothèque de la Compagnie de Jésus VII, 1435; Poggendorff II, 970.

MARITIME - H.M.S. VENGEANCE & H.M.S. KING EDWARD VII, SHIP'S LOGS - [Title on spine of the first volume:] "Log of H.M.S. Vengeance. 1906-1908." [& on spine of the second volume:] "Journal of H.M. Ships Vengeance and King Edward VII 1908-1909". [Printed title:] (King's Regulations, Article 291.) Mr. [in manuscript: "C.M.R. Schwerdt, Midshipman, R.N." [printed:] Period: [in manuscript:] "May 15th, 1906 [-July 9th, 1909]." 2 volumes, folio (315 x 202mm). Extensive ship's log printed in red and black. EXCEPTIONALLY FINELY BOUND in brown armorial crushed morocco gilt by Riviere & Son, spines lettered in gilt with 5 raised bands, dentelles, gilt edges. RICHLY EXTRA-ILLUSTRATED. The first volume includes the following original pen-and-ink drawings and watercolours bound in (various sizes, but many full-page): 1) "Fore part of Main Deck ..."; 2) "After part of main deck ..."; 3) double-page chart captioned, "May - July 1906. Chart of Last Period of Manoevres[sic]"; 4) "Belleville boilers"; 5) "... profile showing firearms"; 6) chart of Portland Harbour; 7) ventilation and fan system; 8) "Fore part of Mark IV. R.G.F. Torpedo"; 9) "After part of Mark IV. R.G.F. Torpedo"; 10) "Servomotor"; 11) "Plan of Bantry Bay with Berehaven"; 12) "Sketch of XII inch B.L. gun mark VIII"; 13) "6 inch Mark II steel and wire gun"; 14) "H.M.S. Dreadnought"; 15) "Pontevedra and Vigo Bays"; 16) "Screw propeller"; 17) "Plan of tactical or war manoeuvres ... outside Arosa Bay"; 18) "Controlling ram and recoil cilynder[sic]"; 19) "India rubber disc valve"; 20) "Tactical manoeuvres ... outside Lagos (5 plans)"; 21) "6 inch guns"; 22) "Devonport and Hamoaze"; 23) "Profile ... showing armoured portions"; 24) "Yarmouth Haven"; 25) "Balance chamber R.G.F. Torpedo" (2 drawings); 26) "Plan of lightning conductor H.M.S. Formidable"; 27) "Firth of Forth"; 28) "Cromarty & Inverness Firths"; 29) double-page "Track chart for summer cruise 1907"; 30) "Non return valve"; 31) "Mounting"; 32) "Morning swivel"; 33) "Track chart for November"; 34) "H.M.S. Hero experiments"; 35) 3 watercolours including one of a collision. The second volume includes the following original pen-and-ink drawings and watercolours bound in: 1) pictorial title incorporating H.M.S. Vengeance; 2) "Track chart for January"; 3) "Entrance to Portsmouth Harbour"; 4) "Sketch of Bantry Harbour"; 5) "Chart of Manoeuvres March-April"; 6) "Chart ... 1908"; 7) "Chart of south of Norway and Christiana"; 8) "Track chart ... 1908"; 9) "Track chart ... 1909" (2); 10) "Plan of damaged roller path"; 11) "Roller path of a turret"; 12) "Section of a cable holder"; 13) two electric bells; 14) different types of rigging (2); 15) watercolour of the ship; 16) "Gunlayers targets"; 17) "Christiana harbour"; 18) "Anchorage of blue fleet"; 19) "Rudder"; 20) "Ahead and astern turbine"; 21) "Battle Practice 1908"; 22) "Pulling regatta"; 23) "Diagram showing the effect of six shots from 6" guns"; 24) "Method of towing"; 25) "Coaling arrangements"; 26) "Midship section"; 27) "Attack on the Verne fort 1908"; 28) "New French armoured cruisers 'Diderot' and 'Condoret'"; 29) "Section of warhead"; 30) "Sketch of lower mast head"; 31) "... alongside CI coaling depot"; 32) "Plan of net defence"; 33) "Kingston valve"; 34) "section through gun port"; 35) "Gunlayers-test"; 36) "Picket boat"; 37) "Latest German battleship 'Nassau Class'"; 38) "Ventilation box valve"; 39) autograph booklet titled "Summer manoeuvres 1908", signed by C.M.R. Schwerdt. With a folder containing letters and ephemeral items relating to Schwerdt. (3)

ROBINET, Jean Baptist (1735-1820). Vue Philosophique de la Gradation Naturelle des Formes de l' Etre, ou les Essais de la Nature qui Apprend a Faire l' Homme. Amsterdam: Chez E. van Harrevelt, 1768. 8vo (198 x 125mm). Half title, title printed in red and black with engraved illustration, 4-pages of errata, 10 engraved plates. Contemporary mottled calf, spine gilt with red morocco lettering-piece and raised bands, red edges (joints split, quite heavily rubbed). Provenance: year of publication written in old manuscript beneath imprint. The first Dutch edition, printed in the same year as the Paris edition. Caillet 9509: "Ouvrage peu commun et très original ... L'auteur a donné une audacieuse théorie du monde, renouvelée de l'ésotérisme antique: l'univers est pour lui, un animal infini, et chacune de ses parties vivent également d'une existence qui leur est propre ..."; not in Brunet.

CAVALLO, Tiberius (1749-1809). Theoretische und practische Abhandlung der Lehre vom Magnet. Leipzig: im Schwickertchen Verlage, 1788. 8vo (196 x 125mm). 2 folding engraved plates at the end. Contemporary or original paper boards with old manuscript label (section excised from front free endpaper). Provenance: inscription dated 1836 on front pastedown. FIRST EDITION. Poggendorff I, 405; Wheeler Gift 540.

[DODSLEY, Robert (1703-64)]. The Oeconomy of Human Life, Translated from an Indian Manuscript, written by an Ancient Brahmin. To which is Prefixed an Account of the Manner in which the Said Manuscript was Discovered. In a Letter from an English Gentleman now Residing in China to the Earl of E****. London: Printed for T. Rickaby, 1795. 8vo (185 x 110mm). Wood-engraved vignettes (head of title excised without loss, a few leaves torn without loss, some mainly marginal spotting and staining). Contemporary calf (spine severely worn, rubbed and scuffed, some signatures starting). First published in 1750, the work purports to be a transcription of an ancient text found by a Chinese scholar. It was something of a publishing phenomenon, running into many editions through the latter part of the 18th-century.

GILWELL [or GILLWELL] HOUSE ARCHIVE - An archive of printed and manuscript material relating to Gilwell House in Essex, comprising: William SOTHEBY (1757-1833). Farewell to Italy, and Occasional Poems. London: W. Bulmer and Co., 1818. 4to (287 x 222mm). (Occasional light spotting and staining.) Contemporary plain wrappers (stained and creased at corners). FIRST EDITION, PRESENTATION COPY, inscribed on the front free endpaper, "The Author to [?] Chinnery In memory of many many most delightful hours enjoyed at Gillwell [sic, variant spelling] - Lower Grosvenor No. 13, May 2nd - 1818 -".Together with various documents relating to the house and estate, including a Christie's catalogue for the contents of the house, "principally of a most choice collection of Painted Greek Vases," (1812), a Winstanley and Sons catalogue for the sale of the house and grounds (1823), and a collection of ephemera relating to the East India Company, including many letters, documents on vellum, and others relating to Gilwell House, an album of manuscript music, and a copy of a granting of the Freedom of the City of London on vellum in a titled wooden container. (qty)

BEGUIN, Jean (1550-1620). Tyrocinium chymicum. Geneva: Excudebat Blasius le Melais, 1659. 8vo (150 x 102mm). Additional engraved title, initials and ornaments, folding table (2 leaves adhering, stained, spotted and browned throughout, some worming. one signature detached, folding table detached and torn with slight loss at upper edge). Contemporary vellum, title in old manuscript on spine (lacking ties, stained). First published in 1610, the work is recognised as the first chemistry, as opposed to alchemical, textbook. Duveen 63; Ferguson I, 93. Sold not subject to return.

OWEN, David Dale (1807-60). First Report of a Geological Reconnoissance[sic] of the Northern Counties of Arkansas, made During the Years 1857 and 1858. Little Rock: Johnson & Yerkes, 1858. Folio (251 x 165mm). Half title, wood-engraved frontispiece, 6 tinted lithographed plates, wood-engraved plates, vignettes, diagrams (some text leaves browned, occasional spotting and staining). Contemporary marbled boards, paper spine label with title in manuscript (extremities rubbed). Provenance: not unsightly Basel library stamps to half title, title, plates and to a few text leaves. FIRST EDITION. Sabin 58006.

A LARGE COLLECTION OF AUTOGRAPHED AND MANUSCRIPT EPHEMERA, containing the signatures of many public notables, artists, political, actors, royalty etc

A 17TH CENTURY LEATHER BINDING (ONLY) EMBOSSED WITH AN ARMORIAL, AND THE DATE '1603', with a collection of paper and parchment manuscript documents, etc

Allan Ramsay (1713-1784)Portrait of a young gentleman, half-length, in a blue coat and waistcoat and holding a manuscriptoil on canvas69 x 56cm, in original frame Provenance: Horton Lodge, Windsor, Berkshire.The present portrait dates from the mid-1760s and is an interesting addition to Ramsay's late work. It was unknown to Professor Alastair Smart, but the soft handling and sensitivity of the portrait is comparable with the three-quarter length of Lord Sinclair, c.1765, and the head and shoulders of the Duke of Leinster dated 1762 (A Smart, 'Allan Ramsay: A Complete Catalogue of his Paintings', New Haven and London, 1999, pp.147-48, 181, cat. nos. 318, 476, psl. 550 and 579).Condition report: Oil on canvas which has been lined, on the reverse of the stretcher is a stamp for G. Morrill liners. In the lower right quadrant is a severe and stiff deformation to the canvas, causing cracking and flaking to the paint layer. There are old losses along the lower edge of the painting. In localised areas there are paint cracks which are starting to lift. The paint layer has scattered retouchings in the blue jacket, face and background. Some of the retouchings lie beneath the varnish and the extent of these in the background is difficult to determine. The painting has a thick varnish layer which is yellowed and glossy with a few paint splashes on the surface and a thick layer of dust. The frame is in a poor condition with losses to the moulding and flaking to the gilding.

John Crome (1769-1821)A thatched farmhouse by paddock railsoil on millboard44 x 54.5cm, in a carved and gilded frameProvenance: Thomas Woolner RA, his sale; Christie's, London, 12 June 1875, lot 8 (E J Stansby, for 6 gns);Leggatt Bros., London, sold 1948, to 1st Viscount Mackintosh of Halifax;by descent to 2nd Viscount Mackintosh;Christie's London, 17 October 1986, lot 151;the collection of Surgeon Vice Admiral Godfrey Milton-Thompson.Exhibited: Norwich Society of Artists, Norwich, 1805, no.67.Literature: Viscount Mackintosh, Manuscript Catalogue, No.39;C H Collins Baker, 'John Crome', 1921, pp 108, 135;D & T Clifford, 'John Crome', 1968, p 181, plates 7 and 60A;N Goldberg 'John Crome the Elder', pub. New York University Press, p.172, plate 5.Condition report: Oil on board which has been attached to a wooden stretcher. The support is slightly degraded around the edges but in plane and stable overall. The paint layers are thinly applied in areas with some wear and abrasion but generally sound. There are areas of overpaint across the surface which now appear matte, notaby in the darker paint passages. The varnish is yellowed but glossy and even with a layer of surface dust present. The gilding on the frame has areas of flaking and loss.

Dr. Edward Adrian Wilson, two fine pen and ink Antarctic landscape studies, both signed, ' Smoke Columns of Mount Erebus from the South West ', dated 31st August 1903 and ' Castle Rock from Arrival Heights ', both 5.75ins x 7.25ins, framed (previous sale history verso)Provenance = label versoSotheby's Manuscript sale 28/3/83 (see photo)Condition very good, images on-line show tiniest hint of foxing in 'Castle Rock'

Partiell feuervergoldete Bronze des Manjushri auf einem Lotos TIBETO-CHINESISCH, spätes 18.Jh. H. 11,7 cm Provenienz: Ehemals aus einer alten deutschen Privatsammlung, vor 2007 erworben - Etwas berieben A GILT-BRONZE FIGURE OF MANJUSHRI, TIBETO-CHINESE, late 18th ct., seated in vajrasana on a lotus-base with his right hand holding the sword while the left originally holding the stem of a lotus flowering along his upper arm supporting the manuscript, wearing dhoti, scarf draped around his shoulders, jewellery inlaid with turquoise beads, his face displaying a serene expression with downcast eyes, his hair combed in a chignon and secured with a tiara, resealed - Former property from an old German private collection, acquired prior to 2007 - Minor wear

Feines Thangka mit Darstellung des KANAKAVATSA TIBETO-CHINESISCH, 17.Jh. oder früher 79,5 x 49,5 cm Seidenbrokat-Montierung. Feine Malerei. Provenienz: Aus einer süddeutschen Privatsammlung, zwischen 1975 und 1977 in Tibet und Nepal erworben - Berieben, kleinere Alters- und Wasserschäden A FINE THANGKA DEPICITNG KANAKAVATSA, China, Tibeto-Chinese, 17th ct. or earlier, 79,5 x 49,5 cm. Seated with legs crossed on a rocky pedestal covered with layers of leaves, both hands resting on his lap in dhyanamudra, wearing various garments including a patchwork mantle covering his head and kept together by a long clasp draped over his left shoulder, a pair of shoes in front of him, his elderly face with slightly emaciated features but displaying a serene expression with downcast eyes below long, bushy eyebrows, head halo behind, flanked to one side by an attendant holding scroll and staff while at the other side is placed a rocky pedestal supporting a manuscript, large vase and tea-cup, the whole scene is placed under a tree and set in a mountainous landscape showing a waterfall, blossoming flowers and a pair of birds, in brocade mounting - Property from a South German private collection, acquired in Tibet and Nepal between 1975 and 1977 - Wear, minor damages due to age and water

Der Tsenpo Trisong Detsen TIBET, 18.Jh. 75 x 44 cm Im Zentrum der Malerei erscheint der Tsenpo Trisong Detsen (755-797). Dieser Tsenpo gilt als die Verkörperung des Bodhisattva der Weisheit - Manjushri. Er trägt auf seinem Haupt den Kronenschmuck, auf der Brust ein kostbares steinbesetztes goldenes Gau. Das Attribut in seiner linken Hand - und das ebenso des Manjushri - ist ein Buch, ein Manuskript mit dem essenziellen Text der Mahayana Lehren, der Prajnaparamita. Sie ist die höchste der sechs transzendenten Tugenden, die den Pfad eines Bodhisattvas zum Nirwana charakterisieren. Seine rechte Hand liegt entspannt auf seinem Knie. Der Körper ist in kostbare Seidenkleider gehüllt. Der zinnoberrot lackierte Königssessel weist an dessen Lehne links und rechts je einen vergoldeten Makarakopf auf, mit einem Juwel als Bekrönung. Ein üppig blühender Baum steht zur linken des Königs, und zu seinen Füßen befindet sich eine goldene Opferschale mit Elfenbein und Juwelen, umsäumt von Lotos- und Päonienblüten. Tisrong Detsen hat nach seinem Vorgänger Srongtsen Gampo einen wesentlichen Beitrag zur Verbreitung des Buddhismus geleistet. Unter seiner Initiative wurde auch das Kloster Samye gegründet. Seine Darstellung befindet sich in der linken oberen Bildecke. Die segensreiche und von wundervollen Erscheinungen begleitete Einweihung wurde von dem Großen Guru Padmasambhava aus Oddiyana, das heute in der antiken Region Gandhara angenommen wird, vorgenommen. Sein Abbild zeigt ihn als einen Bodhisattva, in Gestalt des Padma Yungnä, in der oberen rechten Bildecke. Dort hält er als Attribute: Damaru in seiner rechts oben gehaltenen Hand, die Schädelschale in seiner linken, und der magische Stab khatvanga, mit den drei Köpfen der drei Zeiten, und der Bekrönung eines goldenen Vajras, lehnt in seiner linken Armbeuge. In der unteren rechten Bildecke erscheint der weißfarbige Cintamani Mahakala als Schützer der Religion und Wahrer des Wohlstands. Darauf hin weist das Juwelenbündel, das er in einer seiner sechs Hände hält. Als Dharmaschützer steht er über der überwundenen Hindugottheit Ganesha. Zu seiner Rechten erscheint die Königinmutter, gekleidet in ein rotes Unter- und ein grünes Obergewand. Sie bringt als Verehrungsgabe dem Tsenpo einen grünen goldstrahlenden Juwel dar. Zu ihrer Linken befindet sich ein Adorant oder Diener, der einen Stab und eine Schriftrolle zusammen mit anderen Utensilien hält. Tempera und Gold auf Baumwollgewebe. Provenienz: Aus einer alten süddeutschen Privatsammlung, zwischen 1968 und 1972 bei Schoettle Ostasiatica erworben - Berieben, Altersspuren A THANGKA DEPICTING TRISONG DETSEN (755-797), TIBET, 18th ct., the centre of the painting with Trisong Detsen seated in relaxed posture on a cushion placed on an elaborate throne, his right hand resting on his knee while the left is holding a manuscript, wearing various garments, his face displaying a serene expression with downcast eyes, moustache and beard framing his face, topped with a crown, flanked by a pair of worshippers, the upper part with Atisha holding ghanta and a covered vase behind him, the white Tseringma opposite and the lower section showing a shallow bowl with offerings and the six-armed Cintamanimahakala, all placed in a mountainous landscape - Property from an old German private collection, bought from Schoettle East Asian Art between 1968 and 1972 - Traces of age, wear

Feuervergoldete Bronze des Tsongkhapa auf einem Lotos TIBET, ca. 17.Jh. H. 10,5 cm Provenienz: Aus einer europäischen Privatsammlung, seit den 1920er Jahren im Besitz der jetzigen Eigentümer - Minim. berieben A GILT-BRONZE FIGURE OF TSONGKHAPA, TIBET, ca. 17th ct., seated in vajrasana on a lotus-base with both hands in dharmacakramudra, a pair of lotuses flowering along his upper arms supporting the sword and manuscript, wearing monastic garment, his face displaying a serene expression with downcast eyes below arched eyebrows running into his nose-bridge and his head topped with the specific bonnet, resealed - Property from a European private collection since the 1920s - Minor wear

Feuervergoldete Bronze eines Saskyapa-Lama OST-TIBET, 17. Jh. H. 18,2 cm Provenienz: Aus einer süddeutschen Privatsammlung zwischen 1980 und 1998 gesammelt, diese Bronze wurde bei Nagel, Auktion 4A, 19.6.1993, Lot 2337 erworben - Etwas best., part. korrodiert A GILT-BRONZE FIGURE OF A SASKYAPA LAMA, TIBET, 17th ct., seated in vajrasana on a lotus base with both hands in dharmacakramudra holding each a stem of a lotus supporting the sword and manuscript, wearing monastic cloak including patchwork mantle, his face displaying a serene expression with downcast eyes and his head topped with the specific hat, unsealed - Provenance: South German private collection, assembled between 1980 and 1998, this bronze was bought from Nagel, sale 4A, 19.6.1993, lot 2337 - Partly slightly chipped, partly corroded

Feine Steinstele der Sarasvati NORDOST-INDIEN, Pala, 12.Jh. H. 37,5 cm Provenienz: Aus einer alten Berliner Privatsammlung, erworben bei Lempertz, Köln, 30.5.1990, Lot 375 - Bestoßen A BLACKSTONE FIGURE OF SARASVATI, NORTHEAST INDIA, Pala Period, 12th ct., seated in lalitasana on a lotus base placed on a throne sculpted with a worshipper and deer, both principle hands holding the vina while both secondary ones the rosary and manuscript, wearing sari, bejewelled, her face displaying a serene expression with almond-shaped eyes, urna, smiling lips and her hair combed in a chignon secured with a tiara decorated with a pair of floating ribbons - Property from an old Berlin private collection, purchased from Lempertz Cologne, 30.5.1990, lot 375 - Chipped

Kleiner Buchdeckel aus Holz mit partieller Vergoldung mit Shakyamuni TIBET, 14./15.Jh. 37,7x13,4x2,5 cm Provenienz: Aus der Sammlung von Prof. Dr. med., Dr. phil. Hermann Schroeder (1902-1991) und seiner Familie - Alt eingesetzte Rep.-Stelle, teils lackiert A PARCEL GILT-WOOD MANUSCRIPT COVER, TIBET, 14th/15th ct., the rectangular cover carved in shallow relief with Buddha Shakyamuni seated on an elaborate throne in the centre, flanked by Amoghasiddha to each side placed on scrolling tendrils encompassing various deities, within a petal outer border and one side carved with cloud motifs - Property from the collection of Prof. Dr med., Dr phil. Hermann Schroeder (1902-1991) and his family - Old inset repair, partly lacquered

Frühe Bronze des Manjushri WESTLICHES TIBET, 11./12.Jh. H. 14,6 cm Provenienz: Aus einer süddeutschen Privatsammlung, zwischen 1950 und 1980 erworben - Etwas berieben, kleine Fehlstellen, Alterssch. A BRONZE FIGURE OF MANJUSHRI, WESTERN TIBET, 11th/12th ct., standing in samabhanga on a lotus base placed on a base, as part of a larger base supporting a triad, his right hand raised and holding a sword while the left is resting on his hip holding the stem of a lotus flowering along his arm supporting the manuscript, wearing dhoti, bejewelled, his face displaying a serene expression with downcast eyes below incised eyebrows and his hair is combed in a chignon secured with a tiara and a pair of floating ribbons - Property from a South German private collection, assembled between 1950 and 1980 - Minor wear, minor losses, minor damages due to age

Feine Bronze des Tsongkhapa auf einem Lotos WEST-TIBET, 16. Jh. H. 15,3 cm Provenienz: Aus einer süddeutschen Privatsammlung zwischen 1980 und 1998 gesammelt, diese Bronze wurde am 8.9.1990 bei Galerie Peter Hardt, Radevormwald erworben - Minim. best. und berieben A BRONZE FIGURE OF TSONGKHAPA, Western Tibet, 16th ct., seated in vajrasana on a lotus base with both hands in the dharmacakramudra and holding stems of lotus-flowers supporting the sword and manuscript, wearing monastic garment including a patchwork mantle, his cold-gilded face displaying a serene expression with downcast eyes, painted facial details and his head topped with the specific bonnet, sealed - Provenance: South German private collection, assembled between 1980 and 1998, this bronze was bought from Gallery Peter Hardt, Radevormwald 8.9.1990 - Slightly chipped, minor wear

Großes Thangka mit Tsongkhapa und Buddha Shakyamuni in Montierung TIBET, 19.Jh. 75 x 129 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Etwas berieben, Altersspuren, Montierung mit kleinen Altersschäden A FINE AND LARGE THANGKA DEPICTING TSONGKHAPA, TIBET, 19th ct., the centre of the painting depicting Tsongkhapa seated in vajrasana on a lotus base placed on a throne, both hands in dharmacakramudra holding stems of lotus flowers supporting the sword and manuscript, wearing a monastic garb and specific bonnet, flanked to his right by Buddha Shakyamuni showing the bhumisparshamudra with his right hand while the left is supporting the alms-bowl and to his left a lama seated astride the white elephant holding lotus stems in his hands supporting a sword and manuscript, all three surrounded by various Buddhas, bodhisattvas, tutelary and protective gods, the upper section with mahasiddhas flanking a pavilion and the lower border with various protective deities - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor wear, traces of age, mounting with minor damages

Thangka mit Darstellung des Ekadashalokeshvara mit Brokatmontierung TIBET, 18./19.Jh. 62,5x42,5 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, zwischen 1968 und 1972 bei Schoettle Ostasiatica erworben A THANGKA DEPICTING EKADASHALOKESHVARA, TIBET, 18th/19th ct., standing samabhanga on a lotus-base, his principle hands in anjalimudra while the others radiate around his body. his head consisting of eleven faces with one of Buddha at the top, halo behind, the lower section with Manjushri and Vajrapani, each holding a lotus supporting the sword placed on a manuscript respectively the vajra, an offering-set at the front and all placed in a mountainous landscape, in brocade mounting - Property from an old German private collection, bought from Schoettle East Asian Art between 1968 and 1972

Lackvergoldete Bronze, vielleicht Manjushri auf einem Lotos CHINA, 16./17.Jh. H. 22,7 cm Provenienz: Aus einer süddeutschen Privatsammlung, zwischen 1960 und 2004 gesammelt - Etwas berieben A GILT-LACQUERED BRONZE FIGURE OF PROBABLY MANJUSHRI CHINA, 16th/17th ct., seated in vajrasana on a lotus-base cast with a minute lion-figure to the front, both hands in vitarkamudra, one supporting a ball, both holding stems of lotuses supporting the manuscript and probably originally a sword, wearing dhoti, cape draped over his shoulders which streamers encircle both arms before falling on the base, his face displaying a serene expression with downcast eyes, his hair combed in a chignon secured with a tiara decorated with a pair of pattras and floating ribbons - Property from a South German private collection, assembled between 1960 and 2004 - Minor wear

Buchdeckel, Druckstöcke, Sutrenblätter und Lack-Manuskript-Einbände U.a. TIBET, 17.Jh. und später L. 27-70 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, großteils zwischen 1967-72 in Afghanistan, Indien und Persien erworben, ein Druckstock erworben bei Nagel, 11.5.2007, Lot 3291 - Teils mit kleinen Altersschäden, bzw. Fehlstellen A CARVED WOODEN BOOK COVER, WOODEN PRINT BLOCKS, SUTRA PAGES AND A LACQUERED MANUSCRIPT COVER, a.o. Tibet, 17th ct. and later - Property from an old South German private collection, mainly assembled between 1967 and 72 in Afghanistan, India and Persia, one wooden print block was bought Nagel, 11.5.2007, lot 3291 - Partly with minor damages due to age, losses

Relief, vielleicht des Manjushri aus grauem Stein, auf einen Holzsockel montiert NEPAL, ca. 17./18.Jh. H. 22,5 cm o.S. Provenienz: Aus einer süddeutschen Privatsammlung, zwischen 1960 und 2004 gesammelt - Etwas bestoßen A STONE STELE DEPICTING POSSIBLY MANJUSHR, Nepal, ca. 17th/18th ct., on wood base. Seated in vajrasana on a lotus-base placed on a throne, his principle hands holding sword and manuscript, both others an arrow and unidentifiable object, wearing dhoti, scarf floating around his body, bejewelled, his face displaying a serene expression, flanked by BhaIrava and Ganesha, and the upper section showing a kirttimukha holding in his beak and claws a snake - Property from a South German private collection, assembled between 1960 and 2004 - Slightly chipped