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Lot 288
Rare 1970s Maxwin 100C electro-acoustic guitar. A Japanese-made bowl back model, Finish: natural.Dents and dings can be found throughout the guitar, together with a damaged bridge pin. The neck appears to be straight with no signs of warping and the guitar plays well.The guitar has been fully tested and plugged in, sonically there are no issues.
Lot 328
Peter Schmeichel black No.1 Manchester United match issue Champions League goalkeepers shirt, 1998-99, Umbro XXXL rare 3rd kit, with v-neck collar and embroidered cloth badge inscribed MANCHESTER UNITED FOOTBALL CLUB, the reverse lettered SCHMEICHEL, the right sleeve with Champion League flash The above shirt was issued to Peter Schmeichel for a 1998-99 Champions League match
Lot 443
An extensive collection of early Manchester United memorabilia originally owned by Jack Mew the United goalkeeper between 1912 and 1926, content including a large, rare and interesting collection of printed newspaper match reports and press cuttings including notable content for Manchester United during the wartime seasons 1916-17 and 1917-18, match coverage opposition including Blackburn Rovers, Rochdale, Manchester City, Everton, Bolton Wanderers, Preston N.E., Southport, Liverpool, Burnley, Port Vale, Blackpool, Bury, Stoke and Southport Central, the collection also with additional reporting including proceedings from Court when the professional footballer Enoch West lost his case against allegations of match fixing; United player Sandy Turnbull was still missing in action (later established that he was killed in the Battle of Arras 3rd May 1917, aged 32); an Xmas Day British Army inter-regimental football match on the frontline; another reporting on a further match fixing case that would result in United player George Anderson being sentenced to Prison; United player Robinson joining the Army; also a fine team-group photograph taken before the match v Bolton 28.8.1920; player selection cards, postcards, photographs, telegrams, content relating to the F.A. Tour of South Africa in 1920; and other miscellaneous items including magazines and incomplete United match programmes, some stuck down in a scrapbook, the collection an invaluable and fascinating resource
Lot 376
Paul Scholes blue No.18 Manchester United Champions League match issued short-sleeved shirt, 2002-03, Nike, M with crew-neck collar and embroidered badge inscribed MANCHESTER UNITED, the reverse lettered SCHOLES, the right sleeve with Champions League flash The rare third choice kit was issued to Scholes for a Champions League match during the 2002-03 season
Lot 310
Alex Stepney's EPNS 1970 F.A. Cup third place tankard inscribed THE FOOTBALL ASSOCIATION CHALLENGE CUP COMPETITION, THIRD PLACE, SEASON 1969-70, 12cm high Provenance: Graham Budd Auctions, Sporting Memorabilia, 2nd November 2004, Lot 32 At the start of the 1970s it was decided to replace the traditional eve-of-final England v Young England matches by holding a third-place play-off between the losing semi-finalists. The idea was originally quite well supported but was dropped after just five seasons, making these tankard presentations quite rare. Manchester United's Alex Stepney played in the first of these occasions in 1970. The game was played at Highbury with United beating Watford 2-0 in front of 15,000 supporters. Brian Kidd scored both goals.
Lot 50
Rare Manchester United v. Portsmouth, postponed home league match programme, 21st December 1946 12 pages, rusty staples, punch holes, Manchester United v. Bolton Wanderers, home league match programme, 26th December 1946, 12 pages, rusty staples, text score and Manchester United v. Charlton Athletic, home league match programme, 4th January 1947, rusty staples, signs of folds and staining, section on back cover lacking (3)
Lot 444
A superb and important collection of memorabilia relating to the Manchester United player Tommy Taylor, the content formed from two original sources Tommy Taylor's parents and his best friend Harry England, outstanding and poignant content including approx. 75 original photographs including some rare colorised images and covering his career at Barnsley, Manchester United and on England international duty, also a few privately taken unpublished photos; a season ticket issued to Mrs Taylor in 1960-61; the lot also includes a number of testimonial letters that were used in the foreword in a book about Tommy Taylor; exceptional items include a condolence card sent to Taylor's parents by Mr & Mrs Jimmy Murphy; a letter of condolence sent to Mr & Mrs Taylor from Tommy's landlady at 22 Great Stone Road, Stretford, recalling how she waved him goodbye before the trip to Belgrade; a letter in the hand of Tommy Taylor to his great friend Harry England, written on a BOAC airmail envelope and whilst flying in choppy air over the Andes during the England Tour to South America in 1953; and many other letters from Tommy to Harry, also postcards, Christmas cards, tickets for Harry to see United games, and other miscellaneous items, (all contained in sleeves in a boxed ring binder file)
Lot 1
Seltenes venezianisches Münzkabinett47,5 x 113,2 x 28,5 cm.Verso graviert „CCC“.Venedig, frühes 17. Jahrhundert.Beigegeben ein CITES-Dokument vom 07. März 2023.Nussholz mit Einlagen in Elfenbein und Perlmutt. Über gedrückten Kugelfüßen eine schräg zulaufende Basis, mit darüberliegendem rechteckigem sechsschübigem Korpus mit zentraler von einem Rundbogen überfangenden Mitteltür. Überkragendes, den Zügen des Möbels folgendes Gesims. Dreiseitig mit feiner vegetabil floraler Inkrustierung. Mitteltür mit Wappenkartusche mit Kardinalswappen.Provenienz:Die angegebene Literatur vermerkt zur Herkunft des Möbels eine Privatsammlung.Sammlung wohl der Conti di Segni, auf die das Wappen hinweist. Ebenfalls die Gravur CCC auf der Rückseite des Kabinetts kann auf Cardinal Carlo Conti hinweisen, von dem es 1604 im Zuge seiner Ernennung durch Papst Klemens VIII zum Kardinal erworben worden sein könnte. Literatur:Das hier angebotene seltene Möbel ist publiziert bei:Alvar González-Palacios, Il gusto dei principi. Arte di corte del XVII e del XVIII secolo, Mailand 1993, Bd. 1, S. 294, Abb. 587. (1370544) (13)Rare Venetian coin cabinet47.5 x 113.2 x 28.5 cm.Engraved “CCC” on the back.Venice, early 17th century.Accompanied by a CITES document dated 7 March 2023. Provenance:Probably part of the Conti di Segni Collection, to which the coat of arms refers. The engraving CCC on the back of the cabinet may also refer to Cardinal Carlo Conti, from whom it may have been acquired in 1604 during his appointment as cardinal by Pope Clement VIII.Literature:The rare piece of furniture on offer for sale here is published in:Alvar González-Palacios, Il gusto dei principi. Arte di corte del XVII e del XVIII secolo, Milan 1993, vol. 1, p. 294, ill. 587.
Lot 438
Burma-Saphir-DiamantringRingweite: 53/54. Ringkopfmaße: ca. 1,9 x 1,6 cm. Gewicht: ca. 9,7 g. WG 750.Beigefügt ein Gemmologischer Report von GÜBELIN Nr. 23050080 vom Mai 2023.Prächtiger eleganter Ring in achteckiger Form zentral besetzt mit einem raren, leuchtend blauen transparenten Burma-Saphir im rechteckigen „modified brilliant cut“, 13,25 x 10,08 x 6,23 mm, 8,79 ct, umrahmt und flankiert von hochfeinen Diamanten im Baguette- und Trapez-Schliff, zus. ca. 2 ct F-G/IF-VVS. Der Saphir ist unbehandelt und unerhitzt. (1371201) (16)Burmese sapphire and diamond ring Ring size: 53/54. Ring head size: ca. 1.9 x 1.6 cm. Weight: ca. 9.7 g. 18 ct white gold. Accompanied by a gemmological report from GÜBELIN no. 23050080 dated May 2023. Magnificent, elegant ring in octagonal shape, set with rare luminescent blue transparent Burma sapphire in rectangular “modified brilliant cut”, 13.25 x 10.08 x 6.23 mm, 8.79 ct, with a surround and flanked by fine baguette and trapeze cut diamonds, totalling ca. 2 ct F-G/IF-VVS. Sapphire untreated and unheated.
Lot 69
Höchst seltene Korallenkette des 17. JahrhundertsLänge (ohne Kreuz): ca. 100 cm. Kreuzhöhe: 9,5 cm.Trapani, 17. Jahrhundert.Gefertigt aus 80 großen Korallenkugeln, mit einem Hängekreuz, jede der Kugeln in vergoldeter Einfassung. Laut dem originalen alten handschriftlichen Beizettel war die Kette ehemals im Besitz der Familie Contarini in Venedig; erworben von James Howard Harris, III. Earl of Malmesbury (1807-1889). Dabei ferner: handschriftliche Notiz über die Erbfolge, in Kopie vorliegend. „HEIRLOOM (Erbstück) / JAMES HARRIS, IST EARL OF M. (MALMESBURY) 1746-1820 /JAMES EDWARD HARRIS 2ND EARL OF M. 1778-1841 / JAMES HOWARD HARRIS 3RD EARL OF M. 1807-1889.“ Eingelegt in einem im 19. Jahrhundert dafür gefertigten lederbezogenen ovalen Etui mit entsprechenden Formvertiefungen in weißer verblichener Seide.Eine vergleichbare Trapani-Kette derselben Zeit befindet sich im Museo Regionale Pepuli (Inv.Nr. 5460); dort sind die „Rosario“-Perlen ebenfalls in vergoldetem Kupfer gefasst. Der Katalogeintrag beschreibt die Kette neben einem Schmuckgebrauch auch als „Paternoster“ Rosenkranzkette, wie sie von der Congregatione di Carità di Trapani im 16. und 17. Jahrhundert gefertigt wurden. (1370543) (11)Very rare coral necklace, 17th centuryLength (excl. cross) ca. 100 cm. Height of cross: 9.5 cm.Trapani, 17th century.Made from 80 large coral beads with a pendant cross, beads each in gilt bezel setting. According to the original old handwritten label, the necklace was formerly owned by the Contarini family in Venice; acquired by James Howard Harris, 3rd Earl of Malmesbury (1807 -1889). Also enclosed: photocopied handwritten note regarding the succession: “HEIRLOOM / JAMES HARRIS, IST EARL OF M. (MALMESBURY) 1746-1820 /JAMES EDWARD HARRIS 2ND EARL OF M. 1778-1841 / JAMES HOWARD HARRIS 3RD EARL OF M. 1807-1889.” With a custom-made 19th century leather covered oval case with corresponding recesses in white faded silk. A comparable Trapani necklace from the same period is held at the Museo Regionale Pepuli (inv. no. 5460) with the “Rosario” beads also in gilt copper setting. The catalogue entry describes the necklace not only as an ornament but also as a “paternoster” rosary necklace, as made by the Congregazione di Carità di Trapani in the 16th and 17th centuries.CITES export restrictions – sale in the EU only.
Lot 117
Norah OKelly RHA (b.1886 - unknown) Hermes Enamel Panels and metalwork on a stained timber shield, 67 x32 (26½ x 12½")With label verso inscribed with artist's name, details of class number from Dublin School of Art dated and 1912; and another hand written label 'By Norah M. O'Kelly under P. Oswald Reeves at Dublin School of Art'.We do not know much of Norah’s life or career except for small fragments of information that we can gain from the work itself. The labels on the back of enamel panel give us some more insight. Her full name was Norah Mary O’Kelly, she was a student in class 6019 in the Dublin School of Art and her profession is listed as ‘craftworker’. Presumably the panel was made during her time there as a student. It also lists her under the supervision of Percy Oswald Reeves, who was an enameller and metalworker from England who moved to Ireland in 1902 to work at the Dublin Metropolitan School of Art. He had studied under the famous British enameller Alexander Fisher. The School was very well known for its enamel and stained glass departments, which were both hugely popular art forms in Ireland. As a result the Irish Arts and Crafts movement flourished in the early part of the 20th century.Mythology and symbolism are key elements of the enamel and metalwork art of the period. As a medium it as often championed by women who excelled in this artform, elevating the individual and handmade objects. The central panel of this work depicts the Greek god Hermes, standing with his caduceus in one hand and with a satchel slung across his body. His head and feet are adorned with wings as he seems to float above the landscape behind him. The sky is filled with deep blue and turquoise tones, teeming with swimming fish and a majestic lion, while stars light up the background. It is mounted on a wooden shield shaped plaque, with scrolling vacant reserves that were possibly meant to be engraved with a title and the artist’s name or dedication if it was a private commission, but these are details that we can only speculate at.Historical records also prove invaluable in providing an insight into the specific connections between artists and cultural institutions of early 20th century. Dr Katy Milligan wrote an article[1] in 2016 examining the cultural losses connected to the 1916 rising and in particular the fire that destroyed the Royal Hibernian Academy’s original building on Abbey Street. The annual RHA exhibition was taking place at time the shell was fired from the British Navy yacht Helga, igniting a fire which engulfed the building and all 500 of the artworks on display along with the Academy’s collection of prints, books and other objects. Through her research into the claims made to the Property Losses (Ireland) Committee by the RHA and the artists to gain some compensation for loss of their artwork, Dr Milligan uncovered some fascinating details about artists, particularly female artists, whose work, and careers remain much a of mystery to us today.Norah O’Kelly is one of the artists mentioned in her text and we learn that she had four oil paintings in the RHA exhibition in 1916, all of which were of landscape views of India. Interestingly she was living there at the time as indicated by her father submitting the claim on her behalf. On it her address is listed as ‘Loreto House, & Middleton Row, Calcutta’, a school founded by Loreto sisters in 1840. We do not know why she was in India or how long she remained there. The 1911 census confirms she was an art teacher in her 20s, and she may possibly have been offered a teaching job in India. She had clearly moved in a different direction artistically from metalwork to producing oils and landscape works. This enamel panel is a wonderful example of her early practice and it is a rare opportunity to see it offered on the auction market.Niamh Corcoran, September 2023[1] Dr. Katy Milligan ‘A Closer Look at Inspiring Ireland 1916 Objects- The Cultural Cost of 1916: The Property Losses (Ireland) Committee and The Royal Hibernian Academy’ – Research Fellow at the ESB Centre for Study of Irish Art, at The National Gallery of Ireland
Lot 59
Colin Middleton RHA RUA MBE (1910-1983)'East Lynne or Lady Isabel's Shame' (1967)Mixed media, 78.4 x 28.5cm (31 x 11¼")Provenance: From the collection of the late Sandra PerrySandra Perry was the producer of the 1967 production of the play based on Mrs Henry Wood's novel from 1861. The play ran from December 6th to 16th at the Circle Theatre, New Lodge Road, Belfast. Colin Middleton is known to have produced a number of theatrical posters of which this is a rare example.
Lot 24
Keio/Korg Doncamatic DE-11. Very early Japanese preset drum machine - the first model that Keio produced. Extremely rare. Assessed: safe, set to 120v. Needs full electrolytic recap as there are missing sounds + existing sounds have no bass. Unit sounds good though despite the obvious issues. Recapped PSU apart from 2 caps which are a large size. Replaced mains cable, introduced 2 P clips for safety. Earthed metal chassis inside unit. No guarantee or warranty implied. Operational status may change during shipping. See the main Buying Page for further important information. For UK bidders only this item will be subject to 20% VAT on the hammer price and on the Buyer’s Premium (this amount is included in the Total Fees percentage attached to this item). For all bidders outside the UK there will be no VAT on the hammer price but VAT is charged on the Buyer’s Premium.
Lot 90
Henry Scott Tuke, RA, RWS (British, 1858-1929)Expectant signed and dated 'H. S. TUKE. 1923' (lower left), inscribed with title and artist's name and address (on an old label attached to the reverse)oil on canvasboard 45.5 x 30.5cm (17 15/16 x 12in).Footnotes:ProvenancePurchased by the current owner's great uncle, Roland Turnell of Birmingham (1865-1946)Thence by descent.Private collection, UK.The present painting is an exciting discovery. It was probably begun in the summer of 1921, on Newporth beach, Falmouth, the home of Henry Scott Tuke. It features the artist's dog Chippy, a spaniel, along with a young male model wearing a pink shirt and white breeches and round brimmed hat. It is typical of Tuke's later confident impressionist style of painting in a lively fresh way using bold brushwork and creating a sense of movement by capturing the changing light.Chippy the dog appears in several paintings by Tuke of groups of bathers on the beach at that time including Comrades (1923, R1043) and Companions (1924, Auckland Art Gallery, New Zealand, R1125). The title of the painting, taken from a label on the reverse, relates to the endearing way the dog is looking up at the boy waiting expectantly for either play, a reward, or both. The boy appears to be holding something in his right hand between his thumb and forefinger.The model for the boy who has his eyes closed, which is unusual and rare for Tuke to paint, seems to relate to a photograph of Donald Rolph with Chippy the dog which is in the Tate archive dated circa 1921 (see fig. 1). Donald, who is also wearing a similar round brimmed hat as in the painting, is photographed with his eyes closed. The series of photographs in the Tate archive are of Rolph in the nude playing with Chippy on the beach in Falmouth. It is unusual to find a photograph relating to Tuke's posed models as he was always recorded as being a painter from life and didn't use photographs to paint from.Rolph (born 1905) was someone Tuke got to know through Stanley Towsey who was an English teacher at St. Paul's School where Rolph was a pupil. Towsey was acting as guardian to Rolph as both of his parents had died when he was young. Rolph and Towsey came to Falmouth in 1921 to stay with Tuke and were frequent visitors in the 1920s. Tuke used Rolph to model for the figure on the left in his Royal Academy painting of 1922 Lovers of the Sun and Tuke also painted Rolph's profile portrait as a Study for Lovers of The Sun (R1023a). Later in 1922 when visiting Stanley Towsey at Parkgate in Petersham, Richmond, Tuke also painted a portrait of Rolph in jacket and tie. It is clear from these paintings and other photographs of Rolph that his physical appearance changed in the five years that Tuke knew him. As with so many of Tuke's portraits of young men, he is trying to capture his model in those few elusive years of post-pubescent beauty when they transition from boys into men.This is possibly why the painting looks unfinished, as Tuke needed the model in front of him to get a true likeness. Tuke probably started this painting in the summer of 1921 when Rolph was sixteen, and maybe added to it in the summer 1922. Tuke then used the photograph to work on the painting later. It also could have been that Tuke could not find a model to pose for this particular picture and found painting from a photograph too difficult. Rolph went to study at Trinity College, Cambridge. We know from Tuke's diaries of 1925 that Tuke visited him at Cambridge but Rolph had by that time grown up. There is an intriguing sketch of a man in a blue and white strip on the back of the painting, probably painted by Tuke when he was watching a rugby match.The fact that Tuke signed and dated the painting 1923 is typical of his practice of dating a painting a year after he painted it for exhibition purposes although it is not clear when or where this painting was shown.A label on the reverse is from The Graves Art Gallery at 44 Cherry Street, Birmingham, which operated between 1895 and 1907. The painting was probably bought from elsewhere and the sticker was on an old backing board either recycled by Tuke or the dealer from another painting.References:Brian D. Price's notes on H.S.Tuke and his associates, (unpublished) notes 203 and 224, 'Interview with Rolph 1st October 1981'.Brian D Price (ed), The Registers of Henry Scott Tuke, Royal Cornwall Polytechnic Society, 1983.David Wainwright & Catherine Dinn, Henry Scott Tuke 1858–1929: Under Canvas, London, 1989.Catherine Wallace, Catching the Light: The Art and Life of Henry Scott Tuke, Atelier Books, 2008.We are grateful to Catherine Wallace for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
Lot 477
An Italian polychrome lava stone and pietre dure panel, attributed to Giovanni Battista Cali, documented Catania 1831-1837, the centre probably depicting the Hesiodic Cyclopes, the brothers Arges, Brontes, Steropes forging the thunderbolt of Zeus, flanked on the left by a view of Mount Etna with Catania cathedral and with the Cyclopean Isles to the right, set in a late 19th century associated oak table, with carved frieze, on fluted legs and castors, joined by stretchers, 74cm high, 85cm wide, 63cm deepProvenance: UK Private Collection since 1910.Footnotes: Note: The Catanese artist Giovanni Battista Cali came from a family of sculptors and is known to have produced mosaics mainly with views of Vesuvius and Etna. There is very little information on this maker other than that he was Sicilian and active in Naples in the second half of the 19th century and came from a family of sculptors. He was asked to produce works for the church of San Nicolò l' Arena in Catania and for the cathedral of Acireale. Rare signed examples by this maker are in the Museum of San Martino, Villa Rosebery and the Royal Palace in Naples. It is not possible to ascertain if the current lot is signed as it is set into a later oak table.Cali was the innovator of the use of lavic stone in his compositions. The Sicilian scientist Giuseppe Alessi was impressed by the works of Cali, writing thus "...the peridot crystals...mixed with the Etnea lava .., provided a beautiful material for their craftsman...".A marble and pietre dure panel signed by Cali and dated 1886, with a scene of the eruption of Mount Etna, Da una Dimora di Palazzo Farnese, sold Sotheby's, Milan,18 May 2004, lot 240. Another example centred with a view of the port of Catania, in the background Mount Etna erupting, on the right the city of Acireale and with Motta San' Anastasia with a similar border sold Sotheby’s, London, 27 April 2010, lot 74, £15,000.Condition Report: The top - the lower right corner with losses to the inset square specimen and the border. An in-filled corner to the square above this. Further losses to the right edge and historical in-fill at this point. The mottled marble border to the three pictorial panels has small flat losses in places which are hardly visible to the eye. Miniscule losses in areas overall consistent with age and use. The top is fixed into the later oak base and it is not possible to remove to examine the underside.The table base has some sun bleach, scratches, stains and old gouges throughout, signs of old woodworm, piece of moulding missing from one leg, some small splits to wood, structurally sound, overall good condition.
Lot 334
Lizars' Edinburgh Geographical General Atlas: Containing Maps of Every Empire, State and Kingdom; with a Tabular View of the Heights of the Great Mountain Chains....., 67 double-page engraved maps, hand-coloured in outline, missing no.9 British Islands, with one double-page uncoloured 'Table of Mountain Chains' map, half-leather boards detached, Edinburgh: W. H. Lizars, 3 St James' Square, S. Highley 32 Fleet Street, London; and W. Curry, Jun., & Co., Dublin, c.1842 Footnotes: Note: Includes two rare maps depicting the Republic of Texas between its secession from Mexico in 1836 and its annexation in 1845. The map of Mexico & Guatimala (sic) with the Republic of Texas bears ink inscription to lower right.
Lot 61
GLENFIDDICH 1974 36 YEAR OLD RARE COLLECTION 75CL SPEYSIDE SINGLE MALT Without Glenfiddich, Scotland might not enjoy the same thriving whisky scene it has today. Founded in 1886 by William Grant, and still family owned, Glenfiddich was one of the first distilleries to seriously market single malt whisky as a credible alternative to blends. This decision was prompted by a dispute with their grain supplier in 1963, leading to a scaling back in production of their Grant’s blend. By the late 1960s Glenfiddich single malt was a firm hit with the Jet Set, who were picking it up in their droves from the newly emerging Duty-Free market.That early prescience clearly paid off, as (despite strong competition from fellow Speyside giants Glenlivet and Macallan) Glenfiddich is consistently the best-selling single malt in the world, shifting over 1 million cases every year.Bottle Number: 926 / 100046.8% ABV / 75cl
Lot 313
BRORA 1972 22 YEAR OLD RARE MALTS HIGHLAND SINGLE MALT Originally called Clynelish, the Sutherland distillery we now know as Brora had to change its name in 1975 to avoid confusion with the modern Clynelish 2 distillery operating next door. Clynelish 2 was built to replace the dated Brora facility, which was struggling to keep up with the increasing demand placed upon it by the surging popularity of the Johnnie Walker blend. However, only a year after it was decommissioned Brora was pressed back into service, this time making heavily peated whisky to pick up the slack for Johnnie Walker while Caol Ila distillery on Islay was being renovated. Eventually the distillery’s owners decided it was no longer required, and in 1983 the site was mothballed once more.But that wasn’t the end. As the years have rolled by, demand for Brora as a single malt has steadily grown, resulting in owners, Diageo, announcing plans in 2017 to reopen the distillery.Distilled: 197258.7% ABV / 70cl
Lot 1
BOWMORE 1983 25 YEAR OLD DOUGLAS LAING'S OLD & RARE PLATINUM - BOTTLE NUMBER 1 ISLAY SINGLE MALT Sat on the picturesque shore of Loch Indaal, Bowmore is a distillery steeped in mythology and legend, ranging from tales of Sea Dragons and Devils in churches to, er, seagulls. Making use of Islay’s abundant peat, Bowmore whisky can be smoky and briny, but it distinguishes itself from its contemporaries with notes of tropical fruit and Parma Violets.Most famous among whisky auction regulars are its outstanding “Black” releases. These 1964 vintage sherry bombs were available for a snip when they made their debut in the early 1990s, but are now capable of commanding five figure sums at auction.Distilled: March 1983Bottled: August 2008Bottle Number: 1 / 20347.8% ABV / 70cl
Lot 100
MACALLAN 1959 43 YEAR OLD FINE & RARE CASK #360 MINIATURE SPEYSIDE SINGLE MALT There are few distilleries in the world quite so revered as Macallan. Nestled in the heart of the Speyside region, the rich spirit that runs from their “curiously small stills”, and their penchant for Spanish Sherry casks have proven to be a match made in Heaven, delighting the tastebuds of whisky connoisseurs around the globe.With demand far outstripping supply, they embarked upon one of the most ambitious distillery upgrades of all time, investing £140 million in an ultra-modern still house and visitor centre that seamlessly blends with the surrounding landscape, and is home to a whopping 36 stills capable of churning out around 15 million litres of spirit every year. Even so, getting your hands on a bottle can still be tricky, with new releases selling out as soon as they hit the shelves, and older examples regularly setting records at auction.Bottled: 2002Unique Reference Number: N1JVJQ46.7% ABV / 5cl Small amount of evaporation. Slight scuff on the top of the wooden case. Please see additional pictures.
Lot 241
MACALLAN 12 YEAR OLD BRITISH AEROSPACE 'JETSTREAM OVER CULZEAN CASTLE' 1980S 75CL SPEYSIDE SINGLE MALT There are few distilleries in the world quite so revered as Macallan. Nestled in the heart of the Speyside region, the rich spirit that runs from their “curiously small stills”, and their penchant for Spanish Sherry casks have proven to be a match made in Heaven, delighting the tastebuds of whisky connoisseurs around the globe.With demand far outstripping supply, they embarked upon one of the most ambitious distillery upgrades of all time, investing £140 million in an ultra-modern still house and visitor centre that seamlessly blends with the surrounding landscape, and is home to a whopping 36 stills capable of churning out around 15 million litres of spirit every year. Even so, getting your hands on a bottle can still be tricky, with new releases selling out as soon as they hit the shelves, and older examples regularly setting records at auction.Part of a rare series from Macallan, produced for British Aerospace in the 1980s.43% ABV / 75cl
Lot 293
ST MAGDALENE 1979 19 YEAR OLD RARE MALTS LOWLAND SINGLE MALT St Magdalene was the last remaining distillery in the town of Linlithgow when it closed in 1983; the result of a downturn in the market leading to owners, DCL, finding themselves with an overabundance of stock. The distillery building itself has now been turned into flats (although its iconic pagoda roof remains) so it seems unlikely to make a comeback. As a result, examples of its Single Malt are becoming increasingly sought after.Bottled: October 1998Bottle Number: 168863.8% ABV / 70cl
Lot 247
Curtis (John). British Entomology; Being Illustrations and Descriptions of the Genera of Insects found in Great Britain and Ireland: Containing coloured figures from nature of the most rare and beautiful species, and in many instances of the plants upon which they are found, 16 volumes, London: printed for the author, 1824-39, 770 hand-coloured engraved plates (plate 205 numbered twice), 1 uncoloured plate, subscribers list for volumes I-X only, occasional light spotting and offsetting, bookplates of Arthur Edmund Stearns, contemporary tan calf, spines with crimson and green morocco labels and decorated in gilt, tear at foot of volume VIII spine, occasional worming to a few joints and spine ends, a little rubbed, 8vo, together with Curtis' British Entomology, Indices, 1866 (title trimmed and laid down), uniformly boundQTY: (17)NOTE:Provenance: Arthur Edmund Stearns (bookplates); W. A. Foyle, Beeleigh Abbey.Freeman 875; Nissen ZBI 1000: A complete set, described by French naturalist George Cuvier as 'the paragon of perfection'.
Lot 4
Book of Hours, in French with Latin cues. Illuminated manuscript on vellum [France, Normandy (probably Fécamp or perhaps Rouen), early(?) 15th century], ii + 87 + ii leaves, 86 x 67 mm, ff. 27v, 86v blank; apparently COMPLETE with a cancelled blank at the end, mainly in quires of 6 leaves (f. 27 apparently a single leaf inserted to supply a missed passage of text, linked to the appropriate place on f. 28r with a red cross), the binding too tight for completely confident collation, but there are no obvious gaps in the text, and there is no evidence that anything ever followed the final leaf, which has a blank verso; ruled in ink for 13 lines per page (16 in the calendar), the ruled space 70 × 50 mm; written in gothic textura script (slightly larger and more formal for the Latin, slightly smaller and more rounded for the French), 2-line initials alternately blue with red flourishing or vice versa, each hour except Lauds with BLUE AND GOLD PUZZLE INITIALS with red and blue flourishing, the first text page with an illuminated border, 2-line initials alternately blue with red flourishing or vice versa; the margins rather closely cropped, occasionally affecting the border and extremities of the flourished decoration, some offsetting, general thumbing and wear but overall in sound condition and fully legible, marbled endpapers, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey, gilt-gauffered edges, sewn on three bands and bound in 19th-century limp brown leather, blind-tooled with a lattice pattern, housed in a filigree openwork hinged book-box ornamented with 31 polished or cut coloured stonesQTY: (2)NOTE:Provenance:Probably produced for use at Fécamp, on the coast of Normany about 40 miles / 60km north-west of Rouen: the calendar includes ‘la dedicace de fescamp’ (15 June), and the rare ‘laurens de eu’ (14 November; i.e. Lawrence, archbishop of Dublin, who died and was buried in 1180 at Eu, also on the Normandy coast, about 50 miles / 80km north-east of Fécamp), as well as several Rouen feasts, including the translation of the relics (3 December), ‘goudart’ (i.e. Gildard) (8 June), the translation of Romanus (17 June), Evodius (7 July, 8 October), Ouen (24 August), and Mellonius (22 October).The first flyleaf has an added 15th-century prayer in Latin, preceded by instructions in French (‘L’en doit avant que l’en die l’oroison ensuivant faire une croix devant sa poitrine …’), signed “Th. Th.” (f. 1v)W. A. Foyle, Beeleigh Abbey (bookplate); perhaps acquired in the 1940s, as there is a newspaper clipping dated 1945 loosely inserted.Text:Calendar (f. 2r); Hours of the Virgin, in French, each text with a brief incipit in Latin, with Matins (f. 14r), Lauds (f. 31r), Prime (f. 49v), Terce (f. 57v), Sext (f. 62v), None (f. 66r), Vespers (f. 72v), and Compline (f. 80r). The liturgical Use is similar to, but not the same as, that of Paris. The antiphon and capitulum at Prime and None, (by which many Uses can be distinguished from one another), are: Benedicta tu; Felix namque; Post Partum; and Gaude Maria.Books of Hours in French are extremely rare. Virginia Reinburg (French Books of Hours, Cambridge, 2012, p. 96), knew of only six, all except one of them in an institutional collection: (i) Paris, Bibliothèque Mazarine, MS 509; (ii) Huntington Library, HM 1129; (iii) Houghton Library, MS Richardson 7; (iv and v) Paris, BnF, MS fr. 1874 and fr. 13167; and (vi) offered by Les Enluminures in their Catalogue 2, 1993, no. 10. To these can be added British Library, Harley MS 2952. No others are recorded in the Schoenberg database.
Lot 91
* Cromwell (Oliver, 1599-1658). Lord Protector of England. Great Seal of the Commonwealth, attached to a vellum document, Westminster, 24 May 1658, the document handwritten in brown ink and concerning a dispute between John Thornicroft and Jeffrey Hetherington over land and property in Charterhouse Lane in the parish of St Sepulchre's, to be tried before the Chief Justice, Oliver St John, calligraphic first line with large decorative initial 'O' and decorative initials 'L' and 'P' for the words 'Lord Protector', the borders decorated with pen and pencil floral motifs, some rubbing, spotting and uneven ink tones, skilful repair and pen work to small centre portion of upper border, 605 x 675 mm, a complete Great Seal of the Commonwealth appended (45 mm diameter), slightly rubbed, the whole folded into a bespoke plush-lined velvet document box to display the seal showing Parliament, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to moire silk cover on inside of lid, 20th-century red straight-grained morocco lettered in gilt to upper cover and spine, oblong small folio (20 x 26 cm)QTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate). A six-page typed transcription with silk spine tie is included in the box along with an old Maggs Bros catalogue description of the item, c. 1950's.Although both sides of the seal are somewhat rubbed some details of the impressions are still clearly visible. This is the second Great Seal of the Commonwealth (1651), the obverse showing a map of England, Wales and Ireland, the reverse the House of Commons in session.A rare and good survival.
Lot 92
Latham (Simon). Latham's Faulconry, or the Faulcons Lure and Cure: In Two Books. The first concerning the ordering and training up of all Hawks in generall; especially the Haggard Faulcon-Gentle. The second, teaching approved Medicines for the cure of all Diseases in them. Gathered by long practise and experience, and published for the delight of noble mindes, and instruction of young faulconers in things pertaining to this princely art, 2 parts in one, London: R. Hodgkinsonne for Th. Rooks, and are to be sold at his shop, at the signe of the Lamb, at the east end of St. Pauls Church, 1658, [34], 176, [2]; [22], 144, [6]p. (a-b8 A-L8; A? [A1 signed 'M'], )(4, B-K8, L3, blank leaf L4 at end not present), full-page woodcut frontispiece to first part, and the exceptionally rare additional engraved frontispiece (Latham's Faulconry... Newly Revised and Amended. The 4th Edition) facing first title, woodcut illustrations to text, early 19th-century ownership inscription in brown ink to verso of frontispiece 'N. F. Bonham, Capt of 10th Hussars Glasgow, the gift of his friend Captain Robert E. Giffard, 10th Hussars who died in Jany. 1836', additionally signed by Bonham to second part (p. 43 and margin of p. 72), minor paper flaw to pp. 39/40 and 47/48 of first part, short closed tear to head of pp. 87/88, and minor brown stain to upper blank margin of pp. 90-102, of the second part, none of which affect the text, Beeleigh Abbey bookplate to front pastedown, 20th-century full calf gilt, 8voQTY: (1)NOTE:Provenance: Captain Robert Giffard, 10th Hussars (died 1836); Henry Frederick Bonham (1808-1856), officer in the 10th Hussars, who rose to the rank of Lieutenant-Colonel (gift inscription). W. A. Foyle, Beeleigh Abbey (bookplate).ESTC R202683; Wing L568 & L569; Bibliotheca Accipitraria II, 335.04; Harting 19 and 20 (note); Schwerdt I, p. 302.Fine copy. The fourth edition of Latham's classic work on falconry 'appears to be the rarest of all editions up to this date' (Bibliotheca Accipitraria). This copy with the very scarce additional engraved title-page which is not recorded in Bibliotheca Accipitraria or included in the collation of the Folger copy given on ESTC; nor is it recorded in other copies listed in auction records.The two works were first published separately in 1614 and 1618. The frontispiece to the first part shows the Haggard falcon surrounded by various falconer's tools; the woodcut vignette on the title-page of the second work shows a falconer on horseback carrying his falcon on his arm.
Lot 255
Wilson (Harriette). Paris Lions and London Tigers, 1st edition, London: Printed and published by J.J. Stockdale, 24 Opera Colonnade, 1825, 231 pp., 12 hand-coloured aquatint plates by Findlay, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, top edge gilt, attractive early 20th century brown crushed half morocco gilt by Bayntun (Riviere), Bath, spine in six compartments between raised bands, with gilt motifs of a mask, bottle, wine glass and fan, 12moQTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).Fine copy. Rare. Only two copies located in the UK (British Library and University College London).Harriette Wilson, née Dubouchet (1786-1845), was a celebrated British Regency courtesan whose conquests included the Prince of Wales, the Lord Chancellor, and four future Prime Ministers. She began her career at the age of fifteen, becoming the mistress of William Craven, 1st Earl of Craven, and 7th Baron Craven. At the age of forty, she decided to secure her financial future by publishing her own autobiography. She and her publisher decided to blackmail her lovers. Among her lovers was Arthur Wellesley, 1st Duke of Wellington, who commented "publish, and be damned" when informed of her plans to write her memoirs. Published in 1825, the same year as the present work, under the title Memoirs of Harriette Wilson, Written by Herself, the book immediately became a bestseller.
Lot 220
Bradbury (John). Travels in the interior of America, in the years 1809, 1810, and 1811; including a description of Upper Louisiana, together with the states of Ohio, Kentucky, Indiana, and Tennessee, with the Illinois and Western Territories, and containing remarks and observations useful to persons emigrating to those countries, 1st edition, Liverpool: Smith and Galway, 1817, xii, [9]-364 pp., a few minor spots, marbled endpapers, bookplate of Ruthven Deane to front pastedown, later black full morocco, gilt decorated spine, lightly rubbed, generally a fine copy, 8voQTY: (1)NOTE:Buck 89; Graff 383; Howes B695; Sabin 7207; Wagner-Camp 14.The Scottish naturalist John Bradbury travelled up the Missouri River to the Arikara and Mandan villages, before returning down river to St. Louis. The appendix includes an account of the Stuart overland trip, an Osage vocabulary, information about the Mississippi Valley, and an account of the captivity of John Colter. There is also a "Catalogue of some of the more rare or valuable plants discovered in the neighborhood of St. Louis and on the Missouri." Bradbury's account "deserves to be classed as one of the most accurate and pleasingly written travel accounts of this period of American history" (Clark). Bradbury was accompanied on this trip by naturalist Thomas Nuttall. This account is also notable for providing one of the only first-hand accounts of the New Madrid earthquake, which he witnessed on the banks of the Mississippi only a few miles from the epicenter. He was also almost alone in speculating that the lands bordering the Missouri River would become a great agricultural resource, just before the public began to think of the Great Plains as the "Great American Desert."
Lot 37
James I. The True Lawe of Free Monarchies. Or the Reciprock and mutuall dutie betwixt a free King, and his naturall Subjects, [2nd edition], London: Printed by T. C. [Thomas Creede] according to the copie printed at Edenburgh, 1603, without A1 (blank), A4(-A1) B-D8, E4, woodcut coat of arms of James I to title (a little soiling, and minimal loss to extreme inner and outer lower blank corners), light water stains to lower portion of leaves at front and rear, old inscription in brown ink to front pastedown 'Horace 2nd-21', burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, late 17th or early 18th-century sprinkled full calf, with spine lettered in gilt at head 'HOR.2-21', and upper cover stamped in gilt, 'Traquair House', water stain to lower left corner of upper cover, housed in modern dark brown quarter morocco drop-over bookbox, 12moQTY: (1)NOTE:Provenance: Traquair House, home of the Stewart family. Originally a hunting lodge for the kings and queens of Scotland, the property was gifted by the Earl of Buchan, a half uncle to James III, to his second son James Stewart. James became the first Lord of Traquair in 1491 after James IV had succeeded to the throne; W. A. Foyle, Beeleigh Abbey (bookplate). STC 14410; ESTC S119321. Rare.The True Lawe of Free Monarchies was first published in Edinburgh as a small octavo pamphlet in 1598, when James was King of Scotland. This octavo edition was published in London in the year James was crowned King of England. The True Lawe embodies a political theory that kindled dissension in England throughout the seventeenth century. James was not the first king to believe in his own Divine Right - Henry VIII took it for granted when he made himself Supreme Head of the English Church - but was the first to elaborate the theological case for his convictions, and to thrust them upon his subjects in print.
![[Hobday, W.]. The Cyprian of St. Stephen's, or, Princely Protection Illustrated; in a Poetical Flight to the Pierian Spring:](https://cdn.globalauctionplatform.com/58f83210-d8be-44f6-bb81-b06d011764e4/7d3d7f5a-dd92-4fc8-bdca-b07600e69006/468x382.jpg)
Lot 198
[Hobday, W.]. The Cyprian of St. Stephen's, or, Princely Protection Illustrated; in a Poetical Flight to the Pierian Spring: by Sam Satiricus, 1st edition, Bath: John Browne, 1809, hand-coloured frontispiece, 27, [1]pp., the leaves disbound and individually re-guarded and the whole extra-illustrated with 50 mostly contemporary hand-coloured etchings and engravings including one by James Gillray ('Pandora opening her Box!', published H. Humphrey, 22 February 1809), plus 8 plain plates including one pasted to foot of page 4, some spotting, burgundy morocco gilt bookplate of W.A. Foyle, Beeleigh Abbey to front pastedown, top edge gilt, 20th-century crimson crushed morocco gilt by Riviere, minor rubbing, 4to (248 x 212 mm)QTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).Rare. WorldCat locates only two copies of this poetical pamphlet in the UK (British Library & University of Oxford) and three in the USA (Huntington Library, Indiana University & Lawrence University).This was one of a flurry of mostly scurrilous pamphlets and publications concerning the controversy surrounding Frederick, Duke of York and his mistress Mary Anne Clarke (1776?-1852). Their lavishly funded liaison gained public notoriety in 1809 when Colonel Gwyllym Lloyd Wardle charged the Duke in the House of Commons with misuse of military patronage. The illustrations are mainly caricatures of Mary Anne Clarke published by Fores, Teg and others, the last being one of the Duke of York.
Lot 95
* Barkstead (John, died 1662). Major-General and regicide. Document Signed, 'Jo Barkstead', 25 May 1653, being a manuscript receipt, 'Recd. by mee Collonell John Barkstead Lieut. of the Tower of London of Thomas Fauconberg Esqre. Rec[eiv]er Generall of the publique Revenue' the sum of £410.2s.4d., for himself and the gentlemen porters, the yeoman warders, the gentleman gaoler, physician, etc., written in brown ink on laid paper, heavy spotting and some dust-soiling and light creasing, 1 page, folio, tipped along fore-edge on to a blank sheet of paper in a 20th-century calf gilt document folder with burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, rubbed, limp leather spine partly perished and upper cover detached, folioQTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).Barkstead was appointed to be governor of the Tower of London in 1652, gaining praise by Cromwell for his vigilance. At the Restoration he was outlawed and fled to Germany. He was later arrested in Holland and brought to England for trial, and executed on 19 April 1662. Barkstead was one of the 59 commissioners who signed the death warrant for King Charles I, being the 36th to sign. Rare.
Lot 11
Leonardus de Utino. Sermones quadragesimales de legibus fratris Leonardi de Utino sacre theologie doctoris ordinis predicatorum, Vicenza: Impensa [et] diligentia maxima Stephani koblinger de Vienna impressum hoc op[us] p[re]clarissimu[m] Vince[n]tie octauo cale[n]d[as] decembris. MCCCCLXXViiii [24 November 1479], 403 (of 404) leaves, a2-10, b-s10, t8, v-y10, 1-2 8, 3-19 10, lacking the first leaf (a1), which is blank to recto but has a Table to verso, text printed in Koblinger's types 2:150G and 3:74G, in double column, 52 lines per column, capital spaces, rubricated throughout, larger red initials and numerous small initials in red, primary initial on a2 recto unrealised, burgundy morocco gilt book plate of W. A. Foyle, Beeleigh Abbey to front pastedown, scattered contemporary marginal annotations in brown ink, light soiling to recto of first leaf, a5 with some creasing to blank fore-margin, a few minor marginal stains and small repairs (small repairs, not affecting text, minor paper repair to head of inner margin of a5-6, s8-10 with stain to lower outer blank margin, z4 with small paper repairs to lower blank margin, 7 9-10, and 8 1-2 with small paper repairs and associated stain to lower outer margins, light water stain to lower outer corners at rear of volume), early 20th-century Italian limp full vellum, lettered by hand to spine (endpapers renewed), thick Chancery folio (290 x 195 mm)QTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).GW M17926; Goff L148; BN 15th century VII 1043 (IB.31825); BSB-INK L124; Bod-inc L077.Rare: only two auction records of this edition located (Catawiki, 2021 and Christies New York, The Knakles Collection of Incunabula, 17 April 2000, lot 151.The collected sermons of the famous Dominican Friar Leonardo Mateo da Udine (died 1469). Leonardo delivered sermons across Italy, including Rome, Florence, Venice and Milan, and served as professor of Theology and rector of the Dominican school at Bologna before he became prior of the Convent of St Dominic, also in Bologna.The second of four books printed at Vicenza by the prototypographer of Vienna. This edition of the Udine Dominican Leonardo's popular sermons is a page-for-page reprint of the first edition, printed in 1473 at Venice by Franciscus Renner and Nicolaus de Frankfordia. Koblinger probably trained in Renner's office, since the material and texts of all three of Koblinger's signed Vicenza editions show connections with Renner, including the unusual method of signing using the alphabet (a-y) followed by arabic numerals. The two gothic founts used in both this and Koblinger's 1480 edition of Utino's Sermones de sanctis vary only slightly from types of the same size used by Renner up until 1477-1478. Koblinger presumably acquired the punches and/or types after the dissolution of the Renner-Frankfordia partnership in 1477. By 1481 Koblinger had returned to his native Vienna, where he was almost certainly responsible for the production of a German-Italian vocabulary and 7 or 8 other unsigned tracts, printed in 1482 and 1485.Koblinger printed only a handful of books including the first ever issued in Vienna. The sermones is the second of just four known works printed by Koblinger in Vicenza, before he returned to Vienna in 1481. There he published the Vocabolista Italico-Tedesco, the first book to be published in Vienna.
Lot 28
Guevara (Antonio de). The Dial of Princes compiled by the reverend father in God Don Antony of Guevara, Byshop of Guadir, Preacher, & Chronicler to Charles the fift, late of that name Emperour. Englished out of the French by Thomas North, sonne of Sir Edward North knight L. North of Kirtheling. And nowe newly reuised and corrected by hym, refourmed of faultes escaped in the first edition : with an amplification also of a fourth booke annexed to the same, entituled The fauoured Courtier, never heretofore imprynted in our vulgare tongue. Right necessarie and pleasaunt to all noble and vertuous persons, [London]: Nowe newly imprinted by Richarde Tottill. An. Domini. 1582, [28 (of 30) unnumbered leaves], 476 numbered leaves (folios 1-476), A6 (lacking A7-8), B-C8, A-NNn8, OOo4, woodcut title, woodcut initials, black letter text, a very fine copy with clean wide margins, inner dentelles gilt, all edges gilt, later 19th-century marbled endpapers, with 19th-century bookplate of Henry Cunliffe Armiger to front pastedown, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front endpaper, old bookseller's printed catalogue description tipped-in to front endpaper, fine later 19th century gilt-decorated red-brown full levant morocco by Riviere, with large centre ornament to each side, gilt lettered and decorated spine in compartments between five raised bands, some fading to spine, small 4to[60], 476 [i.e. 752], [1] p. A-C? D? A-3N? 3O?.QTY: (1)NOTE:Provenance: Reverend Henry Cunliffe (1826-1894), Vicar of Shifnal, Shropshire, fourth son of Sir Robert Henry Cunliffe, 4th Baronet (bookplate, and bibliographical notes in Cunliffe's hand to front endpapers). A selection from his library was sold anonymously at auction by Sotheby, Wilkinson & Hodge on 21 May 1897, with further books from his library sold by Sotheby's, London, 27 and 28 May 1946; W. A. Foyle, Beeleigh Abbey (bookplate).STC 12429.Rare enlarged edition translated by Thomas North from Guevara's Relox de Príncipes of 1529, a treatise on the education and ideal conduct of princes, and thought to be a source-work for Shakespeare's Titus Andronicus.
![Capgrave (John). [Nova legenda Anglie, 1st edition, London: Wynkyn de Worde, 27 February, 1516], black letter text, 44 lines](https://cdn.globalauctionplatform.com/58f83210-d8be-44f6-bb81-b06d011764e4/a39a08db-4d58-4ff9-a590-b07600e61bc0/468x382.jpg)
Lot 16
Capgrave (John). [Nova legenda Anglie, 1st edition, London: Wynkyn de Worde, 27 February, 1516], black letter text, 44 lines and headline in double column, without catchwords, full-page woodcut of Saints in Glory [Hodnett 237] on the first page, repeated on the verso and the penultimate page, full-page cut of the royal arms on verso of folio A6 of preliminaries, and Caxton's large device on last page, woodcut criblé initials, upper marginal repairs to first 9 leaves including piece torn from top of Ai affecting the woodcut on both pages, narrow worm-track with careful repairs slightly affecting text through first 29 folios, upper corner of A2 (Prologus) neatly replaced with piece from another copy with the large decorative initial 'S' neatly inked en grisaille, following folios A3 & A4 supplied from a slightly smaller copy (peppered wormholes and old ink underscoring), skilful circular repair (from another copy) to second column of folio 171, a few scattered discrete and mostly marginal repairs including to folios 96, 120, 168, 182 and 269, lacks blank ll6 (between folios 192 and 193), scattered old ink marginal marks, some old mostly marginal dampstaining, heavier browning from damp to upper margins of last few leaves, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, all edges gilt, 19th-century diced tan russia, blind-stamped decorated spine with gilt lettering, some edge wear, covers detached, folio (280 x 195 mm)QTY: (1)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate).Collation: A, A-X, a-z, &, aa-ll [-blank ll6]; 341 leaves, 6 leaves unnumbered; i-cccxxxiiii, last folio unnumbered.STC 4601; Plomer, Wynkyn de Worde, pp. 82-83.This Catalogus of the lives of 168 saints is based on the work of John of Tynemouth (died 1290?). It was attributed in the middle of the 16th century to John Capgrave (1393-1464) by the antiquaries John Leland and John Bale, but that has since proved to be unfounded (cf. P. J. Lucas, 'John Capgrave and the Nova legenda Anglie: A Survey', The Library, 5th series, XXV, 1970, pp.1-10). None of the manuscripts or early printed editions of the work names an author. Its alphabetical, rather than chronological, arrangement made this one of the most useful books printed by Wynkyn de Worde.Rare. Copies are often found lacking the woodcut illustrations, all of which are present in this copy, as well as the life of Thomas à Becket (folios 283-93), which was suppressed.
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