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Saw bench

A two man saw and two scythes.

Corgi - A boxed Corgi Toys #853 Magic Roundabout Playground. The set contains Magic Roundabout Train with Mr.Rusty and Basil in the locomotive, the carriage and Dougal in the van; the Magic Roundabout Carousel, plus Zebeddee, Dylan, four children, see-saw, park bench 3 blue shrubs; 3 orange shrubs and only 1 flower. The set shows signs of play with some wear on train and carriages, and to decals. There also appears to be some damage to the see-saw, otherwise appears to be in Fair Plus - Good condition. The box appears Poor overall with age and storage imperfections which include taping, some tears and creasing. The set plays a tune when tested albeit rather slowly, and the track mechanism works. (This does not constitute a guarantee) (K)

A box containing a small mitre saw, a tin containing drill measure stoppers, drill depth controller, chisel, angle grinder, plug cutter, point maker, biscuit cutter, springs, collett holder and drill water pump etc

A Wodan drill attachment circular saw in original box with instruction manuals, a Record No. 044 moulding plane with original box, a Marpels mortice gauge with original box and an Angus ceramic tile and glass cutter with original box

A box containing mitre saw and various attachments etc

Bachmann Mainline Scene Craft Commercial and Domestic Buildings, Garage, Rear of Terrace Houses, Hampton Lodge, Hampton Heath Colliery, Saw Mill, Site Office, Crossing Keepers Cottage and House under Construction.

AN EMCO UNIMAT 3 CIRCULAR SAW ATTACHMENT and disc sanding attachment, along with various tools and an industrial gooseneck lamp

SIX ITEMS OF POWER TOOLS including a Bosch PSS 240A sander, a Black and Decker GT200 hedge trimmer, Black and Decker CD700 heat gun, a Black and Decker BD380 Saber saw (all PAT pass and working), a Black and Decker BD531 jigsaw and a Vintage drill stand (both PAT fail due to uninsulated plugs but working) (5)

A PERFORMANCE POWER MITRE SAW and a Hilka 6in bench grinder with a grinding disc and a polishing mop fitted (both PAT pass and working) (2)

A TRAY CONTAINING CARPENTRY TOOLS including a hardwood carvers mallet, a Burr hardwood mallet, a Draw knife, 6 tri squares, awls, hammers, a pad saw, screwdrivers etc

Very rare and impressive HMS Royal Oak Bassett & Lowke steam powered model battleship, measuring just under 6ft in length. The HMS Royal Oak saw combat at the battle of Jutland as part of the grand fleet. Sunk by a German torpedo in 1939 at Scapa Flow.

Ernst Barlach (1870 Wedel - 1938 Rostock)'Lachende Alte', Entstehungszeit des Modells um 1936/37, Bronze, goldbraun patiniert, 21 cm x 31 cm x 12 cm, im Guss signiert, Gießerstempel 'H NOACK BERLIN', Literatur: Wvz. Laur 605, mit Abb. S. 267/Schult 483, mit Abb. S. 252. Weiterführende Literatur (jeweils anderes Exemplar): Isa Lohmann-Siems/Gunhild Roggenbuck: Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Plastiken, Handzeichnungen und Autographen, Hamburg 1977, Nr. 68. Heinz Spielmann: Stiftung und Sammlung Rolf Horn, 2. Aufl., Schleswig 1995, Nr. 129. Anita Beloubek-Hammer: Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, S. 18, 154f. Ernst Barlach fokussierte sich in seinen Plastiken nahezu ausschließlich auf die menschliche Figur. Sein Ziel war es keineswegs ein Ideal zu erschaffen, sondern seinen Figuren einen zutiefst menschlichen Ausdruck zu verleihen und so ein lebendiges Bild des zeitgenössischen Menschen in all seinen Facetten des Alltags zu kreieren. Der Bildhauer erschuf den Menschen nicht neu, sondern formte ihn so, wie er ihn selbst sah und empfand. Vom Jugendstil inspiriert, fand Barlach seine ganz eigene und unverwechselbare Formensprache. Insbesondere die Russlandreise, die der Künstler 1906 unternahm, hatte eine prägende Wirkung auf sein Leben und Werk.Fröhliche Gesichter sind im Oeuvre Barlachs nur zweimal zu finden: im "Singenden Jüngling" von 1928/30 und in der befreit lachenden Alten, aus den Jahren 1936/37. Die hier angebotene Lachende Alte zeugt von einer offensichtlichen seelischen Erleichterung, die der sonst sehr ernste Künstler zuweilen selbst empfand. Er selbst sagte: "Manchmal scheint eine grundlose Heiterkeit sich aus Himmelhöhen directement herabzulassen auf den Boden der gewohnten Depression zu erweichen, die ihre Trübseligkeit dann von neuem Aufbauen muss, wenn sie es nicht lassen kann." (Friedrich Droß (Hg.): Ernst Barlach, Briefe, München 1968, Bd. II, S. 776). Schmucklos, ohne viele dekorative Elemente modellierte Barlach eine ältere Dame, die aus vollem Herzen und tiefster Kehle lacht - ein Urgefühl der menschlichen Psyche und doch etwas so Besonderes in den schweren Zeiten der 1930er Jahren. Für einen kurzen Moment scheinen alle Lasten und die allgegenwärtige Schwermütigkeit von der Dame abgefallen zu sein. Die Plastik besticht besonders durch die große Natürlichkeit ihres Ausdrucks, denn die reine Emotion, das Temperament der Alten und ihre expressive Gefühlslage stehen im Vordergrund. Keine überflüssigen Details sollen von diesem kurzen Moment der Unbeschwertheit ablenken. Stattdessen scheint sich die Plastik regelrecht aus dem Lachen der Alten zu formen. Ihr ganzer Körper wiegt sich überschwänglich nach hinten und scheint fast schon zu brechen, während sie mit weit verzerrtem Mund aus vollem Halse lacht.Auch wenn die Lachende Alte dem Spätwerk Barlachs entspringt, ist sie doch elementar für sein Gesamtwerk und veranschaulicht meisterhaft sein Können, wenn es um die Umsetzung menschlicher Emotionalität geht.Ernst Barlach (1870 Wedel - 1938 Rostock)'Laughing Old Woman', date of origin of the model c. 1936/37, bronze, golden brown patina, 21 cm x 31 cm x 12 cm, signed in the casting, foundry stamp 'H NOACK BERLIN', literature: Cat. rais. Laur 605, with ill. p. 267/Schult 483, with ill. p. 252. Further literature (different specimen in each case): Isa Lohmann-Siems/Gunhild Roggenbuck: Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Plastiken, Handzeichnungen und Autographen, Hamburg 1977, no. 68. Heinz Spielmann: Stiftung und Sammlung Rolf Horn, 2nd ed., Schleswig 1995, no. 129. Anita Beloubek-Hammer: Ernst Barlach, Plastische Meisterwerke, Leipzig 1996, pp. 18, 154f. Ernst Barlach focused almost exclusively on the human figure in his sculptures. His aim was by no means to create an ideal, but to give his figures a deeply human expression and thus create a vivid image of contemporary man in all his facets of everyday life. The sculptor did not recreate man, but shaped him as he himself saw and felt him. Inspired by Art Nouveau, Barlach found his very own and unmistakable formal language. In particular, the trip to Russia that the artist undertook in 1906 had a formative effect on his life and work.Happy faces can only be found twice in Barlach's oeuvre: in the Singing Youth from 1928/30 and in the liberated Laughing Old Woman, from 1936/37. The Laughing Old Woman offered here testifies to an obvious spiritual relief that the otherwise very serious artist himself sometimes felt. He himself said: ''Sometimes a causeless cheerfulness seems to descend directement from the heights of heaven to soften the ground of habitual depression, which then has to build up its gloom anew when it cannot let it go''. (Friedrich Droß (ed.): Ernst Barlach, Briefe, Munich 1968, vol. II, p. 776). Unadorned, without many decorative elements, Barlach modelled an elderly lady laughing from the bottom of her heart and throat - a primal feeling of the human psyche and yet something so special in the difficult times of the 1930s. For a brief moment, all the burdens and the omnipresent melancholy seem to have fallen away from the lady. The sculpture is particularly captivating because of the great naturalness of its expression, for the pure emotion, the temperament of the old woman and her expressive emotional state are in the foreground. No superfluous details are meant to distract from this brief moment of light-heartedness. Instead, the sculpture seems to literally form itself out of the old woman's laughter. Her whole body sways exuberantly backwards and almost seems to break as she laughs at the top of her lungs with her mouth wide open. Even though the Laughing Old Woman originates from Barlach's late work, it is elementary to his oeuvre as a whole and masterfully illustrates his skill when it comes to translating human emotionality.

Iron framed belt driven saw, no maker's label apparent

A Lladro porcelain figure of a boy and girl on a see-saw shown on naturalistic base, height 20cm, together with two other Lladro figures and a Lladro figural mantel clock case (4)

Hitler, Adolf; Mein Kampf, Franz Eher Nachfolger, central publishing house for the NSDAP, Munich 1939, frontispage with portrait and facsimile signature protected with paper insert, two volumes in one edition, comprising 781 pages in Fraktur script followed by publishers list, half leather bound with gilt-tooled spine, in plain card slipcase; together with Wolff, Dr, Paul; Was ich bei den Olympischen Spielen 1936 sah (What I saw at the Olympic Games 1936), Karl Specht Verlag, Berlin 1936, appears complete with black and white photographic prints, cloth boards with gilt detailing, lacking dustjacket; and Mandell, Richard D., The Nazi Olympics, Souvenir Press, London 1972, in dustjacket (3)

2014 FIFA WORLD CUP PARTICIPATION MEDALPresented here is a 2014 FIFA World Cup gold participation medal. Hosted by Brazil, the 2014 World Cup was won by Germany (their 4th title) who defeated Argentina 1-0 in the Final. The host nation finished in fourth after suffering one of their worst ever losses to Germany in the Semifinals, a 7-1 thrashing that also saw Brazil lose its star, Neymar, to a serious back injury. In the third place game, Brazil was shut out 3-0 by the Netherlands.Issued by FIFA, these medal were distributed only to players, coaches, high-level executives among the 32 National Teams in the tournament, as well as a select number of important FIFA officials. The obverse features a relief image of the 2014 World Cup Brazil logo with "FIFA WORLD CUP Brasil" and a tiny stamping of the manufacturer ("R.C."). The reverse has a relief image of the Jules Rimet World Cup trophy and text at the top reading "2014 FIFA WORLD CUP BRAZIL". The medal (diameter 51 mm; weight 60 g) appears to be made of gold-plated silver or bronze. Presented in exceptional condition, with no blemishes to speak of, and comes in its original black FIFA presentation case.

An East India Company conversion percussion Musket, an original 3rd model India pattern Brown Bess Musket converted to percussion and reissued as the P-1839, rampant lion markings to lock, brass furniture and ramrod, total L 139 cm, this was a model that saw service throughout the Napoleonic Wars and this particular weapon was made extremely rare as thousands were lost in the Great Fire of London in 1841.

OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.

Music Signature Items Collection of 40+ Signed Items Housed in a Binder Signatures Include Whitney Houston (Signed Single Sleeve) includes single, Natasha Hamilton, Mica Paris, Supremes, Joan Van Ark, Fluffy (all band members), Lesley Garrett, Sugarbabes, Kylie Minogue, ZZ Top, Janet Jackson, Elvis Costello, Johnny Cash, The Fureys and Davey Arthur, The Dubliners, Dana, Roy Chubby Brown, Louise Redknapp, Lisa Scott Lee, Natasha Bedingfield, Eternal, The Saw Doctors, Bob Geldorf, Rebecca Storm, Diana Ross, plus others, good condition. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10

A small collection of tools including several hammers, saw, wooden scrapers etc

A collection of various power tools including a Black & Decker circular saw, Axminster Tools sheet finishing sander, Bosch orbital jigsaw, Axminster Tools belt & disc sander, Black & Decker paint stripper/heat gun, Axminster Tools biscuit jointer etc, along with a Record multi-plane (No 405), metal tools with contents etc

A SIP Products 16" scroll saw

A 240v 'Titan' table saw with spare blades.

A bow saw, shovel, spirit level, brushes, hoe etc.

A grease gun, long nail crowbar and Hitachi circular saw blade.

A cross cut saw, loppers, pruning saw, small scythe and a paraffin weed gun.

Wood planing components, circular wood saw, pick axe head, sledge hammer etc.

A 'Black & Decker' strimmer, 110v rip saw, electric hedge trimmer and strimmer, not working.

A box of jump leads, hedging bill, bow saw, nail bar etc.

A spirit level, saw, old spanners, hacker, tyre levers.

A pruning saw, long armed lopper and a bird feeder pole.

FRANCE V HUNGARY 1956 Programme for the match at Colombes, Paris 7/10/1956 which saw the last time that most of the famous Hungarians played for their nation as a few months later Russia invaded Hungary and most of the players left their homeland. Good

Ted Jones (Irish, 1952)  Coel, Craic angus Rince, 2000 Print on paper Limited edition No. 148 / 500 Signed & numbered in pencil  Published by Killarney Art Gallery, Ireland Framed & glazed 40 x 31cm (16" x 11") Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style unmistakably his own. His unique style probably owes a lot to the fact that he never attended Art College, left to his own devices his style was able to evolve without influence, save his admiration for great artists such as Klimt, Rosetti & Carrivagio. In 1998, demand for his work led to the publication of the first of a series of signed limited edition prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ted Jones (Irish, b. 1952)  The Hen's Night, 1999 Print on paper Limited edition No. 148 / 500 Signed & numbered in pencil  Published by Killarney Art Gallery, Ireland Framed & glazed 41.5 x 60cm (16.5" x 23.5") Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably Ted Jones. His unique style probably owes a lot to the fact that he never attended Art College, left to his own devices his style  evolved without influence, save the work of the great painters he admired so much, Klimt Rosetti, Carrivagio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ted Jones (Irish, b. 1952)  Gluttony, 2004 Print on paper Limited edition 148 / 250 Signed & numbered in pencil  Published by Killarney Art Gallery, Ireland Framed & glazed 41.5 x 33cm (16.5" x 13") Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably Ted Jones. His unique style owes a lot to the fact that he never attended Art College, left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt Rosetti, Carrivagio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ted Jones (Irish, 1952)  Envy, 1999 Print on paper Limited edition 148 / 250 Signed & numbered in pencil  Published by Killarney Art Gallery, Ireland Framed & glazed 41.5 x 33cm (16.5" x 13") Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ted Jones (Irish, 1952)  Pride, 2001 Print on paper Limited edition 148 / 250 Signed & numbered in pencil  Published by Killarney Art Gallery, Ireland Framed & glazed 41.5 x 33cm (16.5" x 13") Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rosetti & Caravaggio. In 1998, demand for his work led to the publication of the first of a series of Signed Limited Edition Prints which have been hugely successful with over 20 titles published since its inception. In fact, demand has been so strong that many of the editions are completely sold out - some of these prints are now changing hands for 10 times their original price. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

William Tillyer (British, b 1938)  York Vases - Chinese Red- 1981 Woodblock print  Edition no. 84/100 Signed and numbered in pencil bottom right Framed and glazed 77 x 62cm (30.5" x 24 5/8") William Tillyer is a celebrated British painter and watercolourist whose work has been shown frequently in London and New York since the 1970s. Tillyer was born in Middlesbrough and studied painting at Middlesbrough College of Art. He then went on to study at London's Slade School of Fine Art. He began to make radically experimental work, which raised questions about the relationship of art to the world, and of man to nature. The 1970s saw Tillyer return to printmaking with renewed vigour, using a variety of techniques - from etching to five-tone screenprinting - to create lattices that Pat Gilmour described as 'a cool and unpeopled world...in which to reflect the surrounding flux of nature'. Tillyer has been invited to work internationally in locations including Cadiz, Spain; Tobago, Republic of Trinidad and Tobago; Count Kerry, Ireland for the Cill Rialaig Project; and Melbourne, Australia. Tillyer has served as a visiting professor at Brown University in the United States, the Bath Academy of Art, and the Chelsea School of Art. Tillyer has exhibited internationally, and his work can be found in the collections of major institutions including the Brooklyn Museum and Museum of Modern Art in New York; the Art Gallery of Western Australia in Perth; the Arts Council Collection; the Middlesbrough Institute of Modern Art; and Tate and the Victoria and Albert Museum in London. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

After Giambologna (Italian, 1524-1608): A late 18th / early 19th century patinated bronze figural group depicting Nessus and DeianiraProbably ItalianThe centaur on rearing hind legs bearing away the young nude maiden in his right arm, on naturalistic base, raised on a contemporary rectangular stepped porphyry base, 48cm high overallFootnotes:The story of Nessus abducting Deianira was first described in Book IX of Ovid's Metamorphoses. In the story Ovid recounts Hercules and Deianira journeying back to Tyrins and coming upon a swollen river which they had to cross. Nessus, who was already carrying other people across the river, saw them and offered to help. When Hercules reached the other side, however, Nessus turned around and abducted Deianira. Hercules drew an arrow that had previously been dipped in the Hydra's blood and shot it at Nessus. The centaur, as he was dying, persuaded Deianira to collect his blood and use it as a love potion on Hercules. Deianira delivered the poisoned blood to Hercules which proved fatal (in some versions the poison is imbued in a shirt).The present lot depicts the moment that Nessus abducts Deianira. The nude female is shown in dynamic torsion, stabilising herself with one foot on his back, her arms flailing wildly and her head thrown back in fear. LiteratureF. Baldinucci, Notizie dei professori del disegno, Florence, 1681-8, Ranalli ed., Florence, 1846, reprinted 1974, IV, pp. 110-111.Edinburgh, London and Vienna, Royal Scottish Museum, Victoria and Albert Museum and Kunsthistorisches Museum, Giambologna 1529-1698 Sculptor to the Medici, 19 Aug. - 10 Sept. 1978, 5 Oct. - 16 Nov. 1978 and 2 Dec. 1978 - 28 Jan. 1979, C. Avery and A. Radcliffe eds., no. 66, pp. 109-117.C. Avery, Giambologna - The Complete Sculpture, Oxford, 1987, p. 264, no. 93.For further information on this lot please visit Bonhams.com

Daniell (Thomas) and William Daniell. Mausoleum of Nawaub Assoph Khan, Rajemahel, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on thick Whatman wove paper with watermark date of '1801', platemark 485 x 650 mm (19 1/8 x 25 5/8 in), sheet 535 x 720 mm (21 x 28 1/4 in), small scuff and brown spot within title in the centre, minor surface dirt, unframed, [Abbey 420, no. 24], published by the artist, 1803 Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, pl. 19.⁂ 9th October 1788. 'Went to Rajimal in our Palanquins where we met the Pinnace - passed thro' the Caravanserai that Hodges has made an Aquatinta print of - walked about the Ruins of Rajimal & saw many very Picturesque Views indeed... Saw many Alligators of a very large kind in the River'. [Archer, op. cit.]

[ABDICATION CRISIS] HOARE SAMUEL: (1880-1959) British politician, First Lord of the Admiralty 1936-37 and Home Secretary 1937-39. An important and historical A.L.S., Sam, two pages, 4to, Admiralty House, 10th December n.y. (1936), to Lord Beaverbrook ('Dear Max'), marked Personal. Written on the day that King Edward VIII signed the Instrument of Abdication, Hoare announces 'I have not telephoned or come round today or yesterday as I was, on your advice, sitting back in the final acts of this tragic farce' and continues 'It was clear to me yesterday that the denouement was inevitable. I tried my best to the end to make renunciation possible, but the King would not move an inch. To what depths can folly descend!' Hoare further states 'In any case I am glad and grateful that another crisis brought us together again. It is almost a year to a day since my resignation. The first friendly word from outside came from you. I never forget these things nor shall I forget our talks of the last fortnight, and your manifest wish to help me in my career.' A letter of interesting content written on a pivotal day in the history of the British monarchy. One neat tear to the right edge of a central fold, only very slightly affecting one word of text, otherwise VG Max Aitken (1879-1964) 1st Baron Beaverbrook. Anglo-Canadian Business Tycoon, Politician & Writer, owner of the Daily Express and London Evening Standard newspapers. In June 1936 Hoare became First Lord of the Admiralty and in November 1936 he was (with Duff Cooper, the then Secretary of State for War) sought out by Edward VIII to provide independent advice and counsel on the King's constitutional problems. Initially the King attempted to convert him into a champion of his cause hoping that Hoare would speak up in defence of his right to marry when the matter came up for formal discussion in the Cabinet. In the King's memoirs A King's Story (1951) he recounted this first meeting, "But I failed to win him as an advocate. He was sympathetic; but he also was acutely conscious of the political realities. Mr. Baldwin, he warned me, was in command of the situation: the senior Ministers were solidly with him on this issue. If I were to press my marriage project on the Cabinet I should meet a stone wall of opposition. I saw Mr. Duff Cooper at the Palace later the same day.....He was as encouraging and optimistic as Sam Hoare had been pessimistic and discouraging." Hoare's second meeting with the King took place at the end of November, about which the King wrote, "At this juncture, the scene shifted momentarily to Stornoway House where Max Beaverbrook, ever since his return from America, had worked feverishly to rally support for me in whatever quarters it might be found.....Mr. Baldwin was aware of what Max Beaverbrook was up to; and no doubt hoping to check the forces beginning to rally round my cause, he despatched Sir Samuel Hoare on Sunday, the 29th, to explain the attitude of the Government towards the King. The message which the First Lord of the Admiralty bore was ominous indeed. It was that the Ministers stood with Mr. Baldwin---"no breach exists: there is no light or leaning in the King's direction." Then the First Lord fired his second salvo. "The publicity," he said, "is about to break." Many Ministers, he added, were restless and dissatisfied over the failure of the Press to publish facts of a crisis already the talk of the rest of the world. He stressed Mr. Baldwin's desire that the Press, like the Cabinet, should form an unbroken front against the proposed marriage. It was an undisguised invitation for Max Beaverbrook to change sides. His answer was: "I have already taken the King's shilling, I am a King's man."On 4th December the King learned of an earlier meeting between Beaverbrook and Hoare, of which he commented "So the day had not been all debits as far as I was concerned. From Stornoway House Max Beaverbrook, sensing the favourable upsurge in public opinion, had steadily hammered away on the theme of delay. I must not allow myself, he urged, to be harried and hurried into precipitous action. He had seen Sir Samuel Hoare again, and in conversation with him had formed the impression that many Ministers were troubled by the turn the crisis had taken, and would welcome a withdrawal of my request for advice on the morganatic marriage proposal. But I was wearied to the point of exhaustion." Finally during the morning of 10th December 1936 (the day Hoare wrote the present letter to Beaverbrook) the King signed the Instrument of Abdication.

STALIN JOSEPH: (1878-1953) Soviet politician and revolutionary who led the Soviet Union from 1924-53 as General Secretary of the Communist Party of the Soviet Union (1922-52) and Chairman of the Council of Ministers of the Soviet Union (1941-53). A good D.S., J. Stalin, in Cyrillic, with two lines of holograph text, in bold red indelible pencil, one page, 4to, Moscow, 25th December 1941, in Cyrillic. The typed classified document is an order (number 0508) issued by the Stavka of the Supreme High Command and states, ‘1. In view of the particularly important tasks assigned to the 27th Army, it should be transformed into the 4th Shock Army. 2. The 3rd, 33rd, 332nd, 334th, 249th, 257th, 358th, 360th rifle divisions should be included in the 4th Shock Army. 3. From 1st January 1942, all the commanding staff (higher, senior, middle, junior) of the 4th Shock Army should be paid one and a half times the salary, and to the rank and file, two times the salary as it is established for the Guards divisions’. Stalin adds a fourth instruction to the order in his hand, ‘4. The order is to be adopted in all units of the 4th Shock Army’. Countersigned at the foot by Boris Shaposhnikov (1882-1945) Soviet Colonel and Marshal of the Soviet Union, one of the foremost military theorists of the Stalin-era who served as Chief of the Staff of the Red Army 1928-31, 1937-40 and 1941-42. The verso of the document bears various typed and manuscript (in ink and pencil) administrative notes including a list of over twenty individuals who were to receive a copy of the order in cipher. A few tears and small areas of paper loss to the left edge, not affecting the text or signatures, and some light staining. About VG The 4th Shock Army was a combined arms army of the Soviet Armed Forces which participated in the Toropets-Kholm Offensive between January and February 1942 and also saw action on the Kalinin Front and 1st Baltic Front during World War II.

MALIBRAN MARIA: (1808-1836) Spanish Mezzo-Soprano. One of the most best-known opera singers of the 19th century for her dramatic performances and her extraordinary voice. She became a legendary figure after her very early death at the age of 28. Rare and lengthy A.L.S., `M. Malibran´, three pages, 8vo, Brizay, 10th July 1828, to Ludovic Vitet, in Paris, in French. Malibran first refers to a recent performance and states in part `…j´avais chargé Mr. Ateny de remercier les M. Mrs de l´orchestre et leur chef. J´ai remercié tous mes autres compagnons de vive voix, excepté Mr. Bordogni que j´ai à peine apperçu… Mme Naldi será charmée d´apprendre ce qui va se passer pendant les débuts de Mme Catalani, souvenez-vous que vous lui aves promis de lui rendre compte de tout ce qui concernera la débutante…´ (Translation: “I had instructed Mr. Ateny to thank all the Mr. Mrs. of the orchestra and their conductor too. I thanked all my other companions in person, except Mr. Bordogni whom I barely saw... Mrs. Naldi will be delighted to learn what will happen during Mrs. Catalani's debut, remember that you told her that you promised to report to her on everything concerning the debutante…”) Further Malibran in a funny way refers to her correspondent in the third person, and describes herself in a foolish way, saying `J´ai eu Presque envie de me fâcher avec un certain Mr. Ludovic Vitet qui se permettait de supposer que je pouvais oublier les bons Parisiens, mais j´ai réfléchi qu´il l´a peut-être écrit le nez au vent, sans regarder son papier en pensant à autre chose. C´est pourquoi je ne lui cherche pas querelle – Je mange comme un loup, je cours comme un lièvre, je chante alternativement…. Otello, je me porte parfaitement bien, et je dors comme une marmotte. Tout va bien comme cela et j´espère pouvoir remplacer en cas de maladie, Mme Rossi. N´est-ce pas que je dis des bêtises? Oh oui, je m´en aperçois…´ (Translation: “I almost wanted to get angry with a certain Mr. Ludovic Vitet who allowed himself to suppose that I could forget the good Parisians, but I thought about it and considered that he perhaps wrote it with his nose in the wind, without looking at his sheet of paper while thinking of something else. That's why I won't quarrel with him – I eat like a wolf, I run like a hare, I sing alternately…. Otello, I'm perfectly fine, and I sleep like a log. Everything is fine like that and I hope to be able to replace Mrs. Rossi in case of illness. Am I talking non sense? Oh yes, I see it…”) a lengthy and curious letter written by a 20 years old young Malibran. With address leaf, bearing two ink stamps. Overall creasing, otherwise G Marco Bordogni (1789-1856) Italian Tenor of great popularity. In 1825 he created the role of Conte di Libenskof in Rossini's opera Il Viaggio a Reims. He sang for many years at the Theatre des Italiens in Paris. He became a teacher at the Paris Conservatoire in 1823 and continued to teach there until his death. Henriette Sontag (1806-1854) and after her marriage, entitled Henriette, Countess Rossi. German operatic Soprano of great international renown. She moved to Paris in 1828 and married a few months before the present letter was written, the Ambassador of Sardinia to France, Count Rossi. During Sontag´s stay in Paris, her rivalry with María Malibrán, two legends of their time, was notorious. Despite the initial tensions and divisions among the public, both singers became sincere friends. It has been reported that Malibran was one of the few people who knew about Sontag's marriage. During the period in which the marriage was kept secret, Count Rossi tried unsuccessfully to obtain a noble title for the Sontag so that the marriage between them would have the necessary validity in the eyes of the European courts. This wish was never fulfilled and the political pressure exerted on the count led the couple to make their marriage public. Sontag then decided to step aside and retired from the stage in 1830 at only 24 years of age and at the peak of her popularity and artistic possibilities.

PAHLAVI MOHAMMAD REZA: (1919-1980) Shah of the Imperial State of Iran 1941-79. A fine vintage signed and inscribed 7 x 9 photograph of the young, handsome Shah in a half-length pose wearing his ceremonial uniform and decorations. Signed at the foot of the image in fountain pen ink with a warm inscription to his wife, Princess Fawzia, in French, ‘Avec tout l’amour de mon Coeur……Fawzia, cherie, Mohammad Reza’, and dated 31st January 1942 in his hand. The inscription and signature partially run across a darker area of the image. A rare signed presentation photograph with an excellent association. Some very light, minor silvering to the upper edge and a few minimal traces of former mounting to the verso, VGFawzia Fuad of Egypt (1921-2013) Egyptian princess who became Queen of Iran (1941-48) as the first wife of Mohammad Reza Pahlavi. Pahlavi and Fawzia were engaged in May 1938, however the union was largely regarded as a political move and the couple only saw each other once before their wedding at the Abdeen Palace in Cairo on 15th March 1939. It was not a love-match and Fawzia obtained an Egyptian divorce in 1945, which was not recognised in Iran until three years later.

[NAPOLEON – CORFU]: GENTILI ANTOINE (1751-1798) French-Corsican General who sided the French Republic. Governor of Corsica. He was defeated and surrendered to the British after their invasion of Corsica in 1794, but leaded the capture back of Corsica in 1796. A very interesting autograph letter addressed to the Emperor Napoleon Bonaparte, A.L., eight pages, folio, Head-Quarters of Corfu, 2nd July 1797, to Napoleon Bonaparte as Chief General of the Army of Italy, in French. The letter bears the printed heading of “A. Gentili, General of division and Commandant of the Army of Levant of the Army of Italy”. Gentili informs Napoleon that he has reached the port of Corfu, stating in part `Je m’étais fait précéder par les Citoyens d’Arbois, faisant fonction de chef de l’Etat-major, Arnaut et Brice, les Commissaires des Guerres que j’avais chargé de mes ordres pour reconnaitre les dispositions du Gouvernement et du peuple à notre égard et faire les préparatifs nécessaires pour l’établissement des troupes… dans les forteresses, et je me suis emparé de tous les magasins de Marine, d’Artillerie et du Génie, dont j’ai ordonné que l’on fit de suite l’inventaire…´ (Transcription: “I had been preceded by the Citizens d´Arbois, acting as Chief of the Head-Quarters, Arnaut and Brice, the War Commissioners whom I had charged with my orders to acknowledge the dispositions of the Government and the people to our regard and make the necessary preparations for the establishment of the troops... in the fortresses, and I seized all the stores of Navy, Artillery and Engineers, and I ordered to make immediately the inventories…”) Gentili lists the firearms, the 369 bronze and iron cannons, the 20 bronze howitzers and 121 bronze and iron swivels and mortars, not counting the ammunition and powder requisitioned. He further comments the military defence situation and refers to the Venice government, saying `La place de Corfou est très forte par sa situation; et les ouvrages que l’art y a ajouté la rendraient inexpugnable s’ils étaient réparés et entretenus; mais l’extrême négligence de l’ancien gouvernement vénitien laissait tomber en ruine ce boulevard de l’état…´ (Translation: “The position of Corfu is very strong because of its situation; and the works that art has added to it would make it impregnable if they were repaired and maintained; but the extreme negligence of the old Venetian government allowed this boulevard of the state to fall into ruin….”) Gentili further explains with enthusiasm how much the three thousand Italians and the seventy thousand Greeks people on the Island value their freedom and how much they admire our republic, and that they consider the French troops as their liberators, stating in part `On professe ici une admiration pour les Français qui va jusqu’à l’enthousiasme. Les Grecs sont en général beaucoup plus éclairés qu’on ne le suppose ordinairement et le souvenir de leurs origines n’est point éteint dans leurs âmes. Ils regrettent d’avoir vécu jusqu’alors pour le bénéfice d’une dure et plate aristocratie, qui, négligeant tous les objets d’un intérêt public, sans vertus comme sans lumières, s’opposait aux progrès de l’industrie, du commerce et de la raison humaine…´ (Translation: “Here they profess an admiration for the French that goes as far as enthusiasm. The Greeks are in general much more enlightened than is commonly supposed and the memory of their origins is not extinguished in their souls. They regret having lived until now for the benefit of a harsh aristocracy, which, neglecting all objects of public interest, without virtues or without enlightenment, opposed the progress of industry, of commerce and human reason…”) In this lengthy letter, Gentili further reports on the military and administrative changes required, and indicates what he would keep under the naval point of view, saying `Je prendrais donc le parti de conserver seulement un vaisseau vénitien de 74 canons, une frégate vénitienne et la frégate française ‘La Sensible’ avec quelques bâtiments de transport, le tout commandé par le capitaine Bourdé…´ (Translation: “I would therefore opt to keep only a Venetian ship of 74 guns, a Venetian frigate and the French frigate ‘La Sensible’ with a few transport vessels, all commanded by Captain Bourdé…”) Gentili before concluding explains that he has informed the Ambassador in Constantinople of the situation in Corfu and the inexact number and condition of the Venetian troops under his control, and refers to the excellent work done by d´Arbois who was at the head of the avant-garde capture of Corfu. Small overall age wear with a small stain and hole to the upper edge, not affecting the text. From 1386 to 1797, Corfu was ruled by Venetian nobility; much of the city reflects this era when the island belonged to the Republic of Venice, with multi-storeyed buildings on narrow lanes. The Old Town of Corfu has clear Venetian influence and is amongst the World Heritage Sites in Greece. It was in the Venetian period that the city saw the erection of the first opera house in Greece.By the 1797 Treaty of Campo Formio, Corfu was ceded to the French, who occupied it for two years, the time of the present letter. Until they were expelled by a joint Russian-Ottoman squadron. For a short time it became the capital of a self-governing federation. In 1807 after the Treaty of Tilsit its faction-ridden government was again replaced by a French administration, and in 1809 it was besieged in vain by a British Royal Navy fleet, which had captured all the other Ionian islands.Following the final defeat of Napoleon at Waterloo, the Ionian Islands became a protectorate of the United Kingdom by the Treaty of Paris of 5th November 1815. Guillaume-François-Joseph Bourdé de La Villehuet (1763-1851) Capitain of vessel in 1798 and future Vice Amiral. He participated in the Egypt campaign. Joseph-Louis d´Arbois de Jubainville (1764-1803) French Officer, appointed General in 1802. He was a member of the St.Domingue expedition. Arrested by the British and mistreated, he died of yellow fever at the early age of 39.

ANDRUSZKOW TADEUSZ: (1920-1940) Polish fighter pilot of 303 Squadron during World War II who participated in the Battle of Britain. Portion of a D.S., Andruszkow Tadeusz, Sgt., one page, oblong 8vo, n.p. (RAF Northolt), n.d. (August/September 1940). The document was signed by Andruszkow whilst serving with 303 Squadron and originally formed part of a Combat Report, the three lines of typed text stating ‘While returning to Northolt flying as Red 2 with Sgt. Woscieshowski we saw a DO 215 lower and to our right. We both attacked, and watched him fall in flames to the ground’. Autographs of Andruszkow are extremely rare in any form as a result of him being killed in action during the Battle of Britain at the tragically young age of 19. One small tear to the right edge and a couple of light creases, otherwise VG

DELACROIX EUGENE: (1798-1863) French artist of the Romantic school. A.L.S., Eug. Delacroix, one page, 8vo, n.p., n.d., to Monsieur Varcollres (?), (‘Mon cher ami’), in French. Delacroix writes, in full, ‘J'etais passe pour vous demander si vous pourriez me procurer la faveur d'etre recu un moment par le prince pour lui offrir mes remerciments et aussi pour vous serrer la main pour la part que vous avez eue dans l'obtention du tableau: En attendant que je puisse avoir cet honneur, seriez vous assez bon pour lui exprimer ma reconaissance’ (Translation: ‘I had gone to ask you if you could do me the favour of being received for a moment by the Prince to offer him my thanks and also to shake your hand for the part you had in obtaining the painting: While waiting for me to have this honour, would you be good enough to express my gratitude to him’) and in a postscript remarks ‘Je viens de voir le Prince - Je vous remercie donc toujours’ (Translation: ‘I just saw the Prince – so thank you always’). With integral address leaf in Delacroix’s hand. VG Prince Napoleon-Jerome Bonaparte (1822-1891) Prince of Montfort, the de facto head of the House of Bonaparte from 1879. Second son of Jerome, King of Westphalia, youngest brother of Napoleon I.

TZARA TRISTAN: (1896-1963) Born Samuel Rosenstock, also known as Samyro. Romanian-French avant-garde Poet and Playwright. Tzara was one of the founders of the Dada movement. Author of his celebrated utopian poem The Approximate Man. A curious and unusual fourteen lines manuscript in the hand of Tzara, one page, 8vo, brown paper, n.p., n.d., in French. Tzara states `Soulève ta jupe et mords la scie – la scie de vinaigre souvenir et pellicule d´os martelés à désespoir – vint le loup qui vola la broche agneau – son squelette décore encore la poitrine… – et le cerveau resta comme coeur de lac - que personne ne mange ne mange ne mange n´embrasse n´embrasse n´embrasse n´embrasse ne croit ne croit ne juge ne juge ne juge ne vole ne boit ne boit ne dissèque ne dissèque ne dissèque´ (Translation: “Lift your skirt and bite the saw - the souvenir vinegar saw and cape of bones hammered to despair - came the wolf who stole the lamb spit - his skeleton still decorates the chest… - and the brain remained like heart of the lake - no one eats no one eats no one eats do not kiss do not kiss do not kiss do not believe do not believe do not judge do not judge do not steal do not drink do not drink do not dissect do not dissect do not dissect´´) Small overall age tone, mostly to edges, otherwise G

EINSTEIN ALBERT: (1879-1955) German-born theoretical physicist, Nobel Prize winner for Physics, 1921. A good A.L.S., Einstein, to one side of a plain postcard, n.p. (Zurich), n.d. (19th August 1910), to Dr. Ludwig Hopf, in German. Einstein writes both a scientific and social letter to his assistant, collaborator and fellow lover of music, making reference to a dispute with another physicist over the rigid bodies in the theory of relativity. Einstein informs Hopf that his wife and their newborn son are ‘still not doing as expected’ so they have ceased their musical evenings until further notice, remarking ‘This also makes me homebound. If you come to see me, I am always happy’ and further writing ‘With Ignatowsky it is indeed as you suspected. He draws conclusions that contradict mine and wants my signature on them. But I have already sent him home and am currently busy with a remark about the rigid body that is destined for the annals, in which I am trying to clarify the situation through a very elementary consideration. If you come, I’ll show you this rather amusing thing’. Hand addressed by Einstein to the verso. A letter of good content and association. One heavy crease to the lower part of the letter, not affecting the text or signature, G Ludwig Hopf (1884-1939) German-Jewish theoretical physicist. Early in his career, in 1909, Hopf was hired by Einstein as his assistant at the University of Zurich and the two scientists became collaborators and co-authors. Their friendship was helped by the fact that both were music lovers and often played duets, Hopf being a talented pianist and Einstein a violinist. Vladimir Ignatowski (1875-1942) Russian physicist who wrote some papers on special relativity and in 1910 was the first to try to derive the Lorentz transformation by group theory only using the relativity principle and without the postulate of the constancy of the speed of light. Einstein’s first wife, the Serbian physicist and mathematician Mileva Maric (1875-1948), had given birth to their second son, Eduard ‘Tete’ Einstein, on 28th July 1910. At the age of 21 Eduard was diagnosed with schizophrenia and after his father’s emigration to the United States the two never saw each other again.

VOLTAIRE: (1694-1778) French Enlightenment Writer and Philosopher. Voltaire is a pseudonym, his name being François-Marie Arouet. Voltaire is known for his attacks on Catholic Church, and his advocacy of freedom of religion and expression, and separation of church and state. A rare fully autograph lengthy letter with excellent content, A.L.S., `Voltaire´, three pages, 4to, Luneville, 19th November 1748, to a Dutch Editor and Librarian, in French. Voltaire returned in 1748 to Luneville after his mistress asked him to do so, and was kindly welcomed by King Stanislas. He devoted himself mainly to the theatre and performed his own plays at the castle stage. Voltaire starts urging his correspondent to send a preface he has since long and thanks him also for a present he intends to send to him, stating in part `…je n´ai point reçu la preface qui doit être mise au devant de l´édition et qu´on vous envoya il y a près d´un an. Je vous prie de la mettre dans le paquet adressé à Lunéville en Lorraine... J´ai vu une lettre que vous écrivez à un homme a moi, par laquelle vous lui mandez que vous voulez m´envoyer un service de porcelain de Saxe. Je vous suis très reconnaissant d´une pareille attention et je vous en fais des remerciements très sincères. Je vois que vous n´avez pas les sentiments d´un libraire Hollandais, et votre procédé renouvelle encore l´envie que j´ai de vous être utile´ (Translation: “… I have not received the preface which must be placed at the front of the edition and which was sent to you almost a year ago. Please put it in the package addressed to Lunéville in Lorraine... I saw a letter that you wrote to one of my close men, in which you tell him that you want to send me a porcelain set from Saxony. I am very grateful to you for such attention and I send you my very sincere thanks. I see that you do not have the feelings of a Dutch bookseller, and your way of working renews the wish that I have to be useful to you”) Voltaire thanks his correspondent´s aim but politely dismisses the present, and announces that he is about to finish a work that he will forward to the Dutch Editor, saying in part `Je vous destine l´histoire de la guerre présente que j´aurai achevée dans quelques mois… Je recevrai avec plaisir quelques exemplaires de votre edition, cést bien assez et si vous m´envoyez autre chose je vous avertis que je vous renverrai votre présent. Vous aves assez fait de dépense pour votre édition. Encore une fois, des exemplaires sont tout ce qu´il me faut et tout ce que je veux´ (Translation: “I am sending you the history of the present war which I will have completed in a few months... I will receive with pleasure a few copies of your edition, that is quite enough and if you send me anything else I will warn you that I will send you back your present. You have spent enough on your edition. Once again, copies of your edition are all I need and want”) Further again, and before concluding, Voltaire refers to the only accurate edition including all his works which he personally approves, saying `Je vous ai écrit par la voie de Mr. l´Ambassadeur de France… Vous aurez Semiramis certainement mais je ne peux vous dire dans quel temps. Je me flatte que vous pourrez faire un jour une edition plus complete et plus correcte et je vous aiderai de tout mon pouvoir, mais comme la votre avec toutes ses fautes est assurément la meilleure, ou plutôt la seule bonne que nous ayons, je vous conseille et je vous prie de l´annoncer dans tous les journaux comme la seule edition fidèle qui soit en Europe de tous mes ouvrages, et la seule que j´approuve´ (Translation: “I wrote to you through Mr. the French Ambassador… You will certainly have Semiramis but I cannot tell you when. I flatter myself that one day you will be able to produce a more complete and more correct edition and I will help you with all my strength, but as yours with all its faults is undoubtedly the best, or rather the only good one that we have, I advise you and I ask you to announce it in all the newspapers as the only faithful edition in Europe of all my works, and the only one that I approve”) Accompanied by a full transcription in French of the letter. In excellent condition, EX

BERNANOS GEORGES: (1888-1948) French Author and Soldier in World War One. Bernanos´ work is largely regarded as a critic to elitist thought, he believed that defeatism led France to the defeat and to the occupation by Germany. Best remembered for his novel Sous le Soleil de Satan (1926). A good A.L.S., Bernanos, a large signature, three pages, 8vo, mourning paper, Amiens, Tuesday, n.d., to a Lady, in French. Bernanos has just found her book on his return, and states `J´ai trouvé votre livre ici; il m´y attendait, après des detours sans nombre. Hier soir, en entrant dans ma chambre, c´est la première chose que j´ai vue. Du moins, je vous dirai sans retard combien je suis ému de votre pensée et que vous n'ayez pas oublié votre ridicule et peu courtois convive de St-Jean de Luz…´ (“I found your book here; it was waiting for me there, after countless detours. Last night, when I entered my room, it was the first thing I saw. At least, I will tell you without delay how moved I am by your thought and that you have not forgotten your ridiculous and uncourteous guest from St-Jean de Luz…´) Overall age wear, with tears to edges and very small areas of paper loss to edges. Repair to the edge. F to G

TYLOR EDWARD BURNETT: (1832-1917) English anthropologist. An interesting A.L.S., Edward B. Tylor, four pages (the last bearing a few lines of cross-writing), 8vo, Cannes, 8th November 1861, to Miss. Lloyd. Tylor states that he fears his answer to his correspondent’s question will come too late, as he had been waiting for a book which only arrived the day before, continuing ‘That Cinderella has a classical i.e. a Latin or Greek origin I do not at all believe. It is one of the best known and most widely spread tales of Northern Europe, and is found in all the German & Scandinavian languages, and is probably older than Rome or Greece either. There appears to be a classical legend which has probably the same origin, that of Rhodope, whose slipper was carried off by an eagle and dropped into the lap of Psammeticus, King of Egypt, who had the owner hunted for that he might marry her. If you look out Rhodope in the Classical Dictionary you will most likely find a full account’, and further providing Lloyd with social news of Cannes and mutual acquaintances, ‘…..the Miss Clarkes are here enjoying cool weather after being broiled like mutton chops at Lucca in the summer…..Lord Brougham and Prince Leopold are coming in a few days. I saw poor little Mr. Richardson a day or two ago. His finances and his religion have both undergone a crisis since the spring, the result being that he has sent away a disagreeable boy he had, who is understood to have eaten twenty pounds worth of sponge cakes and other delights at the confectioners on his account, and secondly he has gone over to the Greek Church…..We have left the frogs in England, where they have a beautiful glass house built some years ago for another family. Instead, we have a parrot, quite young & untrained when I bought him, and who has only mastered “who are you” as yet, and is saying it now with screams interspersed’. A letter of charming content. VG

HUGO VICTOR: (1802-1885) French novelist, poet and dramatist. A remarkable, lengthy A.L.S., Victor, four pages, 4to, n.p., 2nd November 1829, to Charles Nodier, in French. Hugo writes an impassioned letter, commencing by stating that much of him wishes he had not read La Quotidienne yesterday, and continuing ‘Car c'est une des plus violentes secousses de la vie que celle qui deracine du coeur une vieille et profonde amitie. J'avais perdu depuis longtemps l'habitude de rencontrer votre appui pour mes ouvrages. Je ne m'en plaignais pas. Pourquoi donc auriez-vous continue de vous compromettre dans une amitie publique avec un homme qui n'apporte a ses amis qu'une contagion de haines, de calomnies et de persecutions? J'ai vu que vous vous retiriez de cette melee, et, vous aimant pour vous-meme, j'ai trouve cela bien. Peu a peu, du silence et de l'indifference pour moi je vous ai vu passer a l'eloge, a l'enthousiasme, a l'acclamation pour mes ennemis, meme pour les plus ardents, les plus amers, les plus odieux. Rien que de simple encore en cela; car, apres tout, ce n'est qu'une chose personnelle a moi, et mes ennemis peuvent fort bien avoir de l'esprit, du talent et du genie. Cela est tout simple, dis-je, et loin de moi l'idee de m'en plaindre un seul instant. Je ne vous en aimais pas moins, et (vous auriez tort de ne pas me croire, Charles) du fond du coeur. Je n'avias pas prevu, de la ma tranquillite parfaite, que c'etait une transition naturelle, irresistible peut-etre pour vous-meme, a une guerre contre moi. Vous en voila donc aussi, L'attaque d'hier est sourde, obscure, ambigue, j'en conviens, mais elle ne m'en a pas moins frappe au coeur, elle n'en a pas moins eveille brusquement, comme une secousse electrique, plus de vingt personnes qui sont venues s'en affliger avec moi. Et quel moment avez-vous pris pour cela? Celui ou mes ennemis se rallient de toutes parts plus nombreux et plus acharnes que jamais, ou les voila ourdissant sans relache et de toutes mains un reseau de haines et de calomnies autour de moi, le moment ou je suis place seul entre deux animosites egalement furieuses, le pouvoir qui me persecute, et cette cabale determinee qui a pris poste dans presque tous les journaux. Ah! Charles! dans un instant pareil j'avais droit du moins de compter sur votre silence. Ou bien, est-ce que je vous ai fait quelque chose? Pourquoi ne me l'avez-vous pas dit? Ce n'est pas que je reclame contre votre critique. Elle est juste, serree et vraie. Il y a singulierement loin des Orientales a Lord Byron: mais, Charles, n'y avait-il pas assez d'ennemis pour le dire en ce moment? Vous vous etonnerez sans doute, vous me trouverez bien susceptible. Que voulez-vous? Une amitie comme la mienne pour vous est franche, cordiale, profonde, et ne se brise pas sans cri et sans douleur. Puis, je suis fait comme cela. Je ne m'occupe pas des coups de stylet de mes ennemis; je sens le coup d'epingle d'un ami. Apres tout, je ne vous en veux pas, dechirez cette lettre, et n'y pensez plus. Ce que vous avez voulu rompre est rompu, j'en souffrirai toujours, mais qu'importe! Si quelqu'un m'en reparle, je vous defendrai comme je vous ai defendu hier. Mais, croyez moi, c'est une chose bien triste pour moi, et pour vous aussi, car de votre vie, Charles, jamais vous n'avez perdu d'ami plus profondement et plus tendrement et plus absolument devoue’ (Translation: ‘Because it is one of the most violent shocks of life, that which uproots an old and deep friendship from the heart. I had long since lost the habit of receiving your support for my works. I wasn’t complaining about it. Why then would you continue to compromise yourself in a public friendship with a man who only brings to his friends a contagion of hatred, slander and persecution? I saw that you were withdrawing from this melee, and, loving you for yourself, I found it good. Little by little, from silence and indifference for me, I saw you pass to praise, to enthusiasm, to acclamation for my enemies, even for the most ardent, the most bitter, the most odious. Nothing but simple in this; because, after all, it is only a personal thing to me, and my enemies may very well have wit, talent and genius. It’s quite simple, as I said, and far be it from me to complain about it for a single moment. I loved you no less, and (you would be wrong not to believe me, Charles) from the bottom of my heart. I did not foresee, from my perfect tranquillity, that it was a natural transition, irresistible perhaps for you yourself, to a war against me. So here you are too. Yesterday’s attack is dull, obscure, ambiguous, I agree, but it no less struck me in the heart, it no less suddenly awakened me, like an electric shock. More than twenty people came to grieve with me. And what time did you take for this? The one where my enemies are rallying everywhere, more numerous and fiercer than ever, where they are snarling relentlessly and with all hands hatching a network of hatred and slander around me, the moment when I am placed alone between two equally furious animosities, the power that persecutes me, and this determined cabal that has taken up posts in almost all the newspapers. Ah! Charles! In a moment like this I had the right at least to count on your silence. Or did I do something to you? Why didn’t you tell me? It’s not that I’m complaining about your criticism. It is fair, tight and true. It is singularly far from Les Orientales to Lord Byron: but, Charles, were there not enough enemies to say so at this moment? You will no doubt be surprised, you will find me very touchy. What do you want? A friendship like mine for you is frank, cordial, deep, and does not break without tears and without pain. Then, I am made like that. I don’t mind the stilettos of my enemies; I feel the pinprick of a friend. After all, I don’t blame you, tear up this letter, and think no more about it. What you wanted to break is broken, I will always suffer from it, but what does it matter! If anyone talks to me about it again, I will defend you like I defended you yesterday. But, believe me, it is a very sad thing for me, and for you too, because in your life, Charles, you have never lost a friend more deeply and more tenderly and more absolutely devoted’). A letter of astonishing content marking the dramatic end of what had been a solid ‘father and son’ relationship between the two writers. Some very light, extremely minimal age wear, VG Charles Nodier (1780-1844) French author and librarian who introduced a younger generation of Romanticists to the conte fantastique, gothic literature and vampire tales. Hugo and Nodier had enjoyed a strong friendship (the former declaring it as a ‘friendship of brothers’) since 1823 when the critic devoted an article to Han d’Islande, Hugo’s first novel, likening Hugo to Walter Scott. The novelist was a regular attendee of Nodier’s soirees and together the two men made a memorable trip to Reims in 1825 to attend King Charles X’s coronation. However, dissensions erupted in 1829 (the year that Hugo published his collection of poems Les Orientales, inspired by the Greek War of Independence) with the publication by Nodier of an article in La Quotidienne about an edition of the poems of Lord Byron and Thomas Moore. It is this article which gave rise to the present celebrated breakdown letter. Carefully composed, Victor Hugo displays all of his eloquence and sets the tone from the outset. No use of ‘Mon cher Charles’, or ‘Cher ami’, but instead ‘Et vous aussi, Charles!’

MOGADOR CELESTE: (1824-1909) Elisabeth-Celeste Venard, Countess of Chabrillan. French courtesan, dancer and writer. A.L.S., Csse. Lionel de Chabrillan, two pages, 8vo, n.p., n.d., to a gentleman, in French. Mogador writes ‘Je serais impardonnable Monsieur si je n'avais forme de jour en jour le projet d'aller vous remercier en me donnant le plaisir de vous serrer la main des affaires, une suite de dispositions m'ont empeche. Je voulais charger notre grand ami de vous exprimer tous mes sentiments de gratitude, mais je l'ai a peine revu. J'avoue a ma faute que je n'ai point termine les memoires de Dumouriez et ce les prends de mon inqualifiable retard….’ (Translation: ‘I would be unforgivable, Sir, if I did not form the plan from day to day to go and thank you by giving me the pleasure of shaking your business hand; a series of arrangements prevented me. I wanted to ask our great friend to express to you all my feelings of gratitude, but I barely saw him again. I admit to my fault that I did not finish Dumouriez’s memoirs and this is due to my unspeakable delay…..’). With blank integral leaf. Some light age toning and a couple of minor stains, otherwise VG Charles Francois Dumouriez (1739-1823) French General of the French Revolutionary War who served as Minister of Foreign Affairs from March – June 1792.

[CARTER HOWARD]: (1874-1939) English archaeologist and Egyptologist who discovered the Tomb of Tutankhamun in 1923. ALBA DUKE OF (1878-1953) Jacobo Fitz-James Stuart. Spanish peer, diplomat, politician, art collector and Olympic medallist. One of the most important aristocrats of his time, the Duke was considered by some as the legitimate heir to the Scottish throne, and served as the Foreign Minister of Spain 1930-31. T.L.S., Alba, one page, 4to, Palacio de Liria, Madrid, 16th November 1925, to Howard Carter (‘My dear Carter’). The Duke thanks Carter for their letter and interesting report and remarks ‘Please, if you have the time to spare, write me some more, as it interests us greatly here…..How wonderfully interesting your work now is, what incredible riches you are finding in Tut Ankh Amen’s tomb, and what a tremendous pity you could not land on an unlooted tomb of one of the big fellows! I saw in one of the papers that you had also discovered a 30 ft. papyrus, and then in another paper the news was denied. I suppose it means you have not discovered any written scroll’ before concluding ‘Your lectures, which have had such a phenomenal success in Spain, are now starting in South America, where I suppose they will arouse the same extraordinary interest’. Together with an autograph memorandum in the hand of Howard Carter, unsigned, one page, 8vo, Luxor, Upper Egypt, n.d. (November 1925). Carter writes a brief note in pencil, in part, ‘Season 1925-6 – Report of this campaign…..sent to the Duke d’Alba’. With two file holes to the edges of both the letter and the memorandum, the latter neatly attached with the original pin to the upper left corner of the former. Some very light, extremely minor age wear, VG

STEINBECK JOHN: (1902-1968) American writer, Nobel Prize winner for Literature, 1962. A fascinating autograph manuscript, unsigned, six pages (separate leaves, written to the rectos only), folio, n.p., n.d. (1953). The manuscript, written in pencil and with various corrections as well as significantly longer unpublished sections to the published text, represents Steinbeck’s essay My Short Novels which appeared in Wings magazine in October 1953 ahead of the publication of the works as a collection. Steinbeck provides his analysis of six novels and opens with an introduction (numbered 1B) which is entirely different to the published version, in the present text writing ‘A book, even a little book, is a kind of person. It has tone – that’s its personality, and structure, that’s its physique…..During the time of a book’s writing, the author is his book – not one or other of the characters but the whole book…..When the book is finished, that person usually dies in the author……If the author has deeply loved the book……then when it is finished, he forgets…..the struggles and doubts and he remembers it as he would a dear person who is gone……I have never gone back over books long finished until now. But the printing of these short novels in one volume requires that I look at these and try to remember them. It is a confusing thing. Can I have been all of these persons……’, continuing to refer to his writing processes (‘Writing is an elusive business’) and commenting on the novels in particular ‘No two of these novels are alike. It would be strange if they were. Each one grew out of a time, and a condition, a state of mind, and states of history both personal and general. I can’t be sure that what I set down now is accurate but I have tried to remember’. Steinbeck then proceeds to reflect on the six stories, the circumstances of their writing, their reception, the goals he pursued in writing them, and more, beginning with The Red Pony, the manuscript reading ‘The Red Pony was set down in a matter (?) of pain. My mother was dying and her death was the first break in the family. Young people try to find a reason or a cause or a purpose in the events which move them. I suppose this is self-protective. In this time, I went back to my own childhood and tried as so many others have to write a death and a transfiguration, a balance between life and death…..’ (The published text varied considerably, ‘The Red Pony was written a long time ago, when desolation reigned in my family. The first death had arrived. And the family, which every child believes to be immortal, was broken. Perhaps this is the coming of age for every man and woman. The first torturous question: why?, then acceptance, and then the child becomes a man. The Red Pony was an attempt, an experiment, if you will, to put on paper this loss, this acceptance and this growth’). The writer then turns to Tortilla Flat, reflecting ‘I had been reading extensively concerning the Arthurian cycle – not with great scholarship but with interest…..wondering what real thing had happened out of which the myths grew. And then as an exercise I wrote Tortilla Flat using the people and stories currently told in Monterey but trying to set them in a moral tissue like the Gesta Romanorum. It was a kind of satire attempt to write folk lore….’, continuing with Of Mice and Men (‘another experiment’) and providing an anecdote involving his dog, Toby, who was thoughtful and given to brooding, ‘Once when I had finished about two thirds of Of Mice and Men I went out for an evening leaving Toby alone. Perhaps his critical sense took charge. At any rate he tore my manuscript book to confetti. There was no fitting it together. I had to start from the beginning…..I’ve often wondered how different the two versions were. I’ll never know’, writing of The Moon is Down, which was published after an interval when several long novels were created, ‘The Moon is Down was a kind of declaration of faith in the strength and survival of free and democratic men over dictatorship. The book got me in a lot of trouble. I was called a traitor…..’, the essay continuing ‘The fifth short novel was Cannery Row. It was written on my return from Europe and Africa…..as a war correspondent. It was written as a nostalgic thing to forget the bitterness and horror……It was said that I didn’t know anything about war; perfectly true although how Park Avenue commandos found me out I can’t conceive…..Subsequently I saw a piece of war as a correspondent and following that wrote Cannery Row….[for]…..soldiers who had said “Write something funny that isn’t about the war…..we’re sick of war”. They had to fight it……It was pleasing to me that half a million copies were distributed to troops and they didn’t complain. We had some very war-like critics then. They had no patience with soldiers’ and concluding ‘In Mexico I heard a story and made a long jump back to the Tortilla Flat time. I tried to write it as folk lore…..I called it The Pearl. It didn’t do so well at first…..but it seems to be gathering some friends or at least acquaintances. And that’s the list in this volume. It is strange to me that I have lived so many lives. Thinking back it seems an endless time – and only a moment’. The manuscript, as it exists in its present form (the pages are numbered 1B, 2, 3, 4, 5 and 5) finishes with what appears to be an incomplete sentence, ‘Miguel Cervantes created the modern novel’. A wonderful manuscript, full of interesting observations in which Steinbeck shows the thought process behind some of his most famous works, as well as writing in general, all interspersed with a little humour. Some chipping and small areas of paper loss to the edges of each of the pages, only very slightly affecting a few words of text. G

FROMME LYNETTE: (1948- ) American Criminal, a member of the infamous Manson Family who was imprisoned for her attempted assassination of American President Gerald R. Ford in 1975. A.L.S., Red [being her name within the Manson Family], four pages, 4to, n.p. (Alderson, West Virginia), n.d. (‘Friday 1st’ August 1980), to Nuel Melton Emmons. Fromme writes, in part, ‘You’re into portraying the people you write about as the people they are or however you think they are with whatever time you have to consider. I asked you to value our correspondence and treat it delicately, to take the time to go deeper and that you would have something worthwhile on your hands…..You show no trust in our judgement in what is good for ourselves….You’re in a hurry to get your pants down, get it over w/ & go on to something else. So go, man – I’m not going to hold you back…….I saw you, Mel, beyond the face, believe me – and you are, to me in some ways like a little boy so you won’t be winning me over to any ideas by calling me sweet names. I’m not mad Mel…..if I look depressed, it’s because a lot of people don’t treat themselves right and the warden has done me wrong. But I’m working it out……It’s crazy, Mel. If Blue (Sandra Good, a member of the Manson Family and close friend of Fromme) & C[harles] M[anson] want to do, they can. You read about Charlie back in 1969-70. I’m glad you will type that letter and make copies for us. Blue had asked me for a copy and I think CM would like one, as I would. I don’t expect those pictures to be good at all – I was not there but struggling w/ the warden & in the head of my officer who wanted to be sure you took only one……No, Mel, I don’t say “damn fool” to love. All my life I’ve seen people try to make or think foolish myself & others for loving and as I grew up, like everyone else growing up – I learned to hide love and think it silly until Charlie found me looking for him. Now, I just don’t use the word a lot. It’s easy to say……You mentioned $ and prestige in our visit not because you wanted no deceit but because we pulled it from you……Had we – (none of the three of us) – never mentioned it, you’d not be looking at it. That is one of the aspects (asset or liability depending upon where ones securities are banked) in being around us’. Accompanied by the original envelope hand addressed by Fromme and signed by her with her initials (‘L.F.’) in the return address panel. VG Nuel Melton Emmons (1927-2002) American photojournalist and biographer of Charles Manson.

Jean-Baptiste Pillement (1728 - 1808) A pair of idyllic landscapes with cattle Oil on canvas The canvases notable for their exquisite condition In carved and gilded frames with rococo pediments  Provenance: in the family collection by the 1920s One of the most influential decorative and ornamental draughtsmen working in Europe in the second half of the 18th century, Jean Pillement was an equally gifted painter, producing pastoral landscapes, marines, flowerpieces, animal subjects and chinoiseries. A pupil of Daniel Sarrabat in Lyon, Pillement was a precocious talent and, by the age of fifteen, was working as a designer at the Gobelins tapestry factory in Paris. In 1745, aged seventeen, he left France for Spain. He was to spend three years in Madrid, and this was to be the first in a long series of travels throughout Europe over the next forty years. After a period spent working in Lisbon, where he was offered, and declined, the title of Painter to the King, Pillement spent the next few years working in London, between 1754 and 1762. His pastoral scenes, seascapes and picturesque views found an appreciative audience in England. A popular and re¬spected member of artistic society in London, he counted among his patrons the influential connoisseur and actor David Garrick. It was in England in the late 1750’s that some of his ornamental designs were first engraved and published - Pillement himself recorded that more than three hundred prints after his drawings were done while he was working in London - and where he established himself as a fashionable decorative painter. Pillement continued to travel extensively during the 1760’s, receiving several prestigious commissions. After returned briefly to Paris in 1761, he spent some time in Italy before travelling to Vienna, where he worked to develop a method of printing coloured designs on textiles. He executed ten paintings for the Kaiserhof in Vienna for the Prince of Liechtenstein and was ap¬pointed court painter to King Stanislas August Poniatowski of Poland, for whom he decorated rooms in the Royal Castle and the palace of Ujazdów in War¬saw between 1765 and 1767. Back in France and appointed peintre de la reine in 1778, Pillement painted three decorative canvases for Marie Antoinette’s Petit Trianon at Versailles; the only real instance in his long career of an official French commission. For much of the 1780’s he worked in Portugal - where he founded a school of drawing - and Spain, and it was during this period that he produced some of his finest landscape drawings. Returning to France in 1789, he abandoned Paris during the Revolution and spent much of the decade of the 1790’s working in the small town of Pezénas in the southern province of Languedoc. Property of a Distinguished Family Dimensions: (Canvas) 22 in. (H) x 29.5 in (W) (Frame) 27 in. (H) x 35.5 (W)

Cornwall & Devon Interest Flora of Devon, 1939, and other books Flora of Devon, edited by Rev. W. Keble Martin & Gordon T. Fraser, 1939; Val Doone, The Other Eden, first edition, 1943; Who's Who In Cornwall, Limited Edition, No. 209, printed and published by Wilson & Phillips, 1935; E. H. Davison, Handbook of Cornish Geology, 1926; J. C. Tregarthen, The Life Story of an Otter, reprinted 1915; I Saw Three Ships and other Winter's Tales by Q, first edition, 1893.