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William Wordsworth (1770-1850). Autograph note signed, Rydal Mount [Wordsworth's family home], 24 Oct 1830, in which Wordsworth quotes Shakespeare [As You Like It, Act II, Scene I], "And this our life, exempt from public haunt, finds tongues in trees, books in the running brooks, sermons in stones, and good in everything." 20.5 x 18cm. Presented with an albumen print of Rydal Mount, a modern manuscript copy of Daffodils, and other relevant prints, framed & glazed as one. Together with an invoice from C R Moore, Rare Book Dealer, and a loose postcard of Rydal Mount, postmarked 1919

A large manuscript plan of the railway network in Burton-upon-Trent, stamped by the Superintendent's Office at Midland Railway, Derby, 27 September 1904, dissected & linen-backed, 190 x 97.5cm, cloth covers lettered in gilt, the map with toning & discolouration, the outer cloth covers worn & detached

Mary, Queen of Scots. [Blackwood, Adam.] Martyre de la Royne d'Escosse, first edition, Edimbourg [i.e. Paris]: Jean Nafeild, 1587. Octavo, early or contemporary vellum with manuscript title at spine, pp. [xvi], 492, [ii], including final leaf of verse, plus first & final blank. Internally very good, well-preserved with general toning, very pale staining & marks in places, a few heavier marks, shaved close to page numbers in places, one short marginal nick to edge of title, binding tight & strong, slight shelf-lean, vellum very good with a nice colouration from age, the vellum would've originally had ties, bearing Ex Libris plate and pencil owner inscription of Michaelis Hadriani Young A scarce first edition of Blackwood's attack on the enemies of Mary, Queen of Scots. Blackwood visited Mary frequently during her imprisonment. After Mary's execution, he published this exposure of her treatment - a diatribe against Queen Elizabeth I 

Napoleon Bonaparte (1769-1821). Manuscript letter dictated & signed by Napoleon, addressed to General Clarke, Minister of War, 28 November 1813. This important piece of correspondence sheds new light on the intended breaking of capitulations, giving the order that "the soldiers returning with Marshal Saint-Cyr will serve." The letter reveals Napoleon's inner thought processes at subterfuge, attempting to trick the Coalition during an exchange of soldiers - something the Coalition forces rightly suspected. It is one of Napoleon's last letters before abdication and exile. Neatly clerk-written by Claude-François de Méneval [Napoleon's private secretary] on four sides of two leaves, 23 x 18.5cm (when folded), the paper bearing a French Imperial Eagle watermark. The addendum and calculations are both in Napoleon's hand. The letter has been researched for the vendor by the Fondation Napoléon, and copies of email correspondence between the vendor and François Houdecek are included. The letter has now been documented & published in the 14th volume of the Correspondance générale de Napoléon, edited by the Fondation Napoléon [37313]. Also included is a transcript of the letter (French & English) with footnotes to explain the historical context of key phrases. Purchased by the vendor from Cherrystone Auctions, New York. Together with a stipple-engraved portrait of Napoleon

A William IV to early-Victorian period English lady's scrapbook, 1833-1851, filled to end, 198 pages with mounted engravings & lithographs depicting fashions of the era, historical & romantic scenes, animals, cartoons, toy theatre characters, lots of contemporary cuttings of verse & proverbs, lots of manuscript entries on subjects such as 'The first grey hair' and 'Cure for a terrible disorder of the mouth commonly called Scandal', several original watercolours, wove paper bearing manufacturer's watermark (J. Green & Son, 1825). Small quarto, 23.5cm, full crushed morocco with gilt decoration & blind-embossed floral panels, elaborately patterned endpapers. Contents well-preserved, pages with marginal tears in places, morocco covers loose from text-block and reinforced at joints

Manuscript. Indenture. Dated 1682 (Charles II). Single folded sheet. With remains of original wax seal still attached. See images. (1)

Manuscript. Indenture. Dated 6th April, 1871. An Indenture of Conveyance between Louisa Lucy, Dowager Lady Sitwell and a Mr. Gilbert Wilkinson concerning the sale of a plot of land (with dwelling house) in Scarborough. With a plan of the site showing the boundaries of the property. Louisa Lucy, Dowager Lady Sitwell (1827-1911) was the paternal grandmother of the three literary Sitwells (Edith, Osbert, and Sacheverell). She married Sir Sitwell Reresby Sitwell (1820-1862) in 1857. The couple would never live at the ancestral home, Renishaw Hall. She became a widow in 1862 and moved to Scarborough with her two infant children, Florence (1858-1930) and Sir George (1860-1943). From 1867, she lived in 'Sunnyside', a modest villa on the edge of Royal Crescent, then she moved into Wood End in 1870.

Ephemera, Orthodox Church Book of Rembrances and Devotions for the living and the dead (with names filled in in the manuscript), produced by a monastery for White Russians fleeing to China in 1934, very rare (fair) sold together with a hand painted on china image of Mary and Jesus (fair)

A 19th C. MALAYSIAN MANUSCRIPT FLANKED BY PAINTINGS OF WORSHIPPING FIGURES KNEELING ON PLINTHS AMONGST FLOWERS. 19.5 x 49.5cms.

From The Estate Of Bill Owen (1914-1999) - The Ragged Trousered Philanthropists - by Robert Tressall adapted for the stage by Bill Rowbotham (Owen) - original c1940s manuscript play script for the production, being Owen's own copy and profusely edited and annotated by him in pencil. Paper front cover with printed illustration, stapled and bull-dog clipped to the spine. A well used working manuscript. 60pp. An active supporter of the Labour Party, Bill Owen was closely associated with the Unity Theatre Company, for whom he wrote and produced several plays and revues. His adaptation of The Ragged Trousered Philanthropists was first performed by the company in 1949. The foreword, appropriately for a 'working-class classic', is by the President and General Secretary of the National Federation of Building Trade Operatives

GUICCIARDINI, Lodovico (1521-89). Commentarii ... Delle cose piu memorabili seguite in Europa: specialmente in questi paesi bassi, Venice, 1565, 4to, contemporary limp vellum. FIRST EDITION.GUICCIARDINI, Lodovico (1521-89).  Commentarii ... Delle cose più memorabili seguite in Europa: specialmente in questi paesi bassi; dalla pace di Cambriai, del M.D.XXIX. infino à tutto l' Anno M. D. LX. Libri Tre. Venice: Appresso Nicolò Beuilacqua, 1565. 4to (206 x 152mm). Large woodcut printer's device on title and repeated on the verso of the final leaf, ornament at head of the dedication and at the end of "Libro Primo", 4 large historiated woodcut initials (B2 with closed tear and very small marginal hole, small part of blank corner of I4 torn away without loss of text, some passages lightly browned). Contemporary limp vellum (vestiges of silk ties). Provenance: title and shelf numbers in old manuscript on the spine and front free endpaper. FIRST EDITION of this rare chronicle of the Netherlands. Adams G1534; not in Brunet or Gamba.

BLIGH, William (1754-1817). A Voyage to the South Sea ... in his Majesty's Ship The Bounty ... Including an Account of the Mutiny, London, 1792, 4to, 7 plates and charts, contemporary or original paper-backed boards. FIRST EDITION.BLIGH, William (1754-1817).  A Voyage to the South Sea, Undertaken by Command of His Majesty, for the Purpose of Conveying the Bread-Fruit Tree to the West Indies, in his Majesty's Ship The Bounty, commanded by Lieutenant William Bligh. Including an Account of the Mutiny on Board the said Ship, and the Subsequent Voyage of part of the Crew, in the Ship's Boat, from Tofoa, one of the Friendly Islands, to Timor, a Dutch Settlement in the East Indies. London: Printed for George Nicol, 1792. 4to (317 x 250mm). Oval portrait frontispiece of William Bligh engraved by J. Condé after John Russell, 7 engraved plates and charts, 5 of which folding, with the printed account of the mutiny ("Chap. XIII. A Mutiny in the Ship") commencing at p.154 (frontispiece lightly browned, some heavier staining at upper margins of the first few text leaves and occasionally others, not affecting letters, some mainly marginal spotting and staining, a few darker spots). Contemporary or probably original publisher's paper-backed blue paper boards, uncut and partly unopened (parts torn away from the spine resulting in the loss of most of the old manuscript title, corners rubbed and bumped, some light staining). The plates and charts are titled as follows, with the wording often at variance with the wording on the list, and bound in the following order and not in the same order as the list: 1) "Sections of the Bread Fruit"; 2) "Sketch from recollections and anchor-bearings of the North Part of Otaheite from Point Venus to Taowne Harbour ... by William Bligh", with his facsimile signature (folding); 3) A Copy of the Draught from which the Bounty's Launch was built" (folding); 4) "Chart of Bligh's Islands", incorporating smaller inset "Chart of the Northern Part of the New-Hebrides ..." (folding); 5) "NE Coast of New Holland"; 6) "Track of the Bounty's Launch from Tofoa to Timor" (folding, bound in upside-down); and 7) "Plan & Section of part of the Bounty Armed Transport, shewing the manner of fitting and stowing the Potts, for receiving the Bread-fruit plants" (folding). Provenance: Holbrook Gaskell (19th-century signature on front pastedown). Holbrook Gaskell (1813-1909) was a British industrialist and an art and plant collector. He was the cousin of the Unitarian minister William Gaskell, husband of the eminent novelist Elizabeth Gaskell (1810-65), commonly referred to as "Mrs Gaskell". FIRST EDITION of this account of the first Bounty expedition and the mutiny in its entirety and "... one of the most heroic sea voyages ever made ..." including "...  a slightly revised version of the text of Bligh's narrative of the mutiny, previously published at London in 1790 ..." (Hill). The author's own printed "Advertisement" at the beginning of the book describes how the work took on its present form in order to incorporate the account of the now infamous mutiny: "At the time I published the Narrative of the Mutiny on Board the Bounty, it was my intention that the preceding part of the Voyage should be contained in a separate account. This method I have since been induced to alter ...". Brunet I, 364; Cox II, 305; Du Rietz 93; Ferguson 125; Kroepelien Bibilotheca Polynesiana 93; Hill 135; Mendelssohn II, 7; Sabin 5910; Wantrup 62a.

Rubaiyat of Omar Khayyam ... Reproduced from a Manuscript Written and Illuminated by F. Sangorski & G. Sutcliffe, London, [c.1910], 4to, illustrations printed in colours and gold, FINELY BOUND IN "deerskin" gilt. Please see the full description.Rubaiyat of Omar Khayyam. Translated into English by Edward Fitzgerald with an Introduction by A. C. Benson ... Reproduced from a Manuscript Written and Illuminated by F. Sangorski & G. Sutcliffe. London: Siegle, Hill & Co., [c.1910]. 4to (307 x 220mm). Text and initials printed in red and black, illuminations and illustrations, including 4 full-page, by Ewan Geddes, printed in colours and gold, some very light mainly marginal spotting and staining reproduced from the original manuscript. FINELY BOUND in contemporary "deerskin" gilt [?by Sangorski & Sutcliffe], the upper cover ruled and lettered in gilt and black with five ornamental "hinges" terminating in clover leaf motifs, the spine with five raised bands and lettered in gilt, green endpapers, gilt edges (extremities rubbed). There is no signed limitation leaf to indicate that this is one of the 550 "de-luxe" copies produced in 1910 as usually appears. The front cover lower dentelle has "Bound in deerskin" stamped in small letters but, above it, the name of the binder of this copy seems, inexplicably, to have been scratched out (see illustration) but the binding's style and quality bears the unmistakable hallmarks of Sangorski & Sutcliffe. It is more usually found bound in pictorial vellum.

SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF-LENGTH PORTRAIT OF JAMES NEWBIGGING OF WHITEHOUSE Oil on canvas Dimensions:76cm x 63.5cm (30in x 25in) Provenance:Provenance:Adam Rolland, Esq., Gask, Scotland, by 1876 to after 1901Weekes (according to Greig), by 1911Thomas Agnew & Sons, LondonMrs Henry Morgenthau, New York, by 1939Newhouse Galleries, New York, NYMr. and Mrs. F. Howard Walsh, Fort Worth, TexasWalsh Family Art Trust Literature: Sir Walter Armstrong, Sir Henry Raeburn: A Study, London, 1901, p.109Edward Pinnington, Sir Henry Raeburn, W. Scott, London, 1904, p.243James Greig, Sir Henry Raeburn, R. A.: His Life and Works, with a Catalogue of his Pictures, The Connoisseur (Otto Ltd), London, 1911, p.55David Mackie, Sir Henry Raeburn Catalogue Raisonné, 6 volumes, unpublished manuscript, vol.III, pp.718-719, no.574 Note: Note: In his catalogue raisonné David Mackie suggests a date of c.1795. Henry Raeburn’s portraiture is intimate. It does not wholly subscribe to the formal Romantic mode widely practiced by his contemporaries, instead presenting its subjects with sensitivity, individuality and warmth. His sitters appear as if mid-gesture, mid-breath, emerging from the shadowy depths of their composition and advancing towards a light source located not far behind the viewer. This effect is achieved with deft, confident strokes of pigment: note, for example, the mark-making used to denote Mr Newbigging's cravat, almost daring in its abbreviation; this is an artist fully aware of his talent and how best to wield it. James Newbigging of Whitehouse was a solicitor and Writer to the Signet. In the late 1790s he was elected Clerk to Sir Henry Dundas whose political power in Scotland was at the time unsurpassed. Raeburn’s portrayal of Newbigging is tender and full of quiet personality: his sideways look and slightly pursed lips suggest a degree of reservation, the solicitor used to scrutinising others perhaps unused to Raeburn’s own scrutinising gaze. While little is known of Newbigging’s life, a painting of his wife is also listed in David Mackie’s catalogue raisonné, with a note that both portraits passed to their daughter Ann and her husband Adam Rolland of Gask. This portrait should therefore be understood as a private object of familial sentiment, as well as a public-facing record of Newbigging’s prominent standing in Edinburgh society, a dichotomy to which Raeburn’s style feels uniquely suited. Raeburn is celebrated today as one of Scotland’s greatest artists, not least for his iconic oil of the ‘Skating Minister’ (Reverend Robert Walker Skating on Duddingston Loch, National Galleries of Scotland, NG 2112). Despite this, his beginnings in life were unassuming. Orphaned at a young age and fostered by his elder brother, the teenaged Raeburn seems to have first turned his hand to portraiture while apprenticed to an Edinburgh jeweller and goldsmith. He first produced miniatures, but within a matter of years he transitioned to oil painting. He worked from Edinburgh throughout his career, and by the end of his life was decorated with accolades, including an appointment as Painter and Limner to King George IV, alongside membership of the Royal Academy, Royal Society of Edinburgh and American Academy of Fine Arts.

SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) HALF-LENGTH PORTRAIT OF MR WILLIAM MACKENZIE Oil on canvas Dimensions:76cm x 63.5cm (30in x 25in) Provenance:Provenance:William Mackenzie, EdinburghAcquired by descent to Miss E. G. Mackenzie, Pietermaritzburg, South AfricaNewhouse Galleries, New YorkMr. and Mrs. F. Howard Walsh, Fort Worth, Texas, 1966Walsh Family Art Trust Literature:David Mackie, Sir Henry Raeburn Catalogue Raisonné, 6 volumes, unpublished manuscript, vol.III, pp. 642-643, no.505 Note: Exhibited: Durban Art Gallery, Natal, South Africa, "Treasures from Natal Homes", November 1959Note: David Mackie makes reference to this portrait of William Mackenzie in his Henry Raeburn catalogue raisonné, having been supplied with a reproduction of the painting by the Newhouse Galleries, New York in 1988, and asserted that it appeared to be a late example of Raeburn's work. He does not make reference to the portrait of Mrs Mackenzie (Lot 108). Henry Raeburn’s portraiture is intimate. It does not wholly subscribe to the formal Romantic mode widely practiced by his contemporaries, instead presenting its subjects with sensitivity, individuality and warmth. His sitters appear as if mid-gesture, mid-breath, emerging from the shadowy depths of their composition and advancing towards a light source located not far behind the viewer. This effect is achieved with deft, confident strokes of pigment: note, for example, the mark-making used to denote his gentleman sitters' cravats (see also: lot 107), almost daring in its abbreviation; this is an artist fully aware of his talent and how best to wield it. While the soft light of the Mr Newbigging portrait (lot 107) is characteristic of Raeburn’s earlier painting, later in his career he lit his subjects more dramatically, such as we see in these portraits of Mr and Mrs Mackenzie. In heightening his tonal contrast, Raeburn could shroud landscape or interior settings (in which he had little interest) in shadow, instead directing the viewer’s attention, through glowing illumination, towards his subject’s face and gestures to subtly elucidate mood and expression and enhance the intimate atmosphere. Raeburn was nevertheless an Enlightenment man who held fundamental truth as his objective, and he approached portraiture with commensurate empiricism: throughout his career he insisted that his subjects sat before him so that he could compose their likeness directly onto the canvas, rather than working from preparatory drawings. Raeburn is celebrated today as one of Scotland’s greatest artists, not least for his iconic oil of the ‘Skating Minister’ (Reverend Robert Walker Skating on Duddingston Loch, National Galleries of Scotland, NG 2112). Despite this, his beginnings in life were unassuming. Orphaned at a young age and fostered by his elder brother, the teenaged Raeburn seems to have first turned his hand to portraiture while apprenticed to an Edinburgh jeweller and goldsmith. He first produced miniatures, but within a matter of years he transitioned to oil painting. He worked from Edinburgh throughout his career, and by the end of his life was decorated with accolades, including an appointment as Painter and Limner to King George IV, alongside membership of the Royal Academy, Royal Society of Edinburgh and American Academy of Fine Arts.

A leaf fragment from an office antiphonal, German or Austrian, probably late 11th century, manuscript on vellum, with twenty lines in brown ink in a late Carolingian miniscule under musical notation in German non-diastematic neumes, the Latin liturgy being for the feast of St. John the Evangelist with the end of first vespers and the beginning of the night office (matins), with an initial three lines in height decorated with a dragon in orange-red, other initials touched in orange-red, one corner cut down, 25.5 x 11.6cm Footnotes: Note: The present lot is a surviving fragment from an antiphonary that would have most likely been sung in a secular house (such as a cathedral), instead of a monastery. The liturgy of the feast of St. John the Evangelist is celebrated on 27th December, according to the divine office of the Roman Catholic Church. We are grateful to Susan Rankin FBA, Emeritus Professor of Medieval Music at the University of Cambridge, for her assistance in the cataloguing and authentication of the present lot, based on inspection of photographs. Condition Report: Some staining and small holes to edges

Bath Theatre Royal Interest - Licence dated 28 September 1859, naming Benjamin Smith and William Eleazor Pickwick to establish a theatre at Bath or Playhouse for twenty one years from 25th day of March 1860, printed document on vellum with manuscript additions, with wax Great Seal of Queen Victoria enthroned, 50cm x 75cm approx (document size), in gilt display frame under glass, 80cm x 90cm overall

[TRAVEL]. JAPAN Morris, John. The Phoenix Cup, Some Notes on Japan in 1946, first edition, The Cresset Press, London, 1947, original red cloth, dustjacket (non price-clipped), fifteen monochrome plate illustrations (including frontispiece, as called for), SIGNED & INSCRIBED BY THE AUTHOR TO SIR PHILIP GIBBS to the front free endpaper, with a loosely inserted accompanying manuscript letter, octavo.

A manuscript rent charge book for the parish of Wendron 1851 including numerous tenements, occupiers and rent charges

George Romney (Beckside 1734-1802 Kendal)A three-panelled screen: Classical figures dancing oil on canvas, laid on card184 x 60.6cm (72 7/16 x 23 7/8in). each; 184 x 182.2cm. (72 1/2 x 71 3/4in.) overallFootnotes:ProvenanceAntichità Triboldi, Brescia, 1994, where purchased by the present owner's late motherThat a painted screen decorated with dancing females was part of Romney's estate has long been familiar to students of the artist. Lot 90 in Romney's posthumous sale at Christie's on 27 April 1807 was: Five leaves for a Screen, Dancing Nymphs; bought by 'Long' – probably Romney's friend the surgeon William Long – for 5 guineas.The screen was presumably returned by Long's heirs to Romney's, since it next appeared in the sale at Christie's in April 1894 of the effects of Miss Elizabeth Romney, the artist's grand-daughter. Here it was titled: A Five-Leaf Screen, painted with 'The Singers go before, the Minstrels follow after, in the midst are the damsels playing with the timbrels,' one panel painted by the artist's son, Rev. John Romney. The buyer was Miss Romney's nephew, Lawrence Romney, who dealt in the works of his great-grandfather in the early years of the 20th century. Beyond the surmise that he removed the panel painted by John Romney, his contribution to the screen's history is uncertain. Unprepossessing photographs of two of the leaves appeared in Ronald Sutherland Gower's monograph on Romney of 1904, and the screen re-surfaced, with four leaves only, in 2018, in the estate of the Romney scholar Patricia Jaffé. It is now at Abbot Hall Art Gallery in Kendal.The present screen is a version of sobering exactitude of three of the leaves of the Kendal screen. The circumstances of its making are unknown; it is not mentioned in any Romney literature, it has not appeared in any known sale, and its provenance goes no further back than to an antique shop in Brescia, Italy, where it was bought by the last owners in 1994. The presence of only three leaves could be thought very promising, as implying that it was produced before a fourth leaf was added to the Kendal screen by Romney himself (as may conceivably have happened). That this was the first screen, and the Abbot Hall one came second, seems perfectly possible.As has been shown in an article by Olivia Ghosh (Transactions of the Romney Society vol. 24 [2019]), the figures are derived from volume 1 of the famous neo-classical primer Le Antichità di Ercolano Esposte, published in 1757. As painted by Romney, the rather immature classical figures betoken a young man's keenness to graft his work on to a new, exciting artistic fashion, and he must have made the first of the screens, whichever it was, shortly after his arrival in London in the spring of 1762.The inferential evidence offered by the present screen is bewildering. The mounting of the canvases on to card rather than panel, the Italianate framing, and the manuscript note on the reverse stating that the dancers are 'portraits of Lady Hamilton' (correcting 'Lady Romney' – who she?) combine to suggest the possibility of a connection with Lady Hamilton's life in Italy. On this view, if the card backing was to make the canvases light to transport, and they were only framed at their destination, could it be that Romney made the screen as a wedding present – a reminder of the old days in his studio – for Lady Hamilton, which she took to Naples?The text of the manuscript label mentioned above reads: Screen by George Romney 4-fold belonging to John Orbes [Orde] Romney of Whitestock Hall Ulverston, Cumberland represents Lady Romney [corrected later to Hamilton] in 4 different positions. John Orde Romney (1851- 1924) Lawrence Romney's brother, Elizabeth Romney's nephew, was the titular owner of Whitestock from 1875 until he sold the estate around 1904, and this label, presumably a memorandum about the other version, must date from within that period.We are grateful to Alex Kidson for kindly writing this catalogue note.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

˜ A FINE CASED PAIR OF 36 BORE FLINTLOCK DUELLING PISTOLS BY DURS EGG, NO. 1 PALL MALL COLONNADE, LONDON, NO. 823, LONDON PROOF MARKS, CIRCA 1816-20 each with browned twist octagonal sighted barrel signed in gold capitals, case-hardened patent breech inlaid with a pair of gold lines and platinum-lined vent, struck beneath with the serial number and London proof marks, breech hook stamped en suite, engraved case-hardened tang incorporating back-sight, engraved flush-fitting flat lock engraved with a Britannia trophy on the tail, border ornament and a sunburst, signed in script beneath the rainproof pan, each fitted with engraved blued bolt safety-catch also locking the steel, engraved bevelled ‘French’ cock, patent steel with safety vent and blued steel spring with roller, the inside fitted with detent and numbered en suite, blued triggers, highly figured walnut half-stock, small rounded chequered butt, finely engraved blued iron mounts comprising trigger-plate with elaborate pineapple finial, trigger-guard applied with a spur and engraved with a Britannia trophy, fore-end cap decorated with a sunburst, vacant gold escutcheon engraved with the owner’s crest, silver barrel-bolt escutcheons, original horn-tipped ramrod, and much original finish throughout: in original lined and fitted mahogany case, the lid with flush-fitting brass carrying handle and escutcheon engraved with the owner’s initials ‘F.C.’, the interior with trade label and lined in green baize (small areas of wear), complete with early accessories including red leather-covered three-way flask, bullet mould and rammer, 26.0 cm barrels ProvenanceFrederick Cass (1787-1861) of Beaulieu Lodge, Winchmore Hill, Edmonton, second son of William Cass (1743-1819), who inherited on the death of his childless elder brother, Charles, in 1825. William Keith Neal, no. C51. sold Christie’s, King Street, 5th November 1995, lot 325 LiteratureWilliam Keith Neal & David H. L. Back, British Gunmakers, Their Trade Cards, Cases and Equipment, 1760 – 1860, plate 346, pp..42-3, plate 116. A manuscript note in the case reads 'Mem: Dec.r 15th 1826. Mr. Durs Egg, told me that these Pistols loaded with the small charge of Powder, would carry a ball 50 yds. & upwards, sufficiently strong to kill, & if loaded with two full charges of Powder, would do execution at 200 yds. & if more powder was used 300 yds. When shot is used instead of Ball put in about the weight of a Ball & a half to the usual charge of powder.'

(Jews in Algeria) Memorial of 1669 on the Jews from Africa to NiceImportant manuscript document datable to 1669, which reports the decisions taken by the King of Sardinia about a community of Jews coming from the African city of Auran (now Oran in Algeria, at the time under Spanish domination) which arrived at the port of Villafranca di Nizza "desiderando di vivere sotto il dominio e protettione di V.A.R.". This request was satisfied by His Royal Highness who wishes to increase the trade of Nice and Villafranca. The document analytically reports the most important points on which it was decided, in administrative, economic, religious and cultural matters, in order to guarantee a fruitful integration of African Jews with the local population. 8 pages, in-4, in Italian. Water stains on the edges. Very interesting document of historical value.

Franz Liszt (Doborjan, 1811- Bayreuth, 1886)Autograph manuscript, not dated [1838-1839] by the celebrated Hungarian pianist. On a sheet of paper annotated “Feuillets d'Album" followed by the number "133", all in Marie d'Agoult's handwriting, the famous pianist Franz Liszt traced thefollowing text: “Elle y attachait un prix peut-être exagéré, mais ne devais-je pas être orgueilleux de cette exagération-même ? Pourquoi avoir gaspillé ces beaux dons pour de mesquines idoles de femmes qui devaient nécessairement en rire”. This page comes from a notebook (or "diary") in which Franz Liszt and Marie d'Agoult jotted down thoughts they felt were worth preserving. These few lines reveal the female rivalry that became the primary cause of the collapse of the friendship between Marie d'Agoult and George Sand. To please Franz, Marie had decided to love George, who was a close friend of Liszt, and to become her friend. But Marie's idealized image of Sand deteriorated inexorably. Franz Liszt's reflection here sums up the rivalry between the two women in a few words: he is proud to be loved by both, but considers it a shame to waste “ces beaux dons pour de mesquines idoles de femmes”, who should have been laughing. In 1866, a year marked by the final encounters of the Comtesse and Franz - they had been living apart since 1844 - the composer had come to Paris to attend the performance of his "Missa Solemnis", and Marie d'Agoult, who was ill, had decided to write her “Mémoires", which would appear after her death in 1880. To this end, she had begun to gather together all the documents needed for the composition of the work. As a result, this sheet, along with others, was detached by her from her original notebook and perhaps used in the writing of her memoirs. A rare autograph by Franz Liszt in this form, whose text suggests that a misunderstanding had arisen between the pianist and his mistress at the time of writing. Six lines on an in-8 gr. page (cm 16.5 x 21 ca.).

England, 14th century A.D. Vellum manuscript page with illuminated capital in blue, green, coral and liquid gold and dense blackletter text with decorative bands in blue, white and liquid gold; Latin prayer beginning 'Domine ihu xpe' (Lord Jesus Christ) .. ut lancea caritatis tue penetres cor meum (so that the spear of your love may penetrate my heart); below, 18th century printed image of the ruins of Crowland Abbey; both in a glazed wooden frame with a burgundy reveal. 1.25 kg, 45 x 31 cm (17 3/4 x 12 1/4 in.).From a Blackheath, London, UK, deceased estate. Property of a Suffolk, UK, gentleman.

France, 14th-early 15th century A.D. Comprising: manuscript of Psalm 129 (De profundis clamavi ad te Domine.. 'I called out to the, Lord, from the depths..') in loose Caroline minuscule or batarde script with liquid gold detailing, blue versals with red pointillé framing; manuscript of the vespers chant (Protege Domine populum tuum.. 'Lord, protect thy people..) in dense blackletter bookhand with liquid gold versals on blue and with red 'Oro' (I pray) responses; both mounted in a glazed wooden frame with cream-coloured card reveal. 447 grams total, 19.5 x 14.3 cm each (7 5/8 x 5 5/8 in.).From a Blackheath, London, UK, deceased estate. Property of a Suffolk, UK, gentleman. [2]

MANUSCRIPT GAME BOOK .... Bayfield Hall, Norfolk, oblong 4to, red morocco, rubbed and wear to rear hinge, 1855 to 1864, With 5 books on shooting.(6)

COMMON PRAYER - The Book of Common Prayer, original embossed morocco with binder's ticket, large 8vo, Oxford, 1866, With - 3 volumes of Proceedings of the Court of Annual General Session, for the County Palatine of Lancaster, 1829, 1839, 1841. With - A late eighteenth century manuscript memorandum book. With - another manuscript titled "Christian Faith, '" 1802. (6)

ISLAMIC MANUSCRIPT -  religious text bound in leather, used copy, late 19th century. (1) 

IRELAND, three manuscript books, one relating to the genealogy of Edward Sharp, another being manuscript interpretations of earlier documents. The third one in a difficult hand seems to also record earlier documents some connected to Ireland. (3)

MANUSCRIPT ESTATE ... Eleven rent ledgers, memorandum, and account books, original vellum bindings, also marbled paper covered boards, in various states of disrepair, contents very good, except volume 1762 - 64 which is badly affected by damp. * The Belmont Estate is thought to have been in the South Hams. (11)

BRADY, Rob. - An Historical Treatise of Cities, and Burghs or Boroughs : Folio. Calf torn in places with loss. 1704. With - A substantial manuscript accounts book. Vellum. Folio. 1770 - 92. * Estate not located.(2)To be included in our Antiquarian Book Sale on 5th December.

SAN FRANCISCO, four-page manuscript letter on Landsdown & Sons headed paper, vividly describing the 1906 earthquake, 'some hotels went down with three-hundred people in them... we did not take off our clothes for two nights so to be ready to rush out... some of the houses were lifted up and thrown over the clifts...'.

PORCELAIN AND POTTERY CATALOGUE, many manuscript entries, original padded morocco binding, with title in gilt on the upper cover, 4to, compiled by H. F. Simmonds, 1908., with Captain James Hardy Wellsby, three pages of illuminated manuscript presentation album, 4to, full gilt morocco, Southport December 1890. (2)

PINCHINTHORPE PEDIGREES, with a separate edition to the Pedigree of Lee of Pinchinthorpe, manuscript genealogical table, 60 x 147 cm, and 58.5 x 55 cm, 1920, 1970, 1922.

Miscellaneous ephemera, mostly printed, including a 19th c disbound photograph album of topographical albumen and other prints, advertising, postcards, 20th c manuscript correspondence, mid-20th c Derby Education Committee school exercise books, 19th c and later book illustrations, etc., (3 boxes)

Hampshire. A Charles II indenture, 17th February, 1682, manuscript on vellum, between Elizabeth Du***, ?Arford, [Hampshire], and Edward Ja***, of Hambledon, signed by the lady, further inscribed, witnessed and docketed to verso, fragmentary red wax seal, 31.5 x 63cm

A COLLECTION OF PERSIAN MANUSCRIPT PAGES in leather folders, some with illuminated panels, probably 19th century, with a cardboard containing an early Korean painting on linen

Guitar with a manuscript label Selected by Madame Sydney Pratten London 1875, 22a Dorset Street, Portman Sq. W.; Back & Sides: birds eye maple, open hairline crack in the lower back; Top: table and sound holes edged with multiple purfling, with pin bridge; Neck: ebonised neck and peg box with brass machine heads and shaped bone pegs; Length of back: 17 1/4", 43.7cm *Ivory exemption reference TMSPKDH3

1931. Depicting scenes from the comedy Noapte furtunoasa by I. L. Caragiale. 16 lithogr. separated w. parchment paper in paper wr. in orig. portfolio, numb. 169. 29 x 38 cm. Manuscript inscription on portfolio. Sl. waterst. in corner, portfolio somewhat worn.

A nice collection of (rare) 19th cent. children's books that served as prizes for diligent children. Comprises a.o.: (1) J.H. du Sart. Vruchten mijner uitspanningen, in avond-gesprekken, tusschen een vader en zijne kinderen (...). Amst., Schalekamp en Van de Grampel, 1815, IV,92 p., w. engr. title and 2 plates, orig. printed boards. Very fine copy, because of contemp. chintz paper covers over the orig. boards. With manuscript prize awarded to Gerrit Tates, Zaandam, 1818. (2) J.H. Campe. Nuttig en leerzaam onderhoud, in fraaije verhalen, voor de lieve jeugd. Amst., Ten Brink & De Vries, 1836, VIII,96 p., w. engr. tile and 2 plates, contemp. hmor. w. paper letterpiece on spine. With letterpress prize filled-out in pen to Hn. Tromp, Vlissingen, 1840 (w. 8 signatures). (3) Zestien kleine vertellingen voor leerzame kinderen. Naar het Hoogduitsch. Amst., H.L. Koopman, (1842), IV,54 p., w. 16 ills. on 8 lithogr. plates, orig. printed boards w. private chintz covers. W. letterpress prize filled-out in pen to Trijntje Tater, Koog aan de Zaan, 1844. (4) (M.J. de Neufville). Zes nieuwe oorspronkelijk Nederduitsche verhalen voor kinderen (...). Tweede druk. ibid., idem, 1836, (4)75,(1) p., w. engr. title and 2 plates, orig. printed wr. (spine defective). W letterpress schoolprize awarded to Maria Geertruida Rentmeester, Hoorn, 1840. -and 15 others, containing prizes awarded at primary schools in Amsterdam (2x), Delft, Dordrecht, Haarlem (3x), Koog aan de Zaan, Leeuwarden, Loenen aan de Vecht, Rotterdam, Zaandam (3x) and Zaandijk. (total 19)

Amst., 14-1-'44. Ill. manuscript, "samengesteld en uitgegeven, getekend ende verlucht, geschreven en gedicht, gekleurd en gebonden door de N.V. J.D.T. en Zoon. 14 Januari '44", title-p. and 25 lvs of different paper, all w. text in verses and ills. in pen finished as watercol./ gouaches, in cl. binding w. paper title on front cover (w. mock (?) k-number 839421 in pen), and w. incomplete paper title strip "Lex Metz Eene levensschets in 24 ver[...]" on spine, 21 x 15 cm. Very nice personal document. (2-12) Series of 11 caricatures in pen and black ink, var. sizes and irregular shapes, under 9 passepartouts. All shaped like figures that can be cut out, w. fold. "stands" w. captions like "ministers e.a." (Sinterklaas and Zwarte Piet), "dwaas", "rund", "snavel de pechvogel", "koor van stommen", "Cornelis medestander" etc. -and 18 others, mainly printed books and flyers, incl. 2 copies of the verse Eens droomden wij by P. van Steen, printed in 200 numb. copies signed by the author, 1957, w. col. lithogr. by Metz. (total 30)

(1) Point Lobos. N.pl., (Lage Vuursche), n.d. (1952), 16 p., ill. facsimile of a manuscript, orig. thread-bound wr., 16 x 16 cm. With signed dedication in pencil on inside front wr.: "Een essay uit mijn boek "Plan the impossible" voor de Dudok's. Augustus 1952 [signed: H.Th. Wijdeveld]." Willem Marinus Dudok and his wife, owned this rare, privately published work. Front wr. w. a few stains. (2) The Dance of Life. A uniform issue with the exact same dedication in pencil. (total 2)

Augsburg, Martin Engelbrecht, ca. 1760. Complete set of 6 engr. handcol. scenes, in contemp. paper wrapping with manuscript "De Jodenkerk". 9.5 x 14.2 cm.

Incl. booklets, sheet music, cards and labels. (1) Jan Rot. Reklame-teekenaar, illustrator. Atelier: N.Z. Voorburgwal 318, Amsterdam. Telef. 32518. Woodcut advertorial card, 14 x 9 cm, printed in black and red, ca. 1930. Nice design by Rot for himself, depicting a rat holding a shield and 2 brushes. (2) Jan Rot en Henny van der Meulen hebben de eer u te berichten dat de voltrekking van hun voorgenomen huwelijk den 27 Juni a.s. zal plaats vinden. Bifolium, folded measuring 15.5 x 10.5 cm, w. lithogr. ill. printed in blue on front, dated 11 June 1929. (3) De eeuwige Jeremiade. Woorden van Jan Roth. Muziek van Hans Kauffmann. Repertoire Paul Collin. Sheet music. Amst., N.V. De Nieuwe Muziekhandel, n.d., 5 p., orig. col. lithogr. wr. des. by Rot. Sm. portion of the text pasted over w. manuscript strip, the other side w. black ink. Splitting on spine. (4) Mag ik u mijn voorjaars-aanbieding overhandigen? Steenuil-Nieuws No. 1 - Voorjaar 1931. Amst., Uitgeverij "De Steenuil", (20) p. and loosely inserted ordering form, orig. wr. des. by Rot. (5) P.G. Kuijk. De Zaanstreek. Uit haar verleden en heden. Koog a/d Zaan, by Zaanlandsche Stoomdrukkerij v.h. E.N. Smit for D.Y Alta in Amst., 1923, num. photogr. ills., other ills. and orig. wr. by Rot, large 8vo. -and 11 others, incl. 6 pieces of sheet music w. front covers by Rot. (total 16)

Augsburg, Martin Engelbrecht, ca. 1760. Complete set of 6 engr. handcol. scenes. (in contemp. paper wrapping with manuscript "Drooghouden"). 9.5 x 14.2 cm.

Augsburg, Martin Engelbrecht, ca. 1760. Complete set of 6 engr. handcol. scenes, in contemp. paper wrapping with manuscript "Het uittrekken van het kamp". 7 x 9.7 cm.

Augsburg, Martin Engelbrecht, ca. 1760. Complete set of 6 engr. handcol. scenes, in contemp. paper wrapping with manuscript "Joseph in de Kuil". 9.5 x 14.2 cm.

Augsburg, Martin Engelbrecht, ca. 1760. Complete set of 6 engr. handcol. scenes, in contemp. paper wrapping with manuscript "Een Jagt". 9.5 x 14.2 cm.

Augsburg, Martin Engelbrecht, ca. 1760. Complete set of 6 engr. handcol. scenes, in contemp. paper wrapping with manuscript "De Mijnwerkers". 9.5 x 14.2 cm. *rare

Archive containing technical drawings, large blueprints, photographs, articles and newspaper clippings on the first experimental "four wheels driven, braked and steered" car, invented by Holle around 1923. This original archive provides a unique insight into an almost completely forgotten car and includes the technical specifications. Incl. a.o.: (1) A 9 page photocopied ill. manuscript article (dated 1992) on the history of the inventor and the car. According to the article, Holle was born in 1878 in Java and was the son of a rich tea merchant and owner of the plantation Parakan Salak (also known from the works of E. Douwes Dekker). Holle died in 1955, never having fully recovered from imprisonment by the Japanese in WWII. (2) A remarkable motor car. Reprinted from The Engineer, December 21st, 1923, 8 p., w. 12 ills., orig. stapled wr., 4to. Waterst. in upper outer corner, a few small other imperfections. (3) Three original technical drawings in pen on fold. linen, var. large sizes, one of the sheets (74 x 58 cm) titled "Diagram of fixed front axle, carrying no weight, with reaction-free steering for "independent" Wheels", dated "Paris 10-1-'33 Avenue de Malakoff. 148" and signed by Holle in pen. One sheet dam. by silverfish. (4) Orig. photogr., 28 x 35.5 cm, showing Holle driving the car. Sm. tears and other imperfections. (5) Seven large technical blueprints for "Holles Chassis" (4x, English language)/ "Système Holverta" (3x, French and Italian language), the 2 largest ones measuring 100 x 140 and 74 x 68 cm, the French/ Italian language blueprints w. address Société Internationale Holverta, Avenue Louise 97, Bruxelles", one of the English language blueprints with stamp "Joy & Harrison, Consulting engineers and designers, Ulster Chambers 106, Regent st. W. 1" and dated 16 May 1923. Occas. defects. Incl. duplicates, several items with defects. (total approx. 50)

Amsterd. Toneelvereeniging. Stadsschouwburg. 1932. 109.5 x 78.5 cm. Signed, w. manuscript dedication and numbered by hand 42/50. On cloth.

Top'design, ca. 1969. 79 x 54.5 cm. Poster serving as proof of membership of Eldorado Radio & Teeveestation for (in manuscript in black marker): Fritz Keers. The Radio and TV station Eldorado, an initiative of Schippers and Wim van der Linden, never became a real broadcasting station. Good condition. Added: movie poster for the (erotic) mystery film Loos (1989), directed by Theo van Gogh. *Phil Bloom was the first fully nude woman to appear on Dutch television, in the VPRO television series 'Hoepla', 22 september, 1967. (total 2)

Printed draught of 40600 guilders to Carl Reinhard Berner, (owner of the plantation Tourtonne near Paramaribo) w. var. manuscript entries on recto and verso, dated "17 February 1863", signed by "De Gouverneur der Kolonie Suriname [ms.:] van Lansberge", 13.3 x 26.8 cm, verso w. blindst. and paper seals. (2) A similar Wisselbrief to L. Weisenbruch of 1297.11 and a haf guilders. (total 2)

(1) "Conditien van een Negotiatie ten behoeve van eenige Planters in de Colonie van Surinamen (...)". Dated 1 Sept. 1769. No. 1300. Manuscript annotations on verso noting payments. (2) "Acte van aandeel, voor een ses-honderste portie in het fonds der Plantagiën Vredenburg en Louisburg (...)". Stock certificate, dated April 1802. No. 352. W. manuscript signatures and some notes. Folded, both w. sm. holes and tears, but text (mostly) unaffected. Fascinating set of certificates. (total 2)

Facsimile of manuscript and typoscript. Amsterdam, De Bezige Bij, 2001. In cloth cassette, 31 x 26 cm. Ed. of 275 numb. and signed copies. Published on the occasion of the 50th printing of the classic novel. Added: 4 other works by Reve. In good condition. (total 5)

Manuscript recipe-book for jenever (gin), brandewijn (brandy) etc., Dutch, ca. 1945-1970, 34 p. (and blank pages numbered up to 200), hlinen w. dustwr. labelled w. the mentioned title, folio. Interesting recipe book, most likely containing (secret) recipes from the distillery Weduwe A. v.d. Eelaart (Drie Sterren) in Schiedam (see below). The manuscript starts with recipes for colours that can be produced, for instance "Caramel. Caramelkleurpoeder van Polak's Frutal Works 50 gram op 1 liter water" or "Oranje. Oranjekleurpoeder "Extra" Polak's Frutal Works 50 gram op 1 liter water". The manuscript contains descriptions of the techniques "overhalen", "versnijden" and "filtreren" and a number of recipes, for example: "Gebeide jenever. (50%). Recept M. Nov. '46. Vul de ketel met 21 vat jenever van 38%. Voeg hier aan toe 140 kg jeneverbessen (in zakken). Laat het geheel 7 dagen trekken, onder dagelijks doorroeren. Langzaam en voorzichtig afstoken! (2 dagen). Wijziging: Inplaats van 140 kg bessen 250 kg voor sterker aftrek." Similar recipes for Jenever "Friesland" type, Jenever Concentraat "Algiers", Oude Jenever "Drie Sterren", Oude aromatische jenever, Rijnbende's "Oude Schiedammer", Weduwe Elaart's Zeer oude jenever, Inmaak brandewijn, Vodka Bjelspolskaja, Cognac Fine champagne, Cognac type Coebergh April 1964, (...) Drie sterren Febr. 1972, dry gin, Aalbessen Jenever 1950, Frambozen brandewijn in productie genomen oktober 1963 and White lemon gin Horeca febr. 1973. Loosely inserted in the recipe book are two smaller school-notebooks filled w. similar manuscript recipies (incl. recipes dating from the 1930s), some loose recipes, col. lithogr. labels (incl. many duplicates) and two interesting, very rare booklets: (1) Prijscourant van Weduwe A. v.d. Eelaart. Schiedam. Distillateurs en Likeurstokers (printed by De Eendracht in Schiedam, ca. 1935, 24 p., orig. stapled wr.). (2) De Huis-likeurstoker, of opgave van de meestgezochte en voortreffelijkste likeuren, hoe men dezelve op eene eenvoudige en goedkoope wijze kan bereiden (Amst., S. de Grebber, 1840, 22 p., orig. (sl. dam.) wr. (total 27)

Manuscript diploma of Nobility on vellum, 55.5 x 74 cm, "Gegeeven op het Loo den 4 September 1822", signed in pen "Willem" (King William I of the Netherlands), and by F.G. van Lynden van Hemmen (1761-1845, president of the Hoge Raad van Adel), C. Chais (1762-1840, secretary of the Hoge Raad van Adel), M.W. Baron van Westreenen Van Tiellandt (1783-1848, founder of the Museum Meermanno-Westreenianum) and J.G. de Mey van Streefkerk (1782-1841, secretary to the King), finely calligraphic text surrounding the coat of arms of the Behault family in gouache and gold, w. large attached wax royal seal, rolled in the original tin holder. A very nice example of an original Diploma of Nobility, in perfect condition and with the orig. holder preserved, which is very rare.

Manuscript in 3 parts, ca. 1870-71, (4) (of ?), 9 and 17 p., the first two parts loose and folio/ 4to, the third part in carbon copy in a hleather 4to carbon copy book, the second and third part signed J. Heijdanus (respectively at the beginning and end), the third part dated "Parijs Augustus 187(?)". The first part apparently incomplete; the third part w. later partial transcription. A nice, well-written, personal account of what happened in Paris due to the Franco-Prussian War (1870-71) and the following Paris Commune, a revolutionary uprising which seized and held power for two months before its bloody suppression. Apart from the third part of the Paris account, the carbon copy book is filled with copies of letters, receipts etc. up to page 215, dated "Parijs 20 Augustus 1871" up to "Amsterdam 4 Februari 1885", and also has a number of loosely inserted letters and other documents at the end. Added: "Extract uyt het Register der Resolutien van de Hoog Mogende heeren Staaten Generaal der Vereenigde Nederlanden Jovis den 25 November 1789", 54 p., contemp. boards (in mediocre condition). (total 4)

Manuscript containing 62 pages of annotations in pen on weather conditions between 1817 and 1862, on lvs. bound with/ between Van Zwaamen en Thompson's Almanak, op 't jaar onzes Heeren Jesu Christi 1817, Rott., J.J. Thompson, (1816), 24 p., partly printed in red and black, contemp. hroan, 12mo. The booklet also contains many blank lvs. A very nice and specific source on the weather conditions in the Netherlands in the mentioned period. The almanac has 11 (of 12, lacking December) printed pages listing the days of the months, the pages are juxtaposed with short annotations in pen for every day, also for December. A few examples: 15 Febr. "Zware wind. 's nagts st. reg. hagel, onweer en weerlicht". 22 March. "'s nagts vorst en sneeüw, gedurende den dagmooy koud weer tusschen beide zonneschijn". 7 June. "Mooy warm weer. 's nagts weerlicht donder en zware reegen". 31 Dec. "Betrokken en reegenachtig, 's avonds sterke mist, 's nagts een weinig vorst". The annotations on the following years are far more detailed (also incl. some information on the years 1656 and 1792, crossed through in pencil). Some examples: "Den 22 December 1818 heeft men te Leyden en Amsterdam reeds om 5 uur, en te Haarlem omstreeks half zeeven uur des avonds een zeer zware mist gehad. Te Amsterdam werden overal touwen gespannenen fakkels en flambouwen stondenoveral te branden. Te Haarlem moest ieder ingezeetenop last van burgemeesterenzijne huize verlichten en niettegenstaande alle voorzorgen zijn er noch veele ongelukken gebeurt." "Amsterdam 16 Januarij [1820]. De grootste koude in de afgelopen week is alhier geweest van 7 graden op de schaal van Fahrenheit." (almost minus 14 degrees Celsius). That day in Utrecht, the lowest temperature was 0 degrees Fahrenheit (almost minus 18 degrees Celcius). For the year 1839, the author lists the "Stand des thermometers buiten Haarlem, [and] op Halweg [sic]" for every morning and evening from 7 January up to 19 February. For several years, the author lists the exact amounts that public collecting reached, after disastrous weather conditions in specific areas of the Netherlands.

Door H. Aeneae. Uitgegeven door de Maarschappy Tot nut van 't algemeen. Meest onöpgelost, en zonder antwoorden voorgesteld. Ontbonder door Jacobus Acquoy. Te Amsterdam, 1796. Manuscript in fine, legible calligraphy, 2 parts in one vol. (parts 1 w. title-p. as mentioned, part 1 starts w. table of contents), (2),80,(2 blank); (1),(5 blank),203,(3 blank) p., cont. vellum, 4to. Several lvs. at the front with blindst. bookplate of "L.S.D. Steenveld, Amsterdam", some sm. lvs. w. notes added, very good condition. A very similar manuscript by Acquoy ("Reekenboek, voor meisjes, ten dienste der schoolen") w. the same blindst. was previously sold at this auction. Acquoy (1732-1818) was a gifted mathematician who gave lessons in Amsterdam to his grandson (also named) Jacobus (1803-73), who later also published books on mathematics. Our manuscript is presumably by the elder Acquoy. Not an exact copy of the book of H. Aeneae.