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Click here to subscribeRoyal Bank of Scotland, £1, 2 January 1903, serial number C592/375, Templeton and one other manuscript signature, rust spot at low left, original good fine, scarce and a nice early date of issue for type PMS RB 53d £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Bible Christian Society, Jersey, unissued £5 (2), ND, Channel Islands Bank, unissued £1, 18-, also States of the Island of Jersey, part issued £5, 18-, three manuscript signatures at left, also an issued example dated 1 September 1840, serial number 1144, the last good very fine, balance extremely fine (5 notes) McCammon unlisted, JN96 £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Provident Bank of Ireland, £1, Dublin, 1 March 1837, serial number A20965, manuscript signature at low right, an absolutely superb, fresh and clean example, good very fine and extremely rare, the first offered anywhere in the world for well over a decade and likely the nicest example extant PMI PV 1b £1,500-£2,000
Lincoln Bank, for Smith, Ellison & Compy, £5, 10 November 1896, serial number S8477, manuscript signature, an extremely beautiful good very fine example of a very rare note, unusual in that it is not cancelled, and can still be paid into Nat West Bank Outing 1189 partnership not listed £500-£700
National Bank of Scotland Limited, £1, 11 November 1915, serial number H808-870, Samuel and one other manuscript signature, exceptional original paper quality, a beautiful and bright extremely fine example, well above average for type PMS NA 29, Pick 248a £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
North of Scotland Bank Limited, £1, 1 March 1918 (1923), serial number C0478/0898, Stuart and one other manuscript signature, red handstamp on an earlier issue, a presentable fine and a very scarce type PMS NS 30c, Pick S633a £300-£400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Ulster Bank Limited, £1 (2), 1 September 1939, serial number 1781014 and 1 January 1940, serial number A186011, £5 (3), 1 February 1939, serial number 405748, 1 January 1940, serial number 433176, and 1 October 1940, serial number 528815, manuscript signatures, fine to good very fine (5 notes) PMI UB 56, 57, Pick 315a, 316 £150-£200 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Leith Banking Company, 1 Guinea, 1 September 1825, serial number 29/435, manuscript signature, ink numeral on reverse, a presentable about very fine and scarce PMS LB 10 £120-£160 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Commercial Bank of Scotland Limited, £1, 3 January 1901, serial number 16/J 125/357, printed Anderson and one other manuscript signature, original paper, about fine and rare in any grade PMS CO 48b £400-£500 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
* Wimperis (Edmund Morison, 1835-1900). Moor House & Ferndean Manor, two original watercolour designs for Jane Eyre, by Charlotte Brontë, pencil and brown wash on pale blue paper, and pencil on pale blue paper respectively, each with printed and type written label of Heather Newman to verso, Moor House with additional printed and handwritten label for the Edmund Morison Wimperis exhibition of 1973, sheet size 171 x 252 mm (6 3/4 x 10 ins), and similar, gilt frames and glazed (35 x 50.5 cm), together with 47 other landscape sketches and designs by Wimperis, mostly pencil (two in watercolour or wash), including Hemingford Abbotts, Apple Gathering, two designs for a calendar (June and September), each with manuscript verse in ink below, sketches of Blackwater Ferry, Budleigh, Vale of Festiniog, on the Aran, Llandudno, etc., various sizes, several mounted, the majority contained in a modern blue cloth spiral bound albumQTY: (11)NOTE:Provenance: From the grandson on the artist (according to note on the two illustrations to Jane Eyre). E. M. Wimperis was linked, through marriage to his wife, to the Brontë family. His illustrations for Jane Eyre, were used in the edition published by Daily Express Publications in 1933.
* Attributed to Cornelius Beris Durham (1809-1884). Major Robert Martin (circa 1782-1855), late of the Ceylon Rifles, 1827, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with paper, frame and backing card versos with extensive near contemporary ink manuscript inscriptions detailing the military career of the sitter, and his address: 4 Prospect Terrace, Douglas, Isle of Man, together with A Junior Officer in the British Army, probably the son of Major Robert Martin, 1840, fine oval head and shoulders portrait miniature, watercolour heightened with white bodycolour, on ivory backed with thin card (now detached), the card with contemporary ink manuscript 'Cornelius Durham, 100 Strand, London, May 1840', plus Portrait of a Young Girl, probably the daughter of Major Robert Martin, circa 1840, fine oval head and shoulders portrait miniature, watercolour on ivory backed with thin card, portraying a young girl in a blue-green dress with large puffed sleeves, frame apertures 71 x 57 mm (2 3/4 x 2 1/4 ins), uniformly framed in period wood frames with inset oval gilt metal surround, and hanging loop, glazed, some losses to frame edges, each 15 x 12.5 cmQTY: (3)NOTE:Major Robert Martin: The inscription on the frame verso reads: This portrait was taken in 1827 when the Major was 45 years of age, he died 20th June 1855 age 73 at 6.30am, 4 Prospect Terrace, Douglas, Isle of Man.The inscriptions on the backing card verso read: Major Robert Martin late of the "Ceylon Rifles", 49 years in H.M. Service, Ensign "The Loyal Nottingham Fencibles" 2nd June 1801, Ensign 62nd Regiment 15th August 1804, Lieutenant 62nd Regiment 28th March 1805, Captain 62nd Regiment 21st November 1816 ... Major "Ceylon Rifles" [on reduction] 1847, Retired from the Service 1849, Campaign in Egypt - 8 years in the Field in Sicily - Taking of Genoa 1814 - Two Campaigns in America and the taking of Castine & its dependencies on the river Penobscot. India, China and stationed at every British Colony except Australia.Ivory Act 2018 self-declaration submission reference: PX4GRRPX.
* Miniature Portraits & Silhouettes. A collection of miniature portraits, early-mid 19th century, comprising 6 portrait miniatures, watercolour, some with gouache and/or pencil, on card or paper: a young lady with ringlets; a lady in profile wearing an elaborate bonnet; and 4 gentlemen, one of the latter annotated in contemporary manuscript 'W. Hunt by Steers 1830', and 6 silhouette portraits: 5 scissorcuts, black paper mounted on card, 2 of ladies, and 3 of young men, 2 with gilt highlights, including one of a young gentleman annotated on verso in a contemporary hand in ink 'at Wm Heath's', and in pencil 'John', and in a later hand in pencil 'Ellison The Actor'; and a black painted silhouette highlighted in gilt, on card, of a young girl with short hair, wearing a bead necklace, some rubbing and toning, largest (sheet size) 80 x 65 mm (3 1/8 x 2 1/2 ins), smallest 53 x 45 mm (2 1/8 x 1 3/4)QTY: (12)
* Metford (Samuel, 1810-1896). Silhouette portraits of three members of the Binyon family, 1846, black paper cut-outs with white highlights, all full-length in profile to the right, against identical lithographic scenes of a drawing room with a boat seen through the window behind, each signed and dated by the artist at Manchester in brown ink lower left, some spotting, 27 x 17.5 cm, framed and glazed, together withPatten (William Vandyke , active 1844-1871). A pair of half-length portraits of Rachel and Thomas Binyon, August 1845 & 1847, pencil with red highlights on wove paper, signed and dated to lower margins, uniform overall toning to paper of first portrait and some light toning to paper of second portrait, 30.5 x 25 cm (12 x 10 ins), matching maplewood frames, glazed, 42 x 37 cmQTY: (5)NOTE:Provenance: The family of Martha Spriggs (1777-1866); thence by direct descent.Modern manuscript labels to frame versos identify the sitters of the silhouette portraits as the children of Thomas Binyon and Hannah (née Smith) of Manchester: Thomas Binyon (born 23 January 1795, died in Worcester 18 May 1865), Hannah Binyon (born 26 April 1801, married 1st Nathaniel Card, 2nd Jeremiah Barrett) and Ann Binyon (born 16 June 1804, married Wilson Forster of Liverpool). The two Metford portraits depict Thomas Binyon (1795-1865) of Manchester and Worcester and his second wife, Rachel Arch (1817-1845).Samuel Metford (1810-1896) was born into a Quaker family in Glastonbury, Somerset, and during his childhood in Bath, he was taught by Augustin Edouart (1796-1861), the best French exponent of silhouette profiles. In 1834 he emigrated to New York, where he continued to work as a portraitist, travelling to Boston, Philadelphia, Washington and Saratoga Springs. After returning to England a decade later in 1844, he was active in the north of England, producing many portraits of members of the Quaker community, as here.
AR * Gere (Charles, 1869-1957). Monte Zeda, 1912, watercolour and heightened with gouache, initialled and dated lower left, a view of Monte Zeda in the Italian Lepontine Alps, autograph manuscript note dated September 12, 1912 from the artist to Chas. Harris Esq on personal stationery to frame verso 'Monte Zelda... It is [one] of the most beautiful mountains I know... I have painted it often when in those parts', minimal scattered spotting, mount aperture 25.5 x 31.5 cm (10 x 12 3/4 ins), in a contemporary gilt frame (46.5 x 53 cm)QTY: (1)
* Wolfe (George, 1834-1890). July in Leigh Woods, 1889, watercolour, depicting a summer wooded scene from Leigh Woods in Bristol, a figure in the background carrying wood in a red shawl, signed and dated to lower right, 72 x 50 cm (28 3/8 x 19 5/8 ins), framed and glazed, (81 x 59 cm), label with contemporary manuscript containing the first verse of Birds in Summer by Mary Howitt with 'Geo Wolfe Windsor Terrace Clifton Bristol' in brown ink to versoQTY: (1)NOTE:George Wolfe (1834-1890), landscape, coastal and marine painter both in oil and watercolour, was born in Bristol, the son of Charles Wolfe, a boat builder, and Ann, a dressmaker. By the age of 17 in 1851, Wolfe had moved to 9 Windsor Terrace in Clifton, and lived under the guardianship of Sophia Bulkeley, a widow and fund holder, who may have become his adoptive mother. He shared a studio in Clifton with fellow artist, Samuel Phillips Jackson (1830-1904), son of Samuel Jackson (1794-1869), founder of the Bristol School of Artists.The verse by Mary Howitt, inscribed on the label on the back of the picture reads: How pleasant the life of a bird must be, Flirting about in each leafy tree, In the leafy tress so broad and tall, Like a green and beautiful palace hall, With its airy chambers, light and boon, That opens to sun and stars and moon, That open unto the bright, blue sky, And the frolicsome winds as they wander by. Geo Wolfe, Windsor Terrace, Clifton, Bristol in brown ink.
* French School. Oval portrait miniature of a young lady, French, circa 1800, watercolour and gouache on card, head and shoulders portrait, half profile to left, of a young lady in a garden amongst roses, with artfully curled hair held on top with a pearl ornament, wearing a low-cut white muslin dress with blue bows on the sleeves, manuscript inscription set into back of frame ‘Entree en possession Le 6 aout 1852 339 rue St. Martin forgelot’, 51 x 42 mm (2 x 1 5/8 ins), glazed ebonised frame (10.5 x 10 cm) QTY: (1)
* Biffin (Sarah, 1784-1850). Oval miniature portrait of Mrs Parry, by Miss Biffin Without Hands, 1822, watercolour and gouache on card, head and shoulders portrait, half-profile to right, of a lady with flowing long white hair, curled around the forehead, wearing a black dress with white sleeves, and a gold chain, light mottling, artist’s manuscript inscription on verso ‘Painted by Miss Biffin Without Hands 1822. Bruxelles - and presented to Mrs Parry as a small token of gratitude for the many kindness’s Miss Biffin received from her during her stay in Bruxelles’, inscription edge-trimmed with slight losses, 9 x 6.7 cm (3 1/2 x 2 5/8 ins)QTY: (1)NOTE:The remarkable Sarah Biffin (or Biffen), sometimes known by her married name of Mrs Wright, was born without arms and legs, yet taught herself not only to write and sew, but also to paint miniature portraits as well as any able-bodied artist. Sarah was born into a poor family, and, determined not to be a burden on her parents, she learnt to use a pen, paintbrush, needle, and scissors, before the age of ten, using her mouth and right arm stump. She began her career exhibiting her skills as a curiosity, touring the country with a travelling fair, billed as ‘The Limbless Wonder’. Her fame spread and she came to the notice of the Earl of Morton who became her patron, sponsoring her to study at the Royal Academy and helping her to secure commissions from members of the aristocracy as well as the royal family. That a disabled woman from a humble background in the 19th century was able to become a celebrated professional artist is testament to her perseverance and resilience. Sarah Biffin’s miniature portraits have become increasingly sought after, and in 2019 one of her self-portraits sold at Sotheby’s for £110,000 hammer price. The portrait offered here is somewhat unusual in showing the sitter with her hair flowing loose, which lends it a certain intimacy, and the artist’s presentation inscription on the back shows that Miss Biffin evidently knew Mrs Parry quite well.
* Quaker Portraits. A group of six head and shoulder portraits of members of the Spriggs and Binyon families of Worcester and Manchester, circa 1850s, oil on canvas, each 22 x 18.5 cm (8 3/4 x 7 1/4 ins), gilt oval mats, framed with old and modern manuscript paper labels to versos, 34 x 31 cm (and one of Martha Spriggs slightly larger) QTY: (6)NOTE:Provenance: from the family of Martha Spriggs (1777-1866), by direct descent. The sitters are: 1) William Spriggs (1776-1855), draper of Broad Street, Worcester. 2) Martha Spriggs (1777-1866), nee Knight, wife of William Spriggs of Worcester. 3) Thomas Binyon (1795-1865), of Manchester and Henwick Grove, Worcester; husband of Sarah Fryer (d. 1826), Rachel Arch (1817-1845), and Martha Anna Spriggs (1816-1896), youngest daughter of William and Martha Spriggs. 4) Martha Anna Binyon (1816-1896), daughter of William and Martha Spriggs of Worcester; third wife of Thomas Binyon. 5) Hester Savory Spriggs (1818-1889), daughter of William and Martha Spriggs of Worcester. 6) Lydia Pengelly (1819-1898), daughter of William and Martha Spriggs of Worcester; second wife of William Pengelly of Torquay.
* Boldini (Giovanni, 1842-1931). Portrait of Lady Charlotte Russell, circa 1870, oil on canvas, signed G. Boldini to centre left, the sitter wears a white chiffon court dress with applied flowers and a train, she stands beside a carved gilt rococo chair in a sumptuously decorated room, numerous notes to frame verso, including: manuscript research note in black ink listing owners and sitter, old auction stencil 'WS300', modern Christie's label with barcodes, typed postcard circa 1968 from Sir Robert Abdy to M. D. E. Clayton-Stamm, canvas stamped to verso GEO. ROWNEY & CO. / 52, Rathbone Place / AND / 29, OXFORD STREET, W / LONDON., canvas size 49 x 33.4 cm (19 1/4 x 13 ins), in a gilt frame with turquoise inlay (56 x 44 cm) QTY: (1)NOTE:Provenance: Russell family collection; Sir Robert Abdy (1896 - 1976) owner of the Ferrer Gallery, London, SW1; where purchased by M. D. E. Clayton-Stamm, art collector and bibliophile (and an authority on the work of William de Morgan and Pre-Raphaelite ceramics); thence by family descent. Accompanied by an old typed postcard circa 1968, to M. D. E. Clayton-Stamm from Sir Robert Abdy "The Boldini nothing like as pretty as yours made £4500 today. Best wishes, Yours sincerely, Sir Robert Abdy" with a manuscript note in pencil "Christies / 6 Dec 68".
Erik Nitsche (Swiss, 1908 - 1998) "Strawberry - Manuscript Illumination" Signed lower right. Original Mixed Media painting on Illustration Board.Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was originally published on the Fleetwood First Day Cover for the Germany 50 + 20pf Medieval Manuscript Illumination stamp issued October 15, 1985.During the Middle Ages, the medieval mind delighted in ornate and colorful art. And nowhere is this love more evident than in medieval manuscripts, for they are alive with intricate and colorful drawings created in the margins and at the beginnings of chapters by patient monks working by hand. Known as illuminations, these miniature works of art virtually illuminate the pages of the ancient manuscripts with their bright colors and intricate designs. But beyond their beauty, the illuminations also mark an important milestone in history, for their disappearance -- with the invention of printing -- signified the end of an antiquated age and became a strong signal of the coming of modern culture. Illumination reached its highest form in the 14th and 15th centuries, when pages were decorated with gold, silver and all the colors of the rainbow. Indeed, the gray parchment was lighted with floriated letters, margins filled with leaves and branches and scenes from the painter's own life. Through their works, the illuminators imbued the written page with a beauty and attractiveness beyond the powers of a mere scribe alone. Since many of the illuminated manuscripts were religious in nature, the figures illuminated often had religious significance. One example is the strawberry, featured in thos artwork, for it symbolized the blood of Christ spilt for the redemption of the world. It is little wonder that the miniature illuminations were extremely popular in the Middle Ages.Image Size: 12 x 14 in.Overall Size: 15 x 20 in.Unframed.(B09830)
A DUTCH BOOK OF HOURS FOR USE OF ROME LATE 15TH CENTURY,illuminated manuscript on vellum (tempera, ink and gold), Latin and Dutch; Gothic textura script, one column ruled for 19 lines; 455 pgs., 6.6cm x 11cm; Three fully illustrated pages, 6 title pages, 27 pages of illuminated borders etc.; tissue interleaves face the full page illustration; 18th century leather binding, inscribed with 'Roomsch Getijde Boek’ to spine (Roman Book of Hours). Incomplete, pages cut outProvenance: Private Dutch CollectionThe core text of a Book of Hours is a series of prayers, readings and psalms known as 'The Hours of the Virgin. These prayers were to be recited daily at eight set 'hours' to Mary, the Mother of God, who would act as an intercessor between man and God. Such devotions were a simplified imitation of the Divine Office, said by members of the clergy and monastic orders every day in the quest for salvation. The ‘Use of Rome’ refers to a book of hours intended for the "use" of Rome specifically, this will differ from a book of hours made for the use of Paris, or Utrecht, or Sarum (Salisbury). These differences might be reflected in the order and wording of certain prayers or the veneration of local saints or religious events. Entire cycles of prayer could also be added or excluded based on personal preference, as could a variety of additional texts. Other differences between books of hours arose from the need to accommodate the diversity of regional worship. Within the medieval church, certain aspects of the liturgy were determined, to at least some degree, by local custom, and individual books of hours were made to reflect these variations. The book opens with the twelve months of the year, divided into the specific saint days. The first illuminated leaf features the private scene of the annunciation, as Virgin Mary is kneeling to pray in her chamber when Archangel Gabriel appears to her. He announces that she will conceive a son by the power of the Holy Spirit. Above the angles head is a white dove, the physical manifestation of the Holy Spirit, with gold rays which are pointing directly at Virgin Mary. Archangel Gabriel also points to Mary using his herald’s wand, which is terminated in a fleur-de-lys, the ancient symbol of royalty. The frame of the scene features several flowers and insects. The blue flowers are possibly Gentian blue which are native primarily to northern temperate areas of the world, especially alpine regions. The red flower is most likely a potted Carnation. The symbolism of the carnation is identical with that of the rose, in the Netherland and Germany carnations were preferred over roses. The carnation was, therefore, seen as a flower of love and the goddess Venus, however, as adapted by Christians, the carnation was a symbol of the divine love of God. The strawberry as a symbol is not only widespread but relatively early in origin. It is seen as the perfect fruit as it has no thorns nor stone and it is sweet in taste. The white flowers are seen to represent innocence and the leaves which are of trefoil form, were seen as a symbol of perfect righteousness. The illumination also features two moths or butterflies as well as a snail. Butterflies and flies were symbols for the soul and eternal life. It was common in the Netherlands for the scene of the Annunciation to feature insects. It is interesting to note that this illumination does not feature a white lily. Almost all scenes of the Annunciation included them, often known as the Madonna lily, as it is a symbol of her purity and perfection, both carnal and spiritual. The second illuminated leaf is a depiction of the episode from the life of the Virgin Mary. She is presented seated figure, presumably holding the new testament in her lap, with the old testament lying at her feet. The scene is set within a gothic architectural courtyard. The Holy Spirit once again appears in the form of a white dove, with rays of gold radiating down on the twelve apostles and Mary.In the Acts, it is described that after Jesus ascended to heaven, the Apostles waited in the Holy City for the sending of the promised Consoler, united around the Virgin Mary. Following the betrayal by Judas Iscariot, the decision was made to have Matthias take his place. Once the twelve apostles were complete again, they continued praying while awaiting the coming of the Holy Spirit as Jesus had promised them. Finally, on the day of Pentecost, suddenly a sound came from heaven like the rush of a mighty wind, and it filled all the house where they were sitting. And there appeared to them tongues as of fire, distributed and resting on each one of them. And they were all filled with the Holy Spirit (Acts 2:2-4). Once again, the scene is framed by botanical illuminations, this time the flax flower, and a variety of irises. The iris flower is the only symbolic rival to the white lily of the Virgin, and its first appearance as a religious symbol is in the work of the early Flemish masters. The symbolism of the iris and the lily at first appears to be identical, and the substitution of the iris for the lily seems to be the result of some confusion between ‘lys’ and ‘fleur-de-lys,’ accentuated by the likeness between the iris and the lilies of the French royal standard with which the people of the Netherlands were familiar, since they were emblazoned on the shield of the Dukes of Burgundy. In the Netherlands, in the fifteenth century, symbolism was usually very precise, and there does seem to be a slight difference in the use of the two. The lily is used exclusively as the symbol of virginal purity, more particularly in relation to the fact that the Virgin Mary was a mother, but the iris, the royal lily, appears to be the emblem or attribute of God incarnate. Interestingly, the pea is also featured which was a symbol humility as it was considered a humble plant that grew toward heaven. As it produced many fruits it represented the virtue of holy works. In direct contrast, it could also be seen as a symbol of instability and the danger of sin, because it has heavy foliage and a frail stem which often needed further support. The illumination also features a prominent dragonfly and a peacock. Earthly life, which was full of sin, was often represented by crawling insects such as beetles, caterpillars, and locusts, whereas life in the heaven was represented by flying insects such as butterflies, moths, dragonflies, and damselflies. Dragonflies were therefore used as a religious symbol of the eternal life of the soul. Beginning in Early Christianity, peacocks symbolized the opportunity for an eternal life in heaven enabled by Christ’s sacrificial death. Illustrations of peacocks were so frequent and widespread in Christian art.The last full-page illumination features the uncommon scene known as the Metterza. The term is derived from the medieval vernacular me is third, referring to Saint Anna, mother of the Virgin Mary, who places herself third in the hierarchy of the divine family, next to Mary and Jesus. This scene was popular in Germany since the 14th century, and later the term and its iconography spread throughout Italy and Northern Europe in the 15th century. Hence the three figures in this illustration are St Anne, the mother of Mary, Virgin Mary and baby Jesus. The figure of St Anne is seated on a large wooden throne, at her feet sits Virgin Mary with baby Jesus lying in her arms. The background also features a peacock along with a characteristic pink sandstone wall and turret. The frame around the scene features flowers such as gentians, irises, flax and most importantly roses. The insects featured are moths and flies. As mentioned above, symbolically the rose was seen to represent the divine love of God.
Joyce Kilmer Signed 'Trees' Poem Original 1913 manuscript, signed lower right, pencil inscribed to backside, ink laid to paper; together with a pamphlet 'The Collector' having alternate phrasing and dated after published date (10 by 7-inches) Property from: a Private Collector, Wilmette, Illinois Condition: wear associated with age, slightly trimmed upper left corner, tears at upper left and lower right corners Disclaimers: the signature has not been authenticated and does not include a certificate of authenticity (COA) Category: Collectibles > Ephemera Estimated Sale Time: 10:10 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4
John Brown (Abolitionist) Signed Letter PSA/DNA 1855, single laid paper sheet having manuscript letter to Brown's wife, signed recto, addressed and postmarked verso, mounted at edges to paper support to allow viewing of both sides of sheet, retaining wax seal residue, accompanied by PSA/DNA certificate #AP01501 Property from: a Private Collector, Wilmette, Illinois Height: 12 inches, Width: 9 3/8 inches (support sheet) Condition: wear associated with age, toning, folds, light soil and a stain at folds verso, mounted at edges Category: Collectibles > Ephemera Estimated Sale Time: 10:03 am (America/Chicago) Shipping Status: Leonard Auction Shipping Quote Download High Resolution Photographs:Photograph #1Photograph #2Photograph #3Photograph #4
Manuscript atlas, early 19th century, "The Modern Atlas containing 10 Maps", by Jane Cape at Mary Archer Jefferson's School, Cockermouth 1825, containing ten hand-drawn and coloured maps (Cumberland, Europe, Asia, Africa, North America, South America, The West Indies, England, Ireland & Scotland), with a printed title page in contemporary red half morocco. 33.5cm by 26.5cm.
Hunting Interest: Set of five Late 18th Early 19th Century thich stem and bases stirrup / toasting glasses possibly engraved by Absolon of Yarmouth etched "The Friendly Hunt" together with an earlier example from Necton Hall Providence by family decent of Necton Hall. Together with Typed manuscript "Hunting in West Norfolk" by R. Harvey Mason detailing the History and Masters of the Friendly Hunt, West Norfolk Hunt and hunting in Norfolk throughout the 18th and 19th Centuries.
ANTIQUARIAN (HERELDRY & GENEALOGY): Imhof (Jacob Wilhelm). Regum Pariumque Magnae Britanniae Historia Genealogica, half-title, engraved frontispiece, 4 engraved plates or full-page illustrations of coats-of-arms, woodcut initials & head-pieces, Appendix with separate title dated 1691, contemporary vellum, yapp edges, manuscript title to spine, Nuremberg, heirs of Johann Andreas Endter, 1690Provenance: sold on behalf of Gregynog Hall, surplus to the collection
Curiosities & Glyptics - an early 19th century antiquarian's yellow wax monastic impression of a Medieval seal, 'Seal & Counterseal of the Priory of Thurgarton, Nottinghamshire', each of vesica shape, inset into a plaster matrix, 14.7cm wide overall, contained in a contemporary bentwood case, the push-cover with a paper label titled in contemporary manuscript
Eusebius (Bishop of Emesa). Opera, collation: A-Z AA-ZZ8 complete, woodcut device on title, corner of EE4 defective with slight loss of text, occasional soiling and minor staining, stub of medieval manuscript on parchment at beginning, old calf, stamped in gilt and blind, rebacked preserving original spine, bit worn with piece of leather missing from lower cover, 8vo (162 x 96mm.), Paris, Michael Sonnius, 1575. *** Provenance: Robert Temple (ink signature at head of title); P. Morrey (ink signature on front free endpaper). Literature: Adams E1062.
Voyages.- "Blind Traveller".- Holman (James) A Voyage Round the World, including Travels in Africa, Asia, Australasia, America, etc. etc., 4 vol., first edition, half-titles to tall but vol. 4, portrait frontispiece, 21 lithographs (3 folding) and 1 folding map, advertisement leaf at beginning vol. 1, ink signature of Ellen Holman dated 1857 at beginning each vol., manuscript notes on author loosely inserted, scattered spotting and staining, original cloth, slight bumping to corners and extremities, 8vo, 1834-35. *** James Holman (1786-1857) totally lost his sight at the age of 25 whilst working as a member of the Royal Navy after contracting an illness whilst off the coast of the Americas in 1810. Despite his blindness he rejected a quiet, sedate lifestyle in England in order to pursue learning and travel around the world. As such in 1832, Holman became the first blind person to circumnavigate the globe.
Kennedy (Richard Hartley) Visconti: An Historical Tragedy, in Five Acts, advertisement f. at end, lacking half-title, title with old ink ownership inscription faintly offset to head and a few tiny marginal holes, final 3ff. with tear to inner margin, some faint damp-staining at beginning and end, foxed and lightly browned throughout, modern antique-style boards, light soiling, Calcutta, Printed for the Author, 1829 § [Mundy (Francis Noel Clarke)] The Fall of Needwood, presentation inscription "From the author" to title, engraved frontispiece (foxed), armorial bookplate, ink inscription "Bought at Sir William Boothby's sale at Ashbourne Hall Nov. 1847 for £12.15.- W. Mundy" to front free endpaper, poems in ink manuscript in a contemporary hand to verso of title and final f., some leaves with pagination corrected in ink manuscript, the odd spot, some very light browning and soiling, contemporary polished calf, spine lacking label and with ends chipped, small scattered staining to upper cover, rubbed, upper cover detached, Derby, Printed at the Office of J. Drewry, 1808, first editions, book-label of J.O. Edwards; and others, most 19th century poetry, v.s. (c.35)
Dover.- Poetry, photographs & ephemera.- Ramsbottom (Augusta C.) Commonplace Book, manuscript signed, c. 520pp. (c. 300pp. of poetry both extracts and original), c. 50 photographs of Dover and various portraits (including 7 photographs of Dover, the Roman Pharos and Dover Castle), numerous religious cards and military crests, 1f. loose, some photographs slightly faded, inner hinges broken, original blind-stamped morocco, edges rubbed, brass clasp, gilt spine, dulled, g.e., 235 x 170mm., 1856-61. *** The photograph of the Roman Pharos at Dover can be dated to 1860 as it stands next to the church of St Mary in Castro in Dover Castle which can be seen to be covered in scaffolding for the restoration of 1860-62, undertaken by Giles Gilbert Scott.
Hong Kong, Singapore & China.- Photograph album, c.315 black & white or sepia photographs, comprising family and military photographs across China, and other parts of the world, largest 140 x 100mm, smallest 25 x 30mm, mounted verso & recto on 39ff., some with manuscript captions below, a few lacking leaving glue residue, the odd scuff mark or discolouration, lacking boards but held together with cord, oblong 8vo, c.1928-31. *** An excellent and discursive album, covering a wide range of subjects across the world, with a special interest of British-occupied Hong Kong and surrounding areas. Following the First World War, the British maintained settlements around China and their forces deployed to Hong Kong. Pictures feature scenes of naval life of the British naval fleet on S.S. Shansi, as well as a man watching the inbound Nanking-Shanghai Express train, Chinese crew onboard S.S. Chusan, scenes from Newchwang, Liau-Ti-Shan lighthouse, and various Yangtsze River scenes. Pictures also depict a Japanese Mail boat leaving Tsingtau, a view of Happy Valley in Hong Kong, and cargo coolies from Chungking. Some darker images also populate the album: various wrecks of boats strewn across the rivers include the wreck of S.S. Tongting and Kwangse, as well as a view of S.S. Anhui towning S.S. Lyeemoon, and an executed robber's head hanging from a pole. Overall an excellent and historically revealing album.
Einstein (Albert) [On the Theory of Special and General Relativity], first Hebrew edition, translated by Jacob Greenberg, portrait frontispiece, ex-Library of the Hebrew Teachers College Boston, Mass. with ink-stamps (and withdrawn stamps) to title, final f. and endpapers, a few pencil annotations to title, margins very slightly toned, later green cloth, lettered in white Hebrew manuscript on spine, spine ends and corners lightly rubbed, 8vo, Tel Aviv, Dvir, 1928. *** This edition includes a preface by Einstein himself: “The appearance of this, my book, in the language of our forefathers fills my heart with special joy. It is a sign of the transformation that has occurred in this language [of ours]. It is not enough to focus at present on its use in this area alone, namely that of expressing the central issues of our people to our own people, but more appropriately to absorb within it all that humanity finds of value. It [Hebrew] serves as an important factor in our aspiration for an independent cultural existence".
Cliveden Stud.- Astor II (William Waldorf, third Viscount Astor, businessman and Conservative politician, 1907-66) Cliveden-Bred Fillies Retired to Stud... Non-Cliveden Bred Mares Retired to Stud... Cliveden Bloodstock Sold, Died, Etc., nos. II & III, typescript with manuscript insertions, numerous pp., original morocco, gilt, lettered "W.W.A. No. 2 [&] No. 3" on upper covers, rubbed, first vol. lacks spine, second vol. joints split and spine working loose, oblong 4to (220 x 285mm.), 1958-66; and another, an album of photographs of racing horses, 1920s & later, 4to (3).
de Linda (Lucas) Orbis lumen et atlantis iuga tecta retecta: Das ist newe außführliche Entdeck und Beschreibung der gantzen Welt, first German edition, engraved frontispiece, slightly trimmed, a few pencil or crayon marks to preliminaries, light damp-staining, contemporary blind-stamped vellum, title in manuscript on spine, lightly marked and rubbed, 8vo, Frankfurt, Serlin & Fickwirth, 1656.
Barbados & England.- Als (Frances Anne, wife of Rev William S Als, Rector of Shepherds Cot, St Philip, Barbados) Scrap Album, presentation inscription to Frances Anne Als from her aunt Mrs Culpeper of 36 Cadogan Place, London, manuscript, c. 43pp., verses (some extracts, some original and a few signed by Rev William S Als), some sketches (a few in colour) and c. 140 illustrations from magazines of the period, also numerous newspaper cuttings, all laid down on album ff., 1f. loose, hinges weak and splitting, original straight-grained morocco, gilt, rubbed, v.s., v.d. in a sm. 4to album (240 x 296mm.), 1836.-37; and another, a morocco binding from Kent House, gilt initials "VR" on upper cover, v.s. (2).
Spain.- Talbot Dillon (John) Travels through Spain, with a view to illustrate the Natural History and Physical Geography of that Kingdom, first edition, engraved frontispiece, small loss to bottom edge neatly restored, engraved dedication ff., 5 engraved plates only (of 6), 1 folding, short splits to foldline with neat old repairs verso, lacking map, one or two neat marginal manuscript notes, 3B4 with short marginal tear and neat old repair, ex-Birmingham Library with usual label and ink-stamps, spotting and staining, later cloth, a little rubbed, bumping to corners and extremities, 4to, 1780.
Fox Hunting.- [Lomax (F.G., of Great Oaks, Cray’s Pond, Goring Heath, Pangbourne)] Hunting Notes [with the South Berkshire Hunt], vol. II only, manuscript, 98pp. excluding blanks, slightly browned, original half straight-grained morocco, rubbed, sm. 4to, 1916-25. *** "At the end of the 1917-18 season Crossman returned Pilot & I started hacking him with the cheering prospect of hunting him the following season, but, unfortunately, he developed navicular & though I had him operated on, I concluded that the risk of hunting... was too great so he was sent to the kennels." - Lomax.
Sherriff (R. C.) Mr Birdie's Finger, original typescript with annotations and notes by the author, including script changes, stage directions, blocking diagrams on pages verso, and extensive props list, manuscript title in black and blue ink, light finger-soiling marks, original programme of the first performance loosely inserted (a little browned), endpapers lightly toned, contemporary cloth, a little rubbed, 1925; and another typescript of Profit and Loss by the same, also with original performance programme loosely inserted, 4to (2) *** A unique Sherriff item - a full typescript of Sherriff's play, published just before A Journey's End which would find him recognition and awards.
Herbal.- Culpeper (Nicholas) Culpeper's Complete Herbal, engraved portrait frontispiece with water-stain to lower corner, 40 hand-coloured engraved plates, the last with show-through from manuscript recipe on verso, occasional foxing and soiling, contemporary tree calf, gilt, rubbed, joints cracking, corners worn, 4to, 1814.
FARJEON ELEANOR. 16 various works incl. 1sts, some in d.w's.; with 3 manuscript letters from Eleanor Farjeon to Michael Harvey, one of six sides (folded, split to fold) with much of theatrical & literary interest, another commenting on (A.A.) Milne, "I wasn`t an out and out admirer of his work". Also a double sided manuscript postcard.
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![Einstein (Albert) [On the Theory of Special and General Relativity], first Hebrew edition, translated by Jacob Greenberg, por](https://cdn.globalauctionplatform.com/39360469-0db9-4271-8365-b1fc00cb3067/376add4f-29eb-41f2-8b40-b1fc00ce51c6/468x382.jpg)
![Lincolnshire, Easton.- [Farming accounts book], manuscript accounts, 143pp., slightly browned, original vellum, lettered dire](https://cdn.globalauctionplatform.com/39360469-0db9-4271-8365-b1fc00cb3067/a0e024cf-e842-4226-bb16-b1fc00cf0ae0/468x382.jpg)
![Fox Hunting.- [Lomax (F.G., of Great Oaks, Cray’s Pond, Goring Heath, Pangbourne)] Hunting Notes [with the South Berksh](https://cdn.globalauctionplatform.com/39360469-0db9-4271-8365-b1fc00cb3067/730e8e5b-bdff-4854-8b1f-b1fc00cf144b/468x382.jpg)
