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Click here to subscribeJohn Marshall (British, fl. 1840-1896), Still life of cherries and an upturned basket , oil on canvas, signed and dated 'J MARSHALL 1888' lower left, also signed to stretcher verso, in period style pierced gilt and composition frame , 12½ x 16in. (31.75 x 40.75cm.) . * Provenance: Sotheby's London, 06.05.91, Lot 111
David McLeod Martin, oil on canvas, still life study of sunflowers, jug and onions on a table, 29ins x 39ins (D)Condition Report: Signed bottom right. Bears gallery label verso. Also handwritten to canvas on the back with details. Good condition with original frame with is a silver/grey colour. Come from a private collection with many of the other paintings in the sale
Follower of Georgius Jacobus Johannes van Os Still life of fruit in a basket on a ledge with a monkey and an overturned broken flower vase oil on canvas, in a gilt frame 58 x 70cm (23 x 27in) Oil on canvas which has been lined. There are minor undulations in the canvas. The paint layers has a slightly raised craquelure pattern overall. At the lower left corner the paint layer appears slightly wrinkled, possibly caused during lining. The paint layer is in a good and stable condition. The varnish is darkened and yellowed. The surface is slightly uneven with matte patches. The frame is in a good condition.
Pierre Labatie (French, d. circa 1777) A partly-peeled lemon, a clove of garlic, onions, and a knife on a table signed and dated upper right "Labatie 1775" oil on canvas 22 x 34cm (9 x 13in) Provenance: Christie's South Kensington: Thursday, November 4, 2010 [Lot 34], The Collection of the Late John Appleby: A Channel Island Treasure House Other Notes: Pierre Labatie was a painter of figures, landscapes and still life at Bordeaux. He exhibited at the Salon de Bordeaux in 1776 and five of his works were shown there posthumously. The Musée Lorin at Bourg, France, has one of his paintings. Oil on canvas which has been lined. There are minor undulations at the corners of the canvas. The paint layer has drying cracks in the darker paint passages, which have formed as the paint has dried. There are retouchings toning down the cracks. The varnish is semi-matte and clear. The frame is in a good condition.
Oliver Clare (British, 1853-1927) Still life of a blackbird's nest and apple blossom; Still life of grapes, peaches, raspberries, gooseberries and plums on a mossy bank both signed lower right "Oliver Clare" oil on panel (a pair) 24 x 29.50cm (9 x 12in) Both paintings are in oil on canvas, which have been lined. The paint layers are in a good condition. The varnish is clear and even. The frames are in a good condition overall.
Foxe, John Ecclesiasticall History, conteyning the Actes and Monumentes of Martyrs...Printed by John Daye, dwelling ouer Aldgate, 1576. 4to (2 vols bound as one). Full reverse calf, boards with broad blind roll-tooled borders, spine decorated in blind, all edges red; pp. 14-1306 (lacking title and 1-13), 1315-1332, 1337-1774, 1777-1976, 1981-1984, 1987-8, 1991-2, 1997-2000, 2003-2010, 2012-2020 (5V.iv loose but present, lacking rest of Index); floriated initials, woodcut plate, later mounted, title-page for Vol. II, lacking title for Vol. I., numerous woodcuts to text throughout. Although The Acts and Monuments of Foxe has been a critical text in shaping Protestant identity, the idea of it as a single text - the much later coined (and frequently abridged) ''Book of Martyrs'' - misses the complexity of its publication history. None of the four editions produced during Foxe's lifetime (of which this was the third) was the same as any other. Foxe continually adapted his work to answer the criticisms of his Catholic opponents. It is important to remember that Foxe produced his first pre-Acts martyrologies amongst the Marian persecutions. What had been an academic exercise in martyrology suddenly and violently became a part of his lived experience. Astoundingly for the day - and given his intense opposition to Catholicism - Foxe did not simply oppose Catholic executions, but utterly opposed the death penalty for any religious dissent. His book was not merely an anti-Catholic tract, it fundamentally opposed the concept of religiously inspired killing. It was perhaps inevitable that his first two treatises (mostly focusing on the Lollards) would form the basis of a larger text, tearing into the recent persecutions and aiming to show that the Catholic church was a conspiracy to destroy English national identity along with its religion. The book - backed by worthies like Sir William Cecil and Foxe's former pupil, the Duke of Norfolk - thus became part of the new Elizabethan paradigm: that the Church of England was a continuation of the true Church of Christ not a modern innovation. It is telling to note Foxe's close, if uneasy, links to Matthew Parker (one of the architects of the Thirty-Nine Articles) and critically his library, which led to the Archbishop being presented with a copy of the work. Foxe published the first version of his ecclesiastical history in 1563, drawing on documents, registers, letters, and other primary sources to support his thesis. He might more properly be described as a compiler, rather than an author, were it not that his voice comes through so powerfully in the contextualisation and presentation of others' information through the form of the text (especially its use of typography). The book was not merely successful, it fostered strong emotional reactions on both sides of the debate and the revision work began almost immediately. The second edition, the first major revision, was published in 1570. This was no mere reprint. Foxe significantly enlarged the scope of the first edition, taking the history back to the 11th century. He also responded personally to the Catholic criticisms, including newly discovered information and sources. This copy was part of the third edition (less heavily revised than the 1570 edition) which was printed on cheaper paper to attempt to meet rising demand for a cheap edition - hence the expected toning. Foxe would produce one final revision of the book in 1583, resisting calls for abridgement. He died in 1587, plans for another revision already underway. The book of deaths had become his life. This edition was surveyed by the British Academy for their effort to reproduce the best and most complete text from the various editions produced during Foxe's lifetime (this number F76028). Professor David Loades wrote (in the Jan-July 2000 British Academy Review) that ''none of the surviving original copies of the sixteenth century editions [are] full and perfect. All those traced and inspected have defects - pages missing or severely damaged, illustrations removed, and so on.'' (p.25). At the point when the Academy surveyed this copy, they had traced 30 copies, of which 15 were in the UK - this one the only private library copy. This copy is thus a scarce survival - strange given the immense popularity of the work - and a rare chance to own a typographically fascinating, early edition of an ideological battleground in the formation of English national identity. Binding rubbed and scuffed but still tight, edges closely shaved with some loss to marginalia, some marking, staining, creasing etc throughout, some pages toned, occasional marginal loss nevertheless a very good copy of a scarce work.
Dickens, Charles The Cricket on the Hearth. Bradbury & Evans, 1846. 8vo, org. red horizontally-ribbed cloth gilt, boards with blind floral border, upper board lettered directly in gilt and blocked centrally in gilt with hearth design, spine lettered in gilt, a.e.g, yellow endpapers; eng. frontis., eng. title, illus to text; provenance: Edward Geoffrey Sergeant (armorial bookplate to upper pastedown -- Alice M Lamb (owner's ink inscription recto of frontis.). 2nd state ads with ''New Edition of Oliver Twist'' heading and 11 lines of copy. idem. The Battle of Life. Bradbury & Evans, 1846. 8vo, org. red vertically-ribbed cloth, boards with blind floral borders, upper board lettered directly in gilt and blocked centrally with fairy design, spine lettered directly in gilt, a.e.g., yellow endpapers; eng. frontis., eng. title, illus to text. 4th state eng. title with ''A Love Story'' on scroll held by Cupid and no publisher's details.Spines a touch dulled, some cracking with loss at joints, text block still tight, some rubbing and marking to boards, eng. titles slightly dusty, a little marginal toning, but very good copies, generally clean internally.
Greenwood, Jeremy Ravilious: Engravings. Wood Lea, 2008. 4to, org. grey cloth, in slip case; over 400 engravings, being Ravilious' complete output, along with many letters, preparatory drawings and other matter. One of 800 copies of the standard edition. A major work on Ravilous which expanded on the Lion and Unicorn edition. Ravilious, despite his short working life, is one of the most noted British artists of the early-twentieth century. A painter, designer, book illustrator and wood-engraver, his work is perhaps most recognised outside the artistic and book worlds in the two cricketers who still adorn the cover of Wisden. A comprehensive guide to a greatly-loved talent.
Aliquis [presumed Maberley, Revd. Samuel Edward] Humpty Dumpty. Tilt & Bogue, 1843. Two continuous strip-etchings on seven accordion-fold panels (85 x 230mm) mounted in pictorial card wrappers with cloth spine (85 x 240mm); provenance: F.C. Cafs. Ball[iol] Coll[ege]. This appears to be the Abbey variant (Life in England, 559) not hand-coloured, with the verse in English and French on recto of upper board, and Hebrew, Greek, Latin and German on verso. There was another issue with hand-colouring and Welsh and Italian translations also on the verso. A scarce and delightful ephemeral item with a noticeably satirical undertone.Upper wrapper detached from panels but still attached to spine, creasing of upper wrapper, scattered light foxing but images still strong.
London Cries. Darton & Co., [c.1855]. Org. red pictorial cloth gilt; 16 leaves of hand-coloured plates; pp. 64, 32 (catalogue). A charmingly illustrated look at lower London life. The illustrations show the various traders formed from the tools of their trades. The text is surprisingly sympathetic (if displaying some period class and race attitudes) and captures the tragedy of people driven to selling on the street by the whims of fortune.Spine faded and gilt rubbing off, hinges cracking with title and pp. 31-32 and ''The Flower-Girl'' loose but present, small marginal tear to pp. 1-2 slightly affecting text, some foxing and marking throughout but still good with bright plates.
An early Victorian lady's commonplace book, belonging to M.M., illustrated with a View into Shirbrook (sic) Dell, Derbyshire, drawn and dated in pencil May 6th 1836, other county views including pencil sketches of Rustic Bridge in Monsal Dale, Haddon Hall and Bakewell Church, original still life studies of British flowers throughout, some coloured and engraved prints of similar subjects, pressed paper work, inscribed througout with ink MS prose and verse of original composition and from belles-lettres, contemporary full olive green leather binding, raised bands to spine, all edges gilt, large 4to
Gay (John), Fables, With a Life of the Author and embellished with Seventy Plates, two-volumes bound as one, Printed for John Stockdale, Piccadilly, London 1793, pp: volume I, xi, [i], 225; volume II, 187, advert [i], engraved title-piece to volume I, a vignette to each title-page and further illustrative full-page plates accompanying text, lacking boards but still sewn tight to spine, marbled endpapers, large 8vo
§ Raymond Campbell (British, 1956), still life depicting a half peeled orange, grapes, pewter mug and a glass of red wine, oil on canvas 40cm x 52cm, Provenance: Bourne Gallery.Please note that Artists Resale Right is additionally payable on this lot up to a maximum of 4% on top of the hammer price (visit www.dacs.org.uk for more information)..
§ Raymond Campbell (British, 1956), still life depicting table set with wine and cheese, oil on canvas 59cm x 51cm Provenance: Bourne Gallery.Please note that Artists Resale Right is additionally payable on this lot up to a maximum of 4% on top of the hammer price (visit www.dacs.org.uk for more information)..
MICK JAGGER & BILL WYMAN OWNED BLUE MERCEDES V126 560 SEL AUTO. Purchased on the 30.03.1990 by Michael Philip Jagger and acquired by Bill Wyman in 1993 which was the same year that Bill left the band. Showing 136,175 miles on the clock, Bill used it for his regular commute to his home in Vence. Prior to Bill it is estimated that Mick put around 40,000 miles on the clock. Nautic blue metallic paint, tinted windows and with 15", 15 hole alloys this looks every bit the rock star car. Internally it has cream leather with electrics throughout along with an NEC car phone. Includes maintenance booklet showing Mick as first owner, logbook still in Bill's name, plus various manuals and other paperwork. Running well with MOT to 7th October 2018. “I was forever grateful for my decision to buy it, as it was a dream to drive the 14/15 hours from London to France regularly.” He owes his life to the Mercedes build quality. On one journey his driver fell asleep and they hit a motorway barrier. Car and passengers survived to complete the journey back to the UK. A majestic Mercedes both in looks and how it drives with not just one but two "rock star" owners since new! For more information on the car see the excellent article written by Richard Mason for Classic Car
ROLLING STONES - 70s ONWARDS. More classic Stones LPs (and some 12"/EPs and even 2 x 7" shaped discs too) with 47 included. Largely US pressings once more, titles include Sticky Fingers (COC 59100 US original, complete with printed inner and very cool and cheeky 'Circus Poster #1'!), Exile On Main St (US original COC 2 2900 complete with 12 unused postcards and printed inners - Ex/Ex), Still Life (American Concert 1981), Tattoo You, Flashpoint, Some Girls (including Netherlands limited edition orange coloured 5C 062-61016 and US original, both 'celebrity' inners), Under Cover, Hot Rocks, Get Yer Ya-Ya's Out, Through The Past, Darkly, Black And Blue, Love You Live and The Rolling Stones On Tour. Condition is often Ex to Ex+
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![London Cries. Darton & Co., [c.1855]. Org. red pictorial cloth gilt; 16 leaves of hand-coloured plates; pp. 64, 32 (catalogue](https://cdn.globalauctionplatform.com/db6b26b8-b86f-48f9-a1c6-a92900aa3753/0c112ade-f64f-42df-9b0b-7d0b8a147966/468x382.jpg)
