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![AUTOGRAPH (?) PREACHING MANUSCRIPT. [SERMONS] the twenty-one sermons written in ink in a clear and easily legible hybrid secr](http://lot-images.atgmedia.com/SR/10086/2790905/500-2010312173056_468x382.jpg)
Lot 500
AUTOGRAPH (?) PREACHING MANUSCRIPT. [SERMONS] the twenty-one sermons written in ink in a clear and easily legible hybrid secretary-italic hand on 542 leaves, paginated, the contents and textural references listed in "A catalogue of the Sermons contained in this Boke" including The Godlie Mans Guide, The husbands happiness, A Muzzle for ye mouth and Whordoms Wages, each ending with 1p. invocation, catchwords, references and marginalia, several with preaching dates from the 1630s to 1650s, preceded and followed by two p. of prayers (one of those at the front missing) including one for Charles [I] and Prince Charles, the latter`s name struck out presumably during the Commonwealth, and THE WHOLE BOOK OF PSALMES. Collected into English meeter by Thomas Sternhold, John Hopkins and others, black letter, text in two columns, title within woodcut border, large woodcut initial letter at head of first psalm, some with music, ending with a final MS leaf of "The Psalmes Digested into a breefe Table... accordinge to... Mr Beza", London: Printed for the Companie of Stationers, 1620, two works in one volumne, 8vo (195 x 147mm) contemporary calf centrepiece binding (worn, frayed and wanting spine) tooled in blind with frame and fleurons Provenance: B[arnabas] Pool, Rector of Brailsford (ownership inscription on end pastedown). According to Lichfield Diocesan Registers, Barnabas Pole was given the living of Brailsford, Derbyshire on 18 June 1668, which he held until his death on 6 December 1698. On his monument in the church, his name is spelt Poole and the stone lintel over the door of the early 16th c (former) rectory at Brailsford is inscribed "Restored by/Rev`d J G Croker/1883/Rev`d B Pool/1682". Several of the sermons share titles with those of Immanuel Bourne (1590-1679) whose published sermons appeared between 1617 and the mid 17th c. A preacher at St Christopher`s Church, London, he held the living of the nearby parish of Ashover from 1622 until his pronounced sympathies for the Puritan cause compelled him to return to London on the outbreak of the Civil War in 1642. There he was appointed preacher at St Sepulchre`s Church. Whilst it is conceivable that the present lot is Bourne`s own preaching manuscript, Pool could well have obtained it from a scribe, who carefully copied at least some of Bourne`s published sermons. Hardly any manuscript material by Bourne is known to have survived other than two hastily written letters to Sir John Gell, 1st Baronet (1593-1671) of Hopton Hall (Derbyshire Record Office) and his signature on a document dating from the end of his life (British Library).
Lot 83
A BRAMELD EARTHENWARE INDIA PATTERN DESSERT SERVICE including a sauce tureen, cover and stand, 17cm h, blue printed pictorial STONE CHINA/INDIA MARK, or unmarked, c1835-42 (19)++Stand of tureen broken in two and previously riveted, now glued; the pair of lozenge shaped dishes riveted; two of the three square dishes with minor localised staining of the glaze which is not too noticeable; one plate riveted, two plates cracked, two plates with minor localised staining of the glaze which is not too noticeable
Lot 376
Egyptian Hall. Two large photographs one of the facade with large advertisement for Mr. Maskelyne`s sensational magical romance The Philosopher`s Stone, the other of the stage set up for a performance by Valadon, framed and glazed, 274mm. by 373mm., [c.1903]. ***The photographs are from the collection of George Jenness. He used the first to illustrate to dust jacket of his book on Maskelyne & Cooke.
Lot 158
Vickers (V.C.) Drawings for "The Google Book" one in ink, signed with initials and dated 1913, one coloured crayon, the remainder in pencil on tinted paper, slightly frayed at corners, average size 270mm. by 325mm. ***The book, written and illustrated by V.C. Vickers, was first pubished in an edition of 100 copies in 1913. Subjects of this set of drawings are The Great Skull-Headed Stone Trot, (the ink drawing probably a preminary design preceding the pencil drawing), The Little Horn Back, The Little Horn Back, The Ha! Ha!, The Great McDoo or Dewar Bird, The Mirabelle, The Lemon Squeezer, and The Sun Bird (in crayon).
Lot 208
Barclay (John) Euphormio`s Satyricon,GCP number 28 of 60 specially-bound copies, from an edition limited to 260, wood-engraved plates by Derrick Harris, all with border in red, original pictorial red morocco, gilt, spine slightly browned, boards with a few damp spots, slip-case, 1954 § Swinburne (A.C.) Lucretia Borgia, one of 350 copies, wood-engraved illustrations by Reynolds Stone, bookplate of Marie-Louise and Samuel Rosenthal, original pictorial cloth, gilt, 1942, both with t.e.g., others uncut, Golden Cockerel Press; and 2 others from the press, 4to & small folio(4)
Lot 895
Sheila Fell R.A. (1931-1979), an oil painting on canvas, "Haymaking at Millers Farm 1" dated 1969. 20 ins x 24 ins, signed, framed and with label verso, Stone Gallery. Haymaking at Millers Farm 1 is a fascinating work from the artist`s late and mature period. The busy early evening scene is taken from behind Fell`s parents` house in Aspatria looking towards Aspatria Hall Farm (Gerald Miller`s farm). In its compositional effects and with its hurried striking swirly strokes of paint it recalls John Constable, J.M.W. Turner and Samuel Palmer but at the same time it possesses a wonderful rhythm in the landscape similar to another artist Fell admired namely Vincent Van Gogh but perhaps most of all it can clearly be seen that this landscape is very much in tandem with the technique of Frank Auerbach with whom she shared a studio at one time. They became close friends and Auerbach painted a beautiful portrait in black chalks of her in the early 1960`s. Haymaking at Millers Farm 1 compares favourably with another masterpiece of this period namely Wheat Harvest at Mechie Farm 1 of the same size. This surge of creative power in the late 1960`s gained Fell an A.R.A in 1969. Throughout most of Fell`s painting life she was supported and championed by L.S. Lowry who became her great friend, many times visiting West Cumberland and Aspatria. Lowry believed Fell was the finest English landscape painter of the 20th century. Shelia Fell died in a tragic fall in 1979 in her flat in London aged 48. Her works today can be seen to influence a host of young and modern landscape painters. Haymaking 1 is presented in a walnut Auerbach type frame by Stewart Heslop Frames with museum glass.
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