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HMS Hood. 8x10 inch photo hand signed by Ted Briggs, who at the time of signing was the last living of only three men to survive the sinking of HMS Hood by the German battleship Bismarck. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

007 Bond girl. The Spy Who Loved Me actress Caroline Munro signed Richard Keil scene 8x10 photo. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

The Exorcist 8x10 horror movie photo signed by actress Eileen Dietz who played the demon in this iconic film. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

§ BENJAMIN CREME (SCOTTISH 1922-2016) PORTRAIT OF A LADY, 1945 Signed and dated '45 upper right, coloured chalks(42cm x 30cm (16.5in x 12in))Footnote: Note: Bears note verso, 'An artist, author and esotericist, Creme began painting at an early age and held his first exhibition in Glasgow, his birthplace, in 1940. It was here that Josef Herman saw Creme's work, returning with the artist Jankel Adler, who likewise introduced Creme to the renowned Scottish Colourist J. D. Fergusson. In 1945, the date of the present picture, Creme moved to London with his first wife Peggy, the possible subject of the portrait, and set up his studio in Battersea. Through his association with Adler, Creme continued to be a part of the emerging artistic scene. His circle of friends included the artists Robert Colquhoun, Prunella Clough, Francis Bacon, Keith Vaughan and John Minton.'

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) GODDESS, 1971 Signed and dated '71 upper left, pastel(65cm x 50cm (25.5in x 19.75in), unframed)Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) GWEN JOHN COURTING Signed and inscribed with title verso, oil on canvas(152cm x 122cm (59.25in x 47.5in))Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) THE ANDES, 1988 Signed and dated '88 upper right corner, oil on canvas(130cm x 195cm (51in x 76.75in))Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) CREATURE, INDIA, 1985 Signed and dated '85 and inscribed 'India' lower right, pastel(58.5cm x 81cm (23in x 31.75in))Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) WOMAN WITH DEATH, 1975 Inscribed with title and dated '75 stretcher verso, oil on canvas(144cm x 146cm (56.75in x 57.5in))Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) BIG GIRL Oil and household emulsion on board(203.5cm x 140cm (80in x 55in))Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED (BUTTERFLY) Pastel and watercolour(27.5cm x 19cm (10.75in x 7.5in), unframed)Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) LEMONADE QUEEN Inscribed with title lower left, watercolour and ink(10cm x 7.5cm (4in x 3in))Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

CLEVE GRAY (AMERICAN 1918-2004) UNTITLED ABSTRACT (RED), 2002 Signed and dated 2002 in pencil lower right, watercolour(56cm x 76cm (22in x 30in))Footnote: Lyon & Turnbull are excited to present for sale a wonderful example of the mature work of the American artist Cleve Gray. Gray, who passed away in 2004, was a significant artist within Post War Modernism, and is largely associated with the schools of Abstract Expressionism, Lyrical Abstraction and the Colour Field movement. Born in New York city in 1918, Gray saw active service in World War II, serving in the signal intelligence service in Britain, France and Germany, where he rose to the rank of sergeant. After the liberation of Paris, he was purportedly the first American GI to make an introduction to Pablo Picasso and Gertrude Stein. Remaining in Paris for some time after the War, he undertook training with the French artists André Lhote and Jacques Villon, becoming deeply influenced by Cubism during this period. Returning to America in 1946, Gray gradually relinquished his Cubist tendencies. In the 1960s he developed a friendship with Barnett Newman, a key figure within American Abstract Expressionism and one of the fore runners of the Colour Field and Minimalist movements, characterised by its utilisation of hard-edged blocks of saturated colour. Gray absorbed this influence but never abandoned painterly brushwork completely, and his mature work is distinguished by flat planes of colour over which he creates gestural, calligraphic marks. The work offered here for sale is a quintessential example of this style. He had gradually moved from oils to acrylics in order to more effectively create limpid washes of colour on his canvas, resulting in a hazy effect which nods to peers including Mark Rothko and Newman. This adoption of almost calligraphic mark-making evidences his interest in the Chinese practise of Zen painting. Though never directly representational, his marks nevertheless encourage his viewers to project our own reading, rooted in our understanding of the natural world; from the tails of comets to the swooping flight of a bird. Gray’s work is represented in many major collections including the Museum of Modern Art and the Whitney Museum of Art in New York.

§ CLEVE GRAY (AMERICAN 1918-2004) UNTITLED ABSTRACT (BLUE), 2003 Signed and dated 2002 in pencil lower right, watercolour(56cm x 76cm (22in x 30in))Footnote: Lyon & Turnbull are excited to present for sale a wonderful example of the mature work of the American artist Cleve Gray. Gray, who passed away in 2004, was a significant artist within Post War Modernism, and is largely associated with the schools of Abstract Expressionism, Lyrical Abstraction and the Colour Field movement. Born in New York city in 1918, Gray saw active service in World War II, serving in the signal intelligence service in Britain, France and Germany, where he rose to the rank of sergeant. After the liberation of Paris, he was purportedly the first American GI to make an introduction to Pablo Picasso and Gertrude Stein. Remaining in Paris for some time after the War, he undertook training with the French artists André Lhote and Jacques Villon, becoming deeply influenced by Cubism during this period. Returning to America in 1946, Gray gradually relinquished his Cubist tendencies. In the 1960s he developed a friendship with Barnett Newman, a key figure within American Abstract Expressionism and one of the fore runners of the Colour Field and Minimalist movements, characterised by its utilisation of hard-edged blocks of saturated colour. Gray absorbed this influence but never abandoned painterly brushwork completely, and his mature work is distinguished by flat planes of colour over which he creates gestural, calligraphic marks. The work offered here for sale is a quintessential example of this style. He had gradually moved from oils to acrylics in order to more effectively create limpid washes of colour on his canvas, resulting in a hazy effect which nods to peers including Mark Rothko and Newman. This adoption of almost calligraphic mark-making evidences his interest in the Chinese practise of Zen painting. Though never directly representational, his marks nevertheless encourage his viewers to project our own reading, rooted in our understanding of the natural world; from the tails of comets to the swooping flight of a bird. Gray’s work is represented in many major collections including the Museum of Modern Art and the Whitney Museum of Art in New York.

CLEVE GRAY (AMERICAN 1918-2004) REACH #2 Signed and inscribed with title and dated 2002 verso, acrylic on canvas(128.25cm x 172.27cm (50.5in x 68in))Footnote: Exhibited: Loretta Howard Gallery, New York Lyon & Turnbull are excited to present for sale a wonderful example of the mature work of the American artist Cleve Gray. Gray, who passed away in 2004, was a significant artist within Post War Modernism, and is largely associated with the schools of Abstract Expressionism, Lyrical Abstraction and the Colour Field movement. Born in New York city in 1918, Gray saw active service in World War II, serving in the signal intelligence service in Britain, France and Germany, where he rose to the rank of sergeant. After the liberation of Paris, he was purportedly the first American GI to make an introduction to Pablo Picasso and Gertrude Stein. Remaining in Paris for some time after the War, he undertook training with the French artists André Lhote and Jacques Villon, becoming deeply influenced by Cubism during this period. Returning to America in 1946, Gray gradually relinquished his Cubist tendencies. In the 1960s he developed a friendship with Barnett Newman, a key figure within American Abstract Expressionism and one of the fore runners of the Colour Field and Minimalist movements, characterised by its utilisation of hard-edged blocks of saturated colour. Gray absorbed this influence but never abandoned painterly brushwork completely, and his mature work is distinguished by flat planes of colour over which he creates gestural, calligraphic marks. The work offered here for sale is a quintessential example of this style. He had gradually moved from oils to acrylics in order to more effectively create limpid washes of colour on his canvas, resulting in a hazy effect which nods to peers including Mark Rothko and Newman. This adoption of almost calligraphic mark-making evidences his interest in the Chinese practise of Zen painting. Though never directly representational, his marks nevertheless encourage his viewers to project our own reading, rooted in our understanding of the natural world; from the tails of comets to the swooping flight of a bird. Gray’s work is represented in many major collections including the Museum of Modern Art and the Whitney Museum of Art in New York.

§ PAUL REID (SCOTTISH 1975-) MARSYAS Signed lower right, oil on canvas(138cm x 91cm (54.25in x 35.75in))Footnote: Note: Marsyas was a Phrygian Satyr who invented the music of the flute. He found the very first flute which had been crafted but cast away by the goddess Athena who had been displeased by the bloating of the cheeks. Marsyas later challenged the god Apollo to a musical contest but lost when the god demanded they play their instruments upside-down in the second round--a feat ill-suited to the flute. As punishment for his hubris, Apollo had Marsyas tied to a tree and flayed alive. The gods then transformed him into a stream.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) SKELETON WITH AN AXE Inscribed with title stretcher verso, oil on canvas(195cm x 130cm (76.75in x 51in), unframed)Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) PROPELLERS OF JASON (FROM THE 'AMY JOHNSON' SERIES), Signed and dated '76 lower right, signed and titled stretcher verso, oil on canvas(152.5cm x 122cm (60in x 48in), unframed)Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) GWEN JOHN COURTING RODIN II Inscribed with title exhibition label verso, oil and emulsion on canvas(101cm x 127cm (39.75in x 50in), unframed)Footnote: Exhibited: Yorkshire Contemporary Group, St. Paul's Gallery, Leeds, 1984-85 "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) UNTITLED, 1989 Signed and dated '89 upper left corner, indistinctly inscribed lower left corner, oil and emulsion on canvas(130cm x 97cm (51in x 38in))Footnote: Exhibited: Bears remnants of Yorkshire Contemporary Group exhibition label verso "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

§ PATRICIA DOUTHWAITE (SCOTTISH 1939-2002) POOR HENRY DIDN'T GET TO SEE THE HIMALAYAS, 1984 Signed and dated '84 and inscribed upper left corner, gouache on brown paper(89cm x 114cm (35in x 45in))Footnote: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as more and more people are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality.

Bindings. Burnet (Gilbert). The History of the Reformation of the Church of England, first part, London: printed by T.H. for Richard Chiswell, 1679, imprimatur leaf, additional engraved title, letterpress title in red & black, seven engraved portrait plates, borders red ruled throughout, marbled endpapers (without rear free endpaper), hinges crudely repaired, armorial bookplate of Joseph Wren to upper pastedown, all edges gilt, contemporary red morocco, with gilt decorated spine and gilt panelled and decorated boards incorporating armorial of William Sancroft, Archbishop of Canterbury (1617 -1693), joints and head & foot of spine repaired, corners repaired, some light rubbing, folio, together with: ibid, The History of the Reformation of the Church of England, third part. Being a Supplement to the two volumes formerly publish'd, London: J. Churchill, 1715, title in red & black, four engraved portrait plates, marbled endpapers (without rear free endpaper), hinges crudely repaired, armorial bookplate of Joseph Wren to upper pastedown, all edges gilt, contemporary red morocco, elaborately gilt decorated spine, gilt panelled and decorated boards, joints and head & tail of spine repaired, corners repaired, folioQty: (2)NOTESWilliam Sancroft (1617-1693) was the second son of Francis Sandcroft or Sancroft, of Fressingfield in Suffolk, and Margaret, daughter and coheir of Thomas Butcher. The family were of yeoman stock. William was educated at Bury St Edmunds Grammar School and was admitted to Emmanuel College, Cambridge 10 September 1633 where his uncle was Master. He graduated B.A. in 1637, M.A. in 1641, and B.D. in 1648. In 1642 he was elected Fellow and, because of his exemplary character was not ejected until 1651. When he was ejected, he at first lived with his brother, and then, in 1657, went abroad. At the Restoration, he was restored to his fellowship and in 1662 he was elected Master of Emmanuel, where he turned the chapel into a library, and procured plans for a new chapel. In 1664 he was made Dean of York on the 8 January, and Dean of St Paul's on the 10 December. In the latter office he was instrumental, with Sir Christopher Wren, in the rebuilding of St Paul's after the Great Fire of London. He was appointed Archbishop of Canterbury 27 January 1678, but opposed James II who sent him to the Tower. Despite this, at the Glorious Revolution he remained faithful to his oath of allegiance to James II. As a result he was suspended and returned to Fressingfield, where he built himself a modest house. He had intended to leave his library to Lambeth Palace, but changed his mind, sending his books remaining at Lambeth to Emmanuel College as a gift. He intended his manuscripts and the larger part of his printed books at Fressingfield, to go to the college after his death, reserving for his nephews such books as would suit a gentleman's library. As he took no formal steps to arrange this, his heirs made no attempt to carry out his wishes, and are said to have sold his manuscripts to the bookseller Bateman for eighty guineas, of whom they were bought by Bishop Tanner who presented them to the Bodleian Library in Oxford.

Holles (Denzil). A True Relation of the Unjust Accusation of Certain French Gentlemen, (charged with a robbery, of which they were most innocent) and the proceedings upon it, with their tryal and acquittance in the Court of Kings Bench, in Easter Term last, London: printed by J. Darby, for Richard Chiswel, 1671, [2], 44pp., title torn to upper outer corner and lower blank margin, gutter margin of initial two and final leaves strengthened, scattered spotting, bookplate of Henry Goodwin Rooth to upper pastedown, late 18th century half sheep, marbled sides, lacking spine, 4to (Wing H2480), together with: City of London, The Humble Petition of the Right Honourable the Lord Mayor, Aldermen, and Commons of the City of London, in Common-Council Assembled, on the Thirteenth of January, 1680. To the King’s most Excellent Majesty, for the sitting of this present Parliment prorogu’d to the twentieth instant. Together with the Resolutions, Orders, and Debates of the said Court, London: printed by Samuel Roycroft, 1680, without order to print leaf A1 before title, some toning and browning, modern cloth-backed marbled boards, slim folio (Wing H3577), [D.F.], A Sermon taken out of an Oxford Scholar’s Pocket, who was found Dead in Bishop’s Wood, near High-gate, on Munday, Feb. 15. 1685/6. Together with a True Relation of the Manner of his being Discovered there. Now published for the publick good. With allowance, April the 4th 1688, London: Tho. Fabian, 1688, [6], 33, [1]pp., disbound 4to (Wing D20), [Long, Thomas], A Resolution of Certain Queries concerning Submission to the Present Government ... By a Divine of the Church of England, as by Law Establisht. Licensed, April 8th, 1689, J. Fraser, London: printed, and are to be sold by R. Balwin, 1689, [8], 63, [1]pp., repaired to gutter margins, modern marbled boards, 4to (Wing L2980), [Somers, John], A Letter, Ballancing the Necessity of Keeping a Land-Force in Times of Peace: with the Dangers that may follow on it, [London], Printed in the Year 1697, [2], 16pp., early marginalia, browning, disbound 4to (Wing S4642)Qty: (5)

Transylvania (Principality) - Apafi Miha?ly I (Sovereign 1661-1690). The Declaration of the Hungarian War, Lately set out by the most illustrious Michael Apafi, Prince of Transilvania, against the Emperour’s S. Majesty. According to the Transylvanian copy, anno 1682. To all kings, princes, and common-wealths, ... Michael Apafi, by the grace of God Prince of Transylvania, ... I do declare and testifie in sincere truth and unfeigned faith, London: Francis Smith, Sen., 1682, [4], 15, [1]pp. (including additional title page: Declaratio belli Hungarici), some toning, disbound folio, together with: France, The French Intrigues Discovered. With the Methods and Arts to Retrench the Potency of France by Land and Sea, and to Confine that Monarch within his Antient Dominions and Territories. Humbly submitted to the Consideration of the Princes and States of Europe, especially o England. Written in a Letter from a Person of Quality abroad, to his Correspondent here, London: R. Baldwin, 1681, [2], 31, [1]pp., initial blank present, light damp staining and some toning, disbound folio, Law, The Lawyers Demurrer, to the Addresses in Fashion. Or, the several Declarations and Orders of the Honourable Societies of the Middle-Temple, and Grays-Inn, lately made in Relation to that Affair, London: Richard Janeway, 1681, 2pp., single sheet, caption title, imprint to colophon, light toning, disbound folio, Nottingham Charters, The Case of the Burgesses of Nottingham, in reference to the Surrendring of their Charters, truly stated, August the 21st. 1682, London: Brabazon Aylmer, [1682], 4pp., caption title, imprint to colophon, folded and inner blank margin excised at foot, disbound folio, [Penn, William],The Great Question to be Considered by the King, and this approaching Parliament, briefly proposed, and modestly discussed: (To wit) How far Religion is concerned in Policy or Civil Government, and Policy in Religion? With an Essay rightly to distinguish these great interests, upon the Disquisition of which a sufficient Basis is proposed for the firm Settlement of these Nations, to the most probable satisfaction of the several Interests and Parties therein. By one who desires to give unto Cæsar the things that are Cæsars, and to God the things that are Gods, [London: s.n., 1679], 8pp., caption title, final leaf with letterpress signed at end 'Philo-britannicus' (i.e. William Penn), light damp staining, disbound folio, Charles II, Reflections upon the Conduct of the King of Great Britain in the late Wars. Contained in a Letter from a Subject of one of the Confederated Princes, to a Friend in Holland. Done into English, London: Printed for H.R., 1682, 4pp., caption title, imprint to colophon, light toning and minor damp stains, gutter margins slightly torn, disbound folioQty: (6)NOTES1. ESTC R16479; Wing A3526. 2. ESTC R9404; Wing F2185. 3. ESTC R17022; Wing L740. 4. ESTC R25331; Wing C1023E. 5. ESTC R7032; Wing P1300 & Sabin 59704. 6. ESTC R222084; Wing R727.

[Bragge, Francis]. Witchcraft Farther Display'd. Containing I. An Account of the Witchcraft practis'd by Jane Wenham of Walkerne, in Hertfordshire, since her Condemnation, upon the Bodies of Anne Thorn and Anne Street, and the deplorable Condition in which they still remain. II. An Answer to the most general Objections against the Being and Power of Witches: With some Remarks upon the Case of Jane Wenham in particular, and on Mr. Justice Powel's Procedure therein. To which are added, The Tryals of Florence Newton, a famous Irish Witch, at the Assizes held at Cork, Anno 1661; as also of two Witches at the Assizes held at Bury St. Edmonds in Suffolk, Anno 1664, before Sir Matthew Hale (then Lord Chief Baron of the Exchequer) who were found guilty and executed, 1st edition, London: Printed for E. Curll, 1712, 39 pp., publisher's list to final leaf verso, small burnhole to title, some light spotting and toning, top edge gilt, later morocco-backed boards, spine lettered in gilt (a little faded and rubbed at head), 8voQty: (1)NOTESESTC T68954. Very rare. Jane Wenham (d. 1730) was the last woman to be condemmed for witchcraft in England. After being accused of being a witch in the village of Walkern in Hertfordshire in 1712, she was tried before Sir John Powell (1645-1713) with sixteen witnesses appearing against her, the lawyers refusing any other charge than that of conversing with the devil in the form of a cat. Despite the leading of the judge (who when it was alleged she could fly stated that there was no law against flying) she was found guilty by the jury and sentenced to death. Powell succeeded in obtaining a pardon from the queen, however the case prompted a pamphlet war in 1712 between the clergy for the prosecution and Francis Bragge and others. The case led to the eventual repeal of the statute in the Witchcraft Act of 1735, which abolished witch-hunting and accusations of witchcraft.

Wesley (John). An Extract of the Revd. Mr. John Wesley's Journal, from Sept. 3, 1741 to October 27, 1743, Bristol: Printed by Felix Farley, 1749, bound with An Extract of the Reverend Mr. John Wesley's Journal, from October 27, 1743, to November 17, 1746, London: Printed by H. Cock, 1753, bound with An Extract from the Reverend Mr. John Wesley's Journal, from November 25, 1746, to July 20, 1750, London: Printed by H. Cock, 1754, title with last two numerals of date 1750 overwritten in brown ink to 49, errata leaf present detailing date correction, bound with An Extract from the Reverend Mr. John Wesley's Journal, from July 20, 1749 to October 30, 1751, London: Printed in the Year 1756, minor worm track to fore-margin of last few leaves, contemporary sheep, without spine labels, rubbed and worn, 12mo in 6s, together with: Ibid. An Extract of the Reverend Mr. John Wesley's Journal, from July xx, 1750, to October xxviii, 1754, London: Printed and sold at the Foundery, Upper Moorfields, by J. Robinson, Ludgate Street, and by T. James under the Royal Exchange, 1759, bound with An Extract of the Rev. Mr. John Wesley's Journal, from February 16, 1755, to June 16, 1758, Bristol: Printed by William Pine, 1761, bound with An Extract of the Rev. Mr. John Wesley's Journal, from June 17, 1758, to May 5, 1760, Bristol: Printed by William Pine, 1764, bound with An Extract of the Rev. Mr. John Wesley's Journal, from May 6, 1760, to Oct. 28, 1762, Bristol: Printed by William Pine, 1767, contemporary sheep, without spine labels, joints and spine split, worn, 12mo in 6s, Ibid. An Extract of the Rev. Mr. John Wesley's Journal, from his Embarking for Georgia, to his Return to London, 3rd edition, Bristol: Printed by William Pine, 1765, bound with An Extract of the Rev. Mr. John Wesley's Journal, from February 1, 1737-8, to his Return from Germany, 3rd edition, Bristol: Printed by William Pine, 1765, bound with Journal from Aug. 12, 1738, to Nov. 1, 1739 (without title), bound with An Extract of the Reverend Mr. John Wesley's Journal, from November 1, 1739 to September 3, 1741, London: Printed by W. Strahan, 1744, contemporary sheep, without spine labels, worn, 12mo in 6s, Ibid. Sermons on Several Occasions, Bristol: Printed by J. Grabham and W. Pine, 1760, contemporary calf, without spine label, upper board near detached, worn, 12mo in 6s, Ibid. Sermons on Several Occasions, 3 volumes, 2nd edition, London: Printed by W. Bowyer, [& Bristol: Printed by John Grabham & William Pine], 1754, half-title to volume 3, contemporary calf, few boards detached, volume 2 lacking upper board, worn, 12mo in 6sQty: (7)NOTESEach volume with the ownership ink stamp to front endpapers of Ann Bolton and some with ink date stamp of 1767 or 1768. Two volumes with her signature and dated 1768 or 1769. Each volume also with ownership (mostly in pencil) of John Bedford (of Lincoln) to front endpaper. Volume 2 of Sermons on Several Occasions with manuscript note in John Bedford's hand "These sermons contain sound doctrine, clear experience, and practical Godliness. Reader! dost thou desire to land safe on the Heavenly shore? - Then, attend to what thou mayest find in these invaluable discourses, & pray to God for his blessings. J.B." Ann ('Nancy') Bolton (1743-1822) was the eldest child of Edward Bolton, a Witney baker in Oxfordshire. She became a close friend and correspondent of John Wesley for nearly 30 years. Converted to Methodism at 19, she became a class leader in 1777 and kept a detailed spiritual journal. Wesley called her 'the sister of my choice' and 'the perfect pattern of womanhood'. He often stayed with her and her brother Edward. She was prone to ill health and Wesley offered with much spiritual and medical advice. He published over 20 of her letters in the Arminian Magazine and left her £100 in his will. Having been dissuaded by Wesley from an earlier marriage, in 1792 she married George Conibeere of Gloucester, who died in 1799. She died at Witney in 1822, being buried in the parish churchyard on 4 June. Her brother Edward Bolton (c.1747-1818) lived at Wood Green, Witney and Manor Farm, Finstock. A lifelong Methodist and local preacher, he accompanied Wesley on many of his journeys and was present at the 1771 Conference in Bristol which marked the formal division between Arminian and Calvinistic Methodism. John Bedford (1810-1879) was an English Wesleyan minister, the son of John and Elizabeth Bedford, of Wakefield, Yorkshire. He studied for several years in a solicitor's office, but was determined to become a minister of the Wesleyan Methodist Church, and was appointed in 1831. He married Maria Gledhill of Brighouse, in 1835 and had two sons. In 1860 Bedford was appointed by the Methodist conference secretary to the general chapel committee. Bedford was one of the foremost men in his denomination, and after being one of the secretaries of the conference for several years, was elected to the presidency of the Methodist assembly in 1867. He published several sermons and speeches, and also a controversial correspondence with the Rev. William Sutcliffe on the doctrine and system of the Wesleyan Methodists, which he very ably defended. He died at Chorlton-cum-Hardy, near Manchester, in 1879.

Parker (George, 2nd Earl of Macclesfield). Remarks upon the Solar and the Lunar Years, the cycle of 19 years, commonly called the Golden Number, the epact, and a method of finding the time of Easter, as it is now observed in most parts of Europe. Being part of a letter from the Right Honorable George Earl of Macclesfield, to Martin Folkes Esq; President of the Royal Society and by him communicated to the same, May 10. 1750, printed for Charles Davis, Printer to the Royal Society, 1751, title and 18 pages of text, with separate folding table at end, bound with: The Earl of Macclesfield's Speech in the House of Peers on Monday 18th Day of March 1750. At the Second Reading of the Bill for regulating the commencement of the year, &c., printed for Charles Davis, Printer to the Royal Society, 1751, 23 pages, including title, a few minor marks and some scattered spots, all edges gilt, contemporary calf gilt, heavily rubbed and with later reback, some wear and worming along upper joint, small 4toQty: (1)NOTESGeorge Parker, 2nd Earl of Macclesfield (circa 1695 or 1697-1764) was an MP and an enthusiastic astronomer who built an observatory on the family estate at Shirburn Castle, Oxfordshire in 1739. He was instrumental in persuading the British Government to institute the Gregorian Calendar Reform Acts of 1750-51, one element of which was the removal of eleven whole days from the calendar in September 1752, which was highly unpopular. The remarkable Macclesfield Library, numbering some 12000 volumes was sold by Sotheby's over a five-year period between 2004 and 2008 and required a printed catalogue in 12 volumes.

Fielding (Henry). A Clear State of the Case of Elizabeth Canning, who hath sworn that she was robbed and almost starved to death by a Gang of Gipsies and other Villains in January last, for which one Mary Squires now lies under Sentence of Death, 1st edition, London: A. Millar, 1753, initial five leaves with closed tear at gutter (title repaired to verso), final leaf detached and with few edge tears, some browning, disbound 8vo, contained in purpose-made book box with red morocco spine, together with a 2nd edition of the same title, contained in matching book box, Ibid., An Enquiry into the causes of the late Increase of Robbers, &c. with some Proposals for Remedying this Growing Evil..., London: A. Millar, 1751, small worm hole to initial leaves, puncture holes at gutter where previously sewn, modern marbled boards, 8vo, Southcott (Joanna), The Strange Effects of Faith; with Remarkable Prophecies, made in 1792, &c. of things which are to come: also, some account of my life, 4th edition, London: printed by W. Marchant, 1816, underscoring and occasional marginalia, modern cloth-backed boards, 8vo, Ibid., Letters, and Communications of Joanna Southcott, The Prophetess of Exeter: lately written to Jane Townley, Stourbridge: Printed by J. Heming, 1804, modern cloth-backed marbled boards, 8vo, Birkbeck (Morris), Letters from Illinois, London: Taylor & Hessey, 1818, six advert leaves at rear, original boards with modern reback, 8vo, plus other 18th & 19th century pamphlets etc.Qty: (18)NOTESOne of the many publications relating to the Canning case. Elizabeth Canning, a girl of eighteen, disappeared in January 1752, reappearing in a half-starved, diseased state a month later. She claimed to have been imprisoned by a gypsy, Mary Squires, and related her tale to the novelist Henry Fielding in his position as a Bow Street magistrate. Squires was tried at the Old Bailey and sentenced to death but the Lord Mayor, Sir Crisp Gascoyne, was suspicious and made investigations which resulted in Squires being proved innocent and pardoned. At this point many pamphlets appeared and London was divided between "Canningites" and "Egyptians". Canning was tried for perjury in 1754 and transported to America but never disclosed the full story of her disappearance.

Newgate Calendar. The Newgate Calendar; or Malefactors Bloody Register. Containing Genuine and Circumstantial Narratives of the Lives and Transactions, Various Exploits and Dying Speeches of the Most Notorious Criminals of Both Sexes, who suffered Death, and other Punishments, in Great Britain and Ireland, from the Year 1700, to the Present Time; for High Treason, Petty Treason, Murder, Sodomy, Piracy, Felony, Highway Robberies, Forgery, Rapes, Bigamy, Burglaries, Riots, etc., 5 volumes, 1st edition, London: for J. Cooke, [1773], 442; [2] 398; [2] 396; [2] 1-80 73-80 89-376 393-4 (text continuous); [2] 5-381 [11] pp., 50 engraved plates (complete as list), stab-holes visible in gutter of text, contemporary bookplates (earl's coronet with monogram 'G') to each volume, contemporary calf, twin morocco labels, a few areas of loss to spines and joints, volume 1 joint partially cracked, 8vo in half-sheets (20.4 x 12 cm)Qty: (5)NOTESESTC T188775; Lowndes (1864) II p. 1666. Rare first edition of the sensational compendium of instructive tales of crime and punishment now identified as a progenitor of the crime fiction genre and an important source for the social history of Georgian Britain. It was originally issued in 50 parts. ESTC traces six sets world-wide.

Hughes (T. and R.) The Wonderful Life and Remarkable Death of the Renowned John Faustus, D.D. Containing all his Acts of Necromancy, from the Time of his Compact with Lucifer to his Miserable End, at the Expiration of that Term. Newly translated from the original mss. London: Printed for T. and R. Hughes, at the Franklin Press, circa 1808, 40 pp., hand-coloured engraved frontispiece of Dr. Faustus raising the devil, published 1808 by T. & R. Hughes bound with Lemoine (Ann). The Life and Mysterious Transactions of Richard Morris, Esq. Better known by the name of Dick Spot, the Conjuror, particularly in Derbyshire and Shropshire. Written by an old aquaintance, who was a critical observer of all his actions, for near fifty years, 1st edition, London: Printed for Ann Lemoine, 1798, 47 pp., publisher's list to last leaf verso, engraved frontispiece 'Dick Spot causing the pedlar to break his earthenware', printed for & under the direction of T. Roe, July 3, 1798, traces of the original blue wrappers to frontispiece and last leaf verso margins, bound with Read (James). A Discourse on Witchcraft. Occasioned by a Bill now depending in Parliament, to repeal the Statute made in the first year of the Reign of King James I, intituled, An Act against Conjuration, Witchcraft, and dealing with evil and wicked spirits, 1st edition, London: Printed for J. Read, 1736, 47 pp., woodcut initials and head and tailpieces, together 3 works in 1 volume, light offsetting and a little minor spotting, manuscript shelf number to front endpapers, later half calf, spine titled 'Demonology' in gilt, spine and edges a little rubbed and faded, 8voQty: (1)NOTESESTC (for the second work) T89726 (for the second edition?); ESTC N6532 (for the third work). First and second works rare.

* Charles I (1600-1649). King of England, Scotland & Ireland,1625-49. A fine Document Signed, 'Charles R', as King, at the head, Palace of Westminster, 17 May 1634, manuscript document on vellum, being a warrant under the Royal sign manual and signet, addressed to Sir William Uvedale, knight, Treasurer of the king’s Chamber, to pay 8d a day for life to Thomas Flooyd, appointed one of the king’s trumpeters in ordinary in the place of John Smith, to be paid quarterly from the death of John Pendry, with an excellent impression of the king’s signet, applied en placard, authorised beneath by R[ichard] Kyrkham [as clerk of the signet], some light overall age wear and with three original corrections to the text where certain words and passages were neatly erased and replaced, lettering at end of lines at right margin now partly indistinct, 1 page, oblong folio (27 x 43cm)Qty: (1)NOTES‘… Whereas wee have appointed Thomas Flooyd to bee one of our Trumpetors in ordinary in the place of John Smith and have allowed him for his attendance in our service the wages of eight pence p[er] diem. These are therefore to will and command you out of our treasure remayning in yo[u]r custody from time to time to paie… the said Thomas Flooyd… the said wages of eight pence p[er] diem from the time of the death of John Pendry late one of our Trumpetors during the naturall life of him the said Thomas Flooyd att the foure usuall feastes or termes of the yeare. That is to saie, att the feast of the nativitie of St John Baptist St Michael Tharchangell the birth of our Lord God and Thannunciat[i]on of the blessed virgin Mary by even and equall port[i]ons… .’ Sir William Uvedale (1581-1652) of Wickham, Hampshire, was long-serving treasurer of the Chamber, holding that position 1618-42, and also being appointed treasurer-at-war when hostilities broke out with Scotland. Robert Kirkham (c.1580-1638) of Richmond, Surrey, was clerk of the signet from 1614 until his death. The present document is of interest in providing the names of three of King Charles I's musicians. References to the three trumpeters, Thomas Flood (Flooyd, Floid, Lloyd), John Pendre (Pendry, Pendrey, Pendree) and John Smith (senior and the younger), are to be found in Henry Cart de Lafontaine, The King's Musick: A Transcript of Records Relating to Music and Musicians (1460-1700), London: Novello, 1909: ‘John Pendry played at the funerals of Queen Anne in 1618 and of James I in 1625. He was appointed one of the king’s trumpeters in the place of Nicholas Transom in 1626, and in 1628 was among the musicians discharged from paying five parliamentary subsidies. The last recorded livery paid to him was at Michaelmas 1633; a warrant to swear Thomas Flooyd, appointed in his place, was passed on 1 May 1634 and one for his livery on 26 May 1634.’ ‘Thomas Flooyd was sworn as a trumpeter extraordinary on 16 March 1633 and as a trumpeter in ordinary in the place of John Pendry on 1 May 1634. A warrant for his livery passed on 26 May 1634. On half-wages, he was admitted to full pay on the death of William Smith on 10 March 1637. He was dead by 18 November 1638, when a warrant passed to swear Thomas Cresswell, trumpeter, in his place. John Smith, who may have been the son of a namesake who served as trumpeter, was appointed a trumpeter extraordinary on 17 March 1629, and as a trumpeter in ordinary on 27 March 1634; an order for his livery issued on 30 May 1634. On 7 June 1638 he and his man were given sea liveries, having been appointed to go to sea on the king’s great ship Sovereign. He remained in service in 1642.’

* Cromwell (Oliver, 1599-1658). English General and Statesman, Lord Protector of the Commonwealth of England, Scotland and Ireland, 1653-58. Document Signed, ‘O. Cromwell’, as Lord Lieutenant General of Ireland and Captain General of all the Land Forces of the Parliament of the Commonwealth of England, no place, 30 June 1651, manuscript military commission on vellum, appointing Richard Johnson an ensign in the Company of Foote commanded by Colonel Richard Ingoldsby, written in an italic hand and boldly signed at the foot, small red wax seal on paper wafer in upper left corner, scattered minor spots, 1 page, oblong folio (20 x 29cm)Qty: (1)NOTESColonel Sir Richard Ingoldsby (1617-1685) was an English officer in the New Model Army during the English Civil War and a politician who sat in the House of Commons variously between 1647 and 1685. As a Commissioner (Judge) at the trial of King Charles I, he signed the king's death warrant but was one of the few regicides to be pardoned. In May 1651 Ingoldsby's regiment left Oxford and joined the army which fought at the Battle of Worcester, the last battle of the English Civil War.

* Du Maurier (Daphne, 1907-1989). English Author and Playwright. A lengthy wartime autograph letter signed, 'Daphne du Maurier', 25 October 1942, to a prisoner of war, Sargeant Tony Arnold RAF, a 'fan' who had written to her from Stalag Luft III [later the scene of the Great Escape (1944)], the novelist giving family news, news of her own life at this time, and particularly her literary endeavours, '... I am very busy on a new one [novel], an immensely long novel this time, twice the length of Frenchman's Creek ... and will be called "Hungry Hill" ... My play of "Rebecca" has been running for some time, but came off this last week. There was a film of it, very good ... They are supposed to be doing a film of "Frenchman's Creek" sometime, but I have no idea who they will get to do it. I would have liked Laurence Olivier and Vivian (sic) Leigh, but I believe neither are available. Anyway, it will be done in Hollywood I suppose, so I shall have no say in the matter...', wondering what they might do after the war and referring to her children, written in dark blue ink on 5 sheets, each with a German sensor stamp 'Geprüft 25', slight browning to final page away from signature, 10 pages, 8vo, accompanied by the original envelope, spotted in brown and with German sensor stampQty: (1)NOTESA remarkable letter in response to a fan who had written to her from Stalag Luft III. There seems little known of Tony Arnold, and he does not appear to have been involved in any way in the Great Escape. The film of Frenchman's Creek was directed by Mitchell Leisen and starred Joan Fonteyne with Arturo de Cordova and Basil Rathbone.

* Dudley (John, 1504-1553). 1st Duke of Northumberland. A rare Letter Signed, 'John Lisle', as Viscount Lisle, Alnwick Castle, 6 March, c.1542-47, to Michael Stanhope, writing to reprimand his correspondent for mishandling the King’s business in Hull, in particular for having paid out sums which were already paid, including the charges of the ships pressed into His Majesty’s service at Hull, and providing instructions in order to rectify the mistakes and informing Stanhope that the ships he has sent are to be discharged, ‘Albeit by reason of yll weyther, they have byn so long uppon the Sees that moche of yt, ys spilt and lytell worthe wherin the kinges mat[jest]ie shalbe a gret loser’, 2 pages with integral address leaf (very slight traces of the seal and with two small areas of paper loss, neatly repaired), some dust-soiling and light overall age wear, neat split to the central vertical fold, not affecting the text or signature, folio (30 x 20cm)Qty: (1)NOTESProvenance: The Spiro Family Collection, Part I, Christie’s London, King Street, 3 December 2003 (Lot 21, £2,390). A rare signed letter from John Dudley, English general, admiral and politician, and de facto ruler of England who led the government of the young King Edward VI from 1550-53. Sir Michael Stanhope (c.1508-1552) English courtier, Master of the Kings Harriers (1548) and Gentleman of the Privy Chamber (1549). Brother-in-law of Edward Seymour, Duke of Somerset and Lord Protector to the young King Edward VI. Stanhope was beheaded on Tower Hill on 26 February 1552 after he was convicted of conspiring to take the life of John Dudley and others.

Edward VIII (1894-1972). King of the United Kingdom January – December 1936. A visitors' book, seemingly associated with the Training Ship Exmouth, containing over 200 signatures by various individuals, many of them associated with the Royal Navy, dating from July 1926 to February 1943, including Edward, Prince of Wales (the first signatory, from a Prize-giving Day on 6th July 1926), Sir William Goodenough (1867-1945, Admiral of World War I), Viscount Doneraile (1866-1941), Binnie Hale (1899-1984, Actress), Sasha (1892-1953, Alexander Stewart; Photographer), William Bridgeman (1864-1935, 1st Viscount Bridgeman, First Lord of the Admiralty 1924-29), Eric Fullerton (1878-1962, Admiral), Sir Sidney Meyrick (1879-1973, Admiral), Sydney Chaplin (1885-1965, Actor, the elder half-brother of Charles Chaplin. Sydney Chaplin had previously served on the T S Exmouth), Aubrey Chaplin (first cousin of Charles Chaplin), Mrs. L. E. Chaplin (presumably the wife of Aubrey), Princess Vera Constantinova of Russia (1906-2001, Great-granddaughter of Tsar Nicholas I and a childhood playmate of the younger children of Tsar Nicholas II), Princess Xenia Shakhovsky (1902-1981, Wife of Count Mikhail Tolstoy-Miloslavsky from 1922-36), George Riddell (1865-1934, 1st Baron Riddell, Solicitor and newspaper proprietor who represented the British press barons at the Paris Peace Conference at the end of World War I), Sir John Kelly (1871-1936, Admiral of the Fleet; two signatures), Sir Algernon Willis (1889-1976, Admiral of the Fleet who saw action at the Battle of Jutland; nine signatures), Thomas Goff (1867-1949, Politician, great-grandson of King William IV), Henry Parker (Vice Admiral, Admiral Commanding Reserves 1931-33), Masa Matsudaira (daughter of Tsuneo Matsudaira (1877-1949) Japanese diplomat, Ambassador to Britain 1929-35; Masa’s sister, Setsuko, became Princess Chichibu and sister-in-law of Hirohito), Sir Dudley Pound (1877-1943, Admiral of the Fleet), Herbert Disney Vaughan-Hughes (1893-1962, Fleet Navigating Officer, Home Fleet, 1932) and many others including a number of signatures of Margaret Kerr, wife of Ralph Kerr (1891-1941, Captain, died whilst in command of HMS Hood when it was sunk during the Battle of the Denmark Strait in 1941), their daughter Jane and son, Russell, a tank commander who was killed while fighting in Burma in 1945, a few leaves loose, all edges gilt, original morocco, slightly rubbed, oblong small folio (18 x 23cm)Qty: (1)

* Elizabeth II (1926-). Queen of the United Kingdom 1952- . Document Signed, 'Elizabeth R', as Queen, no date, circa 1977, a pre-printed document with typewritten insertions, signet en placard upper left and blue ink signature upper right, being a pardon to Jean Moyo who had been convicted on 17 February 1977 'of unlawfully causing a vehicle to wait in a restricted street during the prescribed hours contrary to Article 5, the City of Westminster (Waiting and Loading Restriction) Order 1976...' and was awarded to pay a fine of £10, the pardon also remitting her the fine imposed, some light creases, one page, folio (33 x 20 cm), framed and glazedQty: (1)NOTESUnexamined out of frame where printed text to verso is indistinctly visible.

* George V (1865-1936). King of the United Kingdom 1910-36. Document Signed, ‘George R.I.’, as King, at the head, Court of Saint James, 6 March 1920, printed document on paper, completed in manuscript and concerning discussions with the President of Bolivia ‘regarding false indications of origins on goods’, and appointing Godfrey Digby Napier Haggard to enter into any treaty, convention or agreement with the President of Bolivia or his ministers 'that may tend to the attainment of the above-mentioned end’, with embossed red seal affixed lower right corner, small strip (12 x 3cm) clipped from lower blank left corner, two small spots at head and foot, 1 page, large oblong folio (41 x 49cm)Qty: (1)NOTESSir Godfrey Digby Napier Haggard (1884-1969) British Diplomat who had been appointed as Charge d'Affaires in Bolivia in 1918, and served as Consul General in Cuba, Haiti and Brazil before ending his career as Consul General in New York (1938-44). A document of unusual content.

* [Great Train Robbery]. Charlie Wilson (1932-1990). English criminal, a member of the Great Train Robbery gang, of which he was the treasurer. A series of 4 Autograph Letters Signed, 'Chas', H.M. Prison Long Lartin, Evesham, 1975-78, all to Paul Schofield and his family, Wilson writes on a variety of subjects, occasionally in a flirtatious manner, and with numerous grammatical errors, in part, ‘I’m very lucky with my inlaws, their smashing! They’re always round my house seeing that my Pat and the girls are alright, and won’t hear nothing bad said about me, so that carn’t be bad, eh?...You said that you’d all like to pop down and see me, but there is one little snag at the moment, its this. I’m a category “A” man, this means that people who wish to come and visit me have to submit photographs and be checked out by the police… As you alreaddy know, Roy [James, a fellow Great Train Robbery gang member] is the only one here with me… if he gets parole he will be the first 30 year man home, and that of course will start the ball rolling, so keep your fingers crossed, eh? … I had a mate of mine who was going to bring Julie Ege up to see me two and a half years ago, he sent a photograph with him and her on it up with my wife and told my Pat to tell me, she told him to leave off, as she has enough trouble with me alreaddy, ha ha’ (6th June 1975), ‘With Roy getting parole it sure did cheer up my family, they were all delighted with the news, but when he went round to see them the day he was out, that was a real booster, my Pat had a little cry…..Roy pops round every week, he was round two weeks ago when he had just collected his driving helmet…..Did you see the article in the daily mirror this week? he’s sitting in a racing car with all of his gear on… Yes you are right about Buster [Edwards, a fellow Great Train Robbery gang member], but I think that things will turn out alright for him in the end. But I carn’t see why he did what he did, stupid wasn’t it? I believe strongly! that at least two more of the T.Rs will be home for christmas or soon after… we’ve had some good comments made by top people, stating that we should get parole, theres nobody than can say our sentences are right, when they are compaired with the Birmingham bomb people’ (13th September 1975), ‘Well, sorry I’ve got to tell you that I wasn’t successful in getting parole in May. But I have submitted a petition to the home office requesting an early review. I will get all the help possible from this prison and I have had somebody who holds a high position! ready to add weight to my cause’ (28th June 1977), ‘I have got parole, the date is December 18th, its still a little way away but at least I know when my sentence ends. I have applied for the hostel and have now in fact been granted it…..I am hoping to get the “Scrubs” but my friend Bruce Reynolds has also got his parole and hostel and starts at the Scrubs in a week or so’ (25th May 1978), a total of 14 pages on official prison stationery, 8vo, accompanied by the original envelopes, plus a long autograph note signed, 'Chas', written to the inside of a folding season's greetings card (featuring a reproduction of an illustration by Wilson to the front), no place, no date, to Paul Schofield and his family, again referring to other members of the Great Train Robbery gang receiving their parole, and a colour photograph of Wilson contained in a presentation card folder, the inside cover signed and inscribed by WilsonQty: (6)NOTESWilson served 10 years for his part in the Great Train Robbery, and was the last of the gang to emerge from prison, in 1978. He was killed by a hitman on his doorstep in 1990 whilst living in Marbella, Spain.

* Greece and the Anglo-French Entente. An important autograph letter signed from Lord Aberdeen (George Hamilton-Gordon, 4th Earl of Aberdeen), Foreign Office, 14 December 1843, marked 'Private' and addressed to Francois Guizot (French minister of foreign affairs, and later prime minister of France), '... I write to you at once, in order that no delay may take place in regulating the movements of Prince Wallerstein. I regard the question of his going to Athens at this time, very much as you do; but with rather a stronger inclination in favour of his undertaking the journey. The objections are obvious, and there can be no doubt that his appearance, or that of any Bavarian, in the country, will be very unwelcome, and may give rise to suspicion ... at all events, the knowledge we possess of the character of King Otto, and of his uncertain, wavering, and unsteady conduct, render it highly desirable that some person of weight and authority should be at his side, in order to give him advice, and to confirm him in his good resolutions... ', continuing with further thoughts about the benefits and drawbacks of Prince Wallerstein's visit to Athens before concluding that he will leave it to Guizot's 'better reflection and judgement', before concluding 'I would request you to recollect that if France and England, and friends of Constitutional Government in Greece, fail to make such a constitution as King Otto will accept, we give a signal triumph to Russia, and to those powers who view all our proceedings of this kind with an evil eye. We know not what advice the King may receive at the last moment, which may require to be counteracted by all the authority of his father's representative', 4 pp., light browning and a few minor marginal splits, 4toQty: (1)NOTESThis letter represents the beginning of the Entente Cordiale in practice, as Aberdeen and Guizot established a combined policy concerning the framing and adoption of the new Greek constitution of 1843-44, and need to avoid giving Russia an advantage in the region, the precariousness of the position of King Otto following the Greek revolution of 1843, and the sending of Prince Wallerstein as an emissary to aid Otto in constitutional matters.

* Henry VIII (1491-1547). King of England and Ireland, 1509-1547. A fine early Document Signed, 'Henry R', as King of England, at the manor of Greenwich, 30 June 'thyrd year of our reign' [1511], manuscript document on vellum, being a warrant under the Royal sign manual and signet, to Andrew Windsor [‘Wyndesore’], keeper of the great wardrobe, ‘to deliver two dozen lyams [leashes] and collars for hounds, six chains to tie hounds and 40 ells [in England one ell would have been 45 ins [or 1.143 m] of canvas to cover a cart for carriage of the king’s hounds, to Thomas Carmynow, gentleman usher of the king’s chamber, William Rolt, yeoman of the chamber, or the bearer of the warrant’, traces of the king’s signet can be seen at the foot, 1 page, slightly irregular shape, approximately 102 x 255mmQty: (1)NOTESAndrew Windsor (c.1467-1543) of Stanwell, Middlesex, succeeded to the office of Keeper of the Great Wardrobe in 1506, during the reign of Henry VII, retaining that position under Henry VIII, until his death. For a good account of Windsor see History of Parliament Online: ‘… As keeper of the wardrobe [Windsor] was concerned with all the ceremonies of state, at several of which his attendance is recorded. He witnessed the marriage of Princess Mary to Louis XII in 1514, signed the peace and marriage treaties with France in 1518, and two years later accompanied the King to the Field of Cloth of Gold. On 1 Sept. 1524 he was at Blackheath to greet the papal envoy, who was bearing Henry VIII the gift of a sacred rose.’ ‘Thomas Carminow was of Respryn in Cornwall and the Middle Temple. He married Elizabeth Cheesman; two of their sons, John and Nicholas, sat as MPs for Cornish constituencies. He was already gentleman usher of the privy chamber by 1509 (Letters and Papers 1 82). Thomas made his will on 16 February 1528, requesting burial in the Greyfriars church at Bodmin before the alter of John Carminow, and bequeathed all his tinworks in Cornwall to his wife. He died between 12 June 1528, when he wrote a codicil to his will, and 15 May 1529 when it was proved.’ [TNA PROB 11/23/53]. ‘William Rolte was appointed to the next vacancy as a sergeant-at-arms in November 1511 ‘in consideration of the daily service done unto us’ [TNA E101/417/7 m128]. IN 1521 he was a ranger of Waltham Forest, bailiff of Topsham and Cullompton in Devon and keeper of the park of Cullompton; to trace, but can probably be identified with the individual of that name, referred to as a serjeant-at-arms, who received crown grants of the Essex manors of Chigwell and Westhatch in 1537 and 1538. His will of 19 September 1541, in which he describes himself as of Chigwell, ‘serjeant-at-arms unto our said sovereign lord [the king]’, was proved on 10 November 1541.’ [TNA PROB 11/28/286]. A group entry for Henry VIII’s privy chamber is to be found in ODNB, and begins: ‘Henry VIII, privy chamber of (act. 1509–1547), body of personal servants to the king, was an institution whose importance has only recently been fully appreciated. Developments at the royal court from the mid-fifteenth century put in place new living arrangements for the king—a private suite known (from its most important room) as ‘the privy chamber’. In turn this led by the end of the first decade of the reign of Henry VIII to the appearance of a new category of gentle-born courtiers who alone attended the sovereign there and provided the social milieu in which he spent much of his time when away from the public eye. The benefits of belonging to the privy chamber circle meant that there was a constant pressure for growth in numbers; the ten of 1526 had more than doubled by the time of the king's death on 28 January 1547.’ Henry VIII kept lots of animals including canaries, nightingales and ferrets, but his ‘favourite pets were his dogs, especially beagles, spaniels and greyhounds; the latter were considered a particularly noble breed. Over the years the King sent hundreds of such dogs, all 'garnished with a good iron collar', as gifts to the Emperor and the King of France. Henry’s own dogs wore decorative collars of velvet – only permitted to royal dogs – and kid, with or without torettes (spikes) of silver and gold; some were adorned with pearls all the King’s arms and his portcullis and rose badges; his dogs coats’ were of white silk, and they had their fur regularly rubbed down with 'hair cloth'. Sixty-five dog leashes were found in Henry's closet after his death. Pets dogs were fed bread, not meat, to discourage them from developing hunting instincts. Two of Henry’s dogs, Cut and Ball, were prone to getting lost, and he paid out the huge sum of nearly 15s. (about £225 today) in rewards to those who brought them back.’ Alison Weir, Henry VIII: King and Court, Random House, 2001, p. 31.

* Hyde (Edward, 1st earl of Clarendon, 1609-1674). English Statesman, Diplomat and Historian. The humble partition and adresse of Edward Earle of Clarendon, 1667, contemporary manuscript fair copy in Secretary hand, Hyde defending himself to parliament against the charges for which, in due course, he would be impeached, attainted and banished, the text beginning 'I cannot express the insupportable trouble & griefe of minde, I sustain under the apprehension of being misrepresented to your Lordshippes...', and ending '... when his majesties Justice to which I shall alwayes submitt myselfe may not be obstructed or Controuled by the Power & malice of those who have sworne by destruction, Clarendon', 5 pages on two bi-folia with docketed cover and blank 2nd and 8th pages, some slight browning and old damp staining, first (blank) leaf partly soiled and frayed with one long closed tear, folioQty: (1)NOTESAn impeachment was first presented to the House of Lords on 12 November 1667. Clarendon's ensuing flight to Calais on 29 November was seen as proof of his guilt and the Articles of Treason were exhibited in Parliament against Clarendon on 14 November 1667. Clarendon attempted to defend himself and procure the right to return with his 'Humble Partition and Address' of 3 December 1667. It was reprinted widely, sometimes as 'news from Dunkirk House: or, Claredon's Farewell to England Dec. 3 1667'.

* James II (1633-1701). King of England, Scotland and Ireland. Document Signed, 'James R', as King, at head, Whitehall, 2 August 1685, manuscript document on vellum, commissioning John Webb as a cornet 'of that Troop whereof Colonell Alexander Canan is Captain, in Our Royall Consort the Queen's Regiment of Dragoons commanded by Our Right Trusty and Right Entirely Beloved Cousin Charles [Seymour] Duke of Somersett', countersigned by Robert Spencer, second Earl of Sunderland (1641-1702) as Secretary of State, and in the margin by William Blathwayt (bap. 1650, d. 1717), as Secretary at War, traces of the king's signet, minor soiling, 1 page, oblong folio (26 x 35.5cm)Qty: (1)NOTESSigned in the first year of James II's brief reign. John Richmond Webb (1667–1724), army officer, was born at Rodbourne Cheney, Wiltshire, the son of Colonel Edmund Richmond alias Webb (c.1639–1705) and his first wife, Jane (1649–1669). 'Webb commented that he had served in the army since the age of sixteen. This would place his entry into military service during the last few days of 1683 or in 1684 and clearly differentiates him from a John Webb who had served in Virginia before being promoted to lieutenant in the first guards under Marlborough in the Low Countries in 1691. On 2 August 1685 he received a commission as cornet in the Queen's regiment of dragoon guards (later, the 3rd hussars)...' (ODNB). Alexander Cannon (1640-after 1708), was a Scottish professional soldier serving in the armies of William of Orange and James II. Cannon (or Cannan) remained loyal to James at the 1688 Glorious Revolution, accompanied him into exile and was appointed Major-General of Jacobite forces in Scotland after the death of Viscount Dundee in 1689. Charles Seymour, 6th duke of Somerset (1662–1748), politician and courtier, known as the Proud Duke. Somerset was named by James II as a gentleman of the bedchamber in May 1685 and colonel of the Queen's regiment of dragoons in August. As lord lieutenant of Somerset he also took part in the suppression of the duke of Monmouth's rising that year.

* Mao Zedong (1893-1976). Chairman of the Communist Party of China 1943-76 and Chairman of the People's Republic of China 1954-59. An exceedingly rare vintage blue ink signature, [1960], in Chinese characters, inscribed to the verso of a printed invitation to a Buffet Party hosted by the China-Latin America Friendship Association at the Xinqiao Hotel, [Peking], on Thursday, 27 October 1960 at 6.30pm, 'in order to kindly see off the cultural friendship delegations of Latin American countries', the Chinese text printed in red on off-white paper, some very light overall soiling to both sides, barely affecting the signature, oblong 8vo (17 x 11cm)Qty: (1)NOTESFollowing the end of World War II, the Communist movement was flourishing in Latin America and in 1947 Mao Zedong was prompted to remark that 'the Latin American peoples are not the obedient slaves of United States Imperialism'. Chairman Mao and the Chinese communists' goal was the defeat of United States Imperialism and Latin America was regarded as vital to attaining this goal as, because of its geographical location, it supported Mao Zedong's theory of the establishment of rural revolutionary base areas. Chinese interest and activities in Latin America increased sharply in the early 1950s (there were believed to be 250,000 card carrying communists active in the area) and the countries were of considerable interest to the Chinese and viewed as a fertile ground for advancing Communism, not least Red China's own brand of the ideology. The China-Latin America Friendship Association was established in Peking (Beijing) in March 1960 and became the general fortress of cultural infiltration into Latin America. The American diplomat Roy R. Rubottom Jr., who served as Assistant Secretary of State for Inter-American Affairs (1957-60), noted that, in 1960, Mao Zedong appeared to have 'gone out of his way' to receive Latin American Communist leaders and to exhort them to give their full backing to the kind of revolution he favoured. The present signature, also dating from 1960, was undoubtedly obtained during the Buffet Party which Mao Zedong attended in honour of Latin American communists. A nice example of one of the rarest and most sought after autographs of all major political leaders and cultural icons of the twentieth century. A PSA/DNA letter of authenticity certificate is included with this lot.

* Wolsey (Thomas, 1470/71-1530). English archbishop, statesman and cardinal of the Catholic Church. Lord High Chancellor of England 1515-29. A very fine manuscript Document Signed, ‘Thomas Wulcy’, Richemount [Richmond], 25 November [1513], boldly penned in black ink in a secretarial hand on laid paper, being a Privy Council Warrant ordering [John Dauntesey] ‘Daunce’ to make payments in Flanders to Richard Fermour and William Brown, merchants of the Staple at Calais, of £1000 to be paid to William Copland for the purchase of ‘artillerye and other habilymentes of Warre’ and a further £1000 to be paid to Alan Kyng ‘for provision of Wyne for the kynges use’, a holograph receipt by Fermour and Brown (per me Rychard Fermer; per me Wyll[ia]m Browne junior) on the lower half of the document, dated 6 December 1513, Wolsey’s signature appears at the centre of the document alongside those of Thomas Howard, 2nd Duke of Norfolk (1443-1524, English soldier and statesman, Lord High Treasurer 1501-22, Earl Marshal 1509-24; signed ‘T. Norfolk’), Charles Somerset, 1st Earl of Worcester (c.1460-1526, Lord Chamberlain 1509-26; signed ‘C. Som[m]ersete’), Richard Foxe (1447/88-1528, Bishop of Winchester 1501-28, Lord Privy Seal 1487-1516, the founder of Corpus Christi College, Oxford; signed ‘Ri Wynton’) and Sir Thomas Lovell (c. 1449-1524, English soldier and administrator, Speaker of the House of Commons and Treasurer of the royal household; signed ‘Thomas Lovell’), filing hole touching one letter in second line, incorrectly dated at the head of the document in a hand of c.1800, some light browning and overall age wear, one short split to left upper margin not touching text,1 page, 4to (210 x 180mm), endorsed: ex[aminat]ur p[er] Dalison (examined by Dalison) [George Dalison, Auditor of the Exchequer]Qty: (1)NOTESProvenance: collection of Sir Joseph Dimsdale – ‘D’ (blind-stamp monogram collector’s mark with crest above to lower margin; not located in Lugt); subsequently part of the Ray Rawlins Collection of Historical Documents and Letters. The present document is illustrated in full in The Guinness Book of World Autographs by Rawlins (1977, p. 241). The document was included in the auction of the Rawlins Collection by Sotheby’s, June 1980 (Lot 67, £1,300, Thomas) and the small circular stamp of the Rawlins collection has been neatly removed from the lower left corner leaving a light, minor stain. Docketed in Rawlins’ hand in pencil to the verso as formerly part of the collection of Sir Joseph Dimsdale; XII 265; Alan G. Thomas (1911-1992) bookseller; Sotheby’s, London, 13 December 1993 (Lot 306, £2,000); International Autograph Auctions Ltd., 3 April 2011 (Lot 609, £5,600). In pencil, at top, c1850: Pl 2 No 1 implying illustration as Plate 2, number 1. The same hand has annotated the signatures of the privy councillors 1-5, and the same hand has written lines at right-angles below them, suggesting that the lower half of the document was not illustrated. Above the box formed by these lines is a short inscription of which only the words Thereabouts to be … can be made out. The left and bottom margins have been trimmed – note the straight cuts, the tightness of the trace of the circular stamp to the margin and the loss of a word in the left margin. Sir John Dauntsey (Daunce) (c.1484-1545) of Thame, Oxfordshire and London, rose from humble origins to the highest offices in King Henry VIII’s financial administration by way of the London company of Goldsmiths. ‘Richard Fermor (1480/84-1551) of Isham and Easton Neston, Northamptonshire and London, merchant of the Staple of Calais, merchant. Fermor was given a share in the contract for victualling the royal army during the Tournai campaign of 1513, and he exported large quantities of wheat, flour, beer barrels, cannonballs, harness, and saltpetre. As a reward he was given licences to export wool direct to Italy. … In 1524 Fermor was in Florence and gave financial assistance there to John Clerk, Wolsey's agent, who was negotiating for the cardinal's election to the papacy. At the time of his fall (1529), Wolsey owed Fermor £125 for various silks.’ For both Dauntsey and Fermor see History of Parliament Online for fuller details. George Dalison of Clothall in Hertfordshire, Cransley in Northamptonshire and Gray’s Inn, c.1480-1524. Gave 40 marks (£26 13s 4d) for the Auditorship of the Exchequer in 1507, and served in that office to 1521. Wolsey’s ability to keep a large number of troops supplied and equipped for the duration of the Anglo-French War (1512-14) was a major factor in its success. Wolsey also had a key role in negotiating the Anglo-French treaty of 1514, which secured a temporary peace between the two nations. Under this treaty the French king, Louis XII, would marry Henry VIII’s young sister, Mary. In addition, England was able to keep the captured city of Tournai and to secure an increase in the annual pension paid by France. The present document dates from the beginning of the power struggle between Wolsey and his co-signatory the Duke of Norfolk, who had fought for King Richard III at the Battle of Bosworth (1485), and made an important contribution, as Earl Marshal, to the coronation of King Henry VIII. Norfolk challenged Wolsey in an attempt to become the new king’s first minister, although eventually accepted the cardinal’s supremacy. Two months before signing the present document Norfolk had been instrumental in crushing James IV’s forces at Flodden, 9 September 1513. His signature, T Norfolk, is anomalous since his father’s dukedom was not restored to him until 1 February 1514. It was also at the time of signing this document that Wolsey was given a significant opportunity to demonstrate his talents in the foreign policy arena. The war against France had begun in 1512 and, although the first campaign was not a success, Wolsey learned from his mistakes and in 1513, with Papal support, a joint attack on France was launched. Thomas Lovell, one of the privy councillors who signed the warrant, supervised the procurement of artillery and the fortification of Calais between 1511 and 1514 (ODNB). A handsome document of exceptional rarity.

* Anne (Queen of Great Britain, 1665-1714). Manuscript Order issued by the Privy Council on behalf of Queen Anne regarding Scottish & catholic Oath of Allegiance to the Crown, 18th January, 1704 (i.e. 1705), single sheet written to one side in neat secretarial hand (approximately 350 words), with the signatures of each of the 8 members of the Privy Council including Charles Seymour, Duke of Somerset (as Somerset); John Sheffield, Duke of Buckingham (as Buckingham C.P.S.); Sidney Godolphin (as Godolphin); Montagu Venables-Bertie, Earl of Abingdon (as Abingdon); Henry Grey, Duke of Kent (as Kent); Thomas Mansel (as T. Mansel); Sir Charles Hedges (as C. Hedges); and Col. John Granville (as Granville), with the addressee of the instruction being Thomas Herbert, 8th Earl of Pembroke, Lord Lieutenant of Wiltshire, light toning, few old folds, damp stain and fraying to right hand, laid down on album leaf, folio (35.5 x 23.5 cm)Qty: (1)NOTESThis written instruction from the Privy Council of Queen Anne is addressed to Thomas Herbert, Lord Lieutenant of Wilts and Monmouth, who at this time (1704/05) was the 8th Earl of Pembroke and also Lord President of the Council. The date of the Privy Council instruction, 18th January 1704 coincides with the passing into English law of the Alien Act. The manuscript reads: "After our very hearty commendations to your Lordsp. Her Maty. having received an Address from the Lords Spirituall and Temporall in Parliamt. Assembled, setting forth that their Lordps. having taken into consideration, divers Acts of Parliamt. lately passed in Scotland, and the dangerous and pernicious effects that are likely to follow from thence, humbly offer their opinion, that in this present juncture of affairs, the laws against papists and persons refusing or neglecting to take the Oaths to her Majesty be effectually put in execution, we do therefore in her Maties. name and by her express command, pursuant to their Lordps. advice in the said Address, hereby pray and require yor. Lordp. forthwith to give the necessary directions to the proper Officers of the Militia - effectually to put the laws in execution against all papists and reputed papists, and all persons within yor. Lieutenancys refusing or neglecting to take the Oaths to her Majty. in respect to their Armes and Horses, by - seizing the said Armes with the assistance of a Constable, and the Horses in the presence of a Deputy Lieutent. or a Justice of the Peace, or a Commission Officer of the Militia, not under the Degree of a Lieutenant. And that yor. Lordp. do appoint 3 or more of your Deputy Lieutens. to dispose of all such Horses either by restoring them to the owners, if they shall conceive them to be unduly siez'd, or otherwise, as your Lordp. shall find best for her Maties. service, according to the Act of Parliamt. in that behalf. And of yor. Lorps. proceedings in the execution of these her Maties. commands you are to return an account to be laid before her Maty. at this Board without delay, to the end it may appear to her Maty. what persons have done their Duty. And so not doubting of yor. Lordps. particular care herein, we bid yor. Lordp. very heartily farewell from the Councill Chamber at St James's this 18th day of January 1704. Yor. Lordps. very loving Friends ...".

* Yorkshire Deed – Knyvett Family. Conveyance (bargain and sale) for £133 6s 8d, 24 April 1544, Anthony Knyvet, knight, and his wife Avice to John Alen the younger, citizen and mercer of London, the manor of Little Kelk (Litle Kelle) with messuages, lands, tenements, leasows, meadows, pastures, woods, underwoods, commons, mills, waters, marshes, fishings, rents, reversions and services, knights’ fees, wards, marriages and reliefs in Yorkshire, granted to Sir Anthony by the Crown by letters patent dated at Hampton Court, 9 January 1541, vellum deed with two red wax seals appended, signed by me Antony Knyvett, 27 x 42cm, framed and glazedQty: (1)NOTESThe manor of Little Kelk lies in Foston on the Wolds, 8 miles south-west of Bridlington in the East Riding of Yorkshire. Records of the manor survive between 1323 and 1914. In 1322 the manor belonged to Bridlington Priory, which was forfeited to the Crown following the attainder of the last prior, William Wood, for participation in the Pilgrimage of Grace, for which he was executed (VCH Yorkshire 3 (1974) 199-205). An account covering 22 April 1536 – 21 April 1538 survives as TNA E 315/283/4. The transaction recorded by this bargain and sale was confirmed in Trinity Term 1544 by final concord, which describes the property as the manor, 12 messuages, 2 mills called walk mills and land in Little Kelk. The patent granting the manor to Knyvett, as Anthony Knyvett esquire, survives as East Riding Archives DDSC/32, and a copy of this document as zDDX852/7. Anthony Knyvett was a courtier, having served as a gentleman usher or waiter in the Privy Chamber from at least 1516. He served as Black Rod of Windsor Castle, 1536-1543, a JP in Kent, 1539-1542, was appointed Knight Porter of Calais on 11 April 1541, was superintending the defences of Portsmouth in 1544, and retired as Lieutenant of the Tower of London, with a pension of £100, in September 1546. His will, naming him one of the gentleman waiters of the king’s privy chamber, 21 June 1548, was proved in PCC by his widow and sole executrix Lady Avice on 6 July 1549 (TNA PROB 11/32/266). She was the daughter of Henry Mortelman of All Hallows Barking, and the widow of Nicholas Gibson, Prime Warden of the Grocers’ Company 1536-37 and a sheriff of London 1538-39, who died in 1540. She founded the Coopers’ Company school in Ratcliff Highway, and portraits of Sir Anthony and Lady Knyvett were to be seen at Coopers Hall in 1936. She died on 3 October 1554.

* Recussancy & Bowls. Examination of an individual before a Recusancy session, circa 1630, single sheet with two pages of manuscript, recording an examination of someone before a Recusancy session (Recusancy was the secret practise of the outlawed Roman Catholic religion, commonly called papists), mention is made later in the text of the presence of Sir Thomas Tilsey, Sir G. Ellis, Sir H. Slingsby (1602-58), Royalist as councell at the session, mention is also made in passing to the playing of bowls (lines 4 & 21), light dust-soiling, old horizontal folds, few short closed tears and fraying to edges, folio (29.5 x 19 cm)Qty: (1)NOTESTranscript of first 21 lines containing mention of bowls playing, "The passage before the L.P. was this. H.A. having occasion to goe unto some grounde he had upon the ninteinth of August last within the Lordship of Preston in Hoderness and his way lyinge thereon a pasture ground wherein their is a bowlinge green and understandinge that C.H. was their he went a little foorth of his way to salute him who tolde him he would goe homeward with him after he had bould a rubber or two which would take him some two howers time, at which time H.A. sayd he would returne from his grounde againe unto him, and so he did, and having with him one John Burrill a blacksmith upon occasion he had to use him he asked C.H. if he weere readie to goe, his answere was that he had nowe begun a rubber and he would not goe yet, but desired H.A. to stay awhile and then he would, but findinge no certainetie in him, and H.A. his busines calling him away, he tooke leave of him, (the Companie also he liked not for their were both papists and recusants their) and as he turned his horse the Smyth followinge him carried him to Headen John and make him drunke sayd a papist one Anthonie Nevill unto whome H.A. turned back and made answere unto him, that neither he nor all the papists in Holderness could make him drunke to which he replyed that his religion was as good as his and theirs H.A. left the boulers (bowlers)."

* Shakespeare (William & Phillipps, Thomas). Letter containing written transcript of the bond given at the time of obtaining a marriage licence for William Shakespeare and Anne Hathaway in 1582, sent to Sir Thomas Phillipps by James Davis (for W. Clifton) the Clerk of the Worcester Registrar's Office, 2nd June 1836, 4pp. (1835 watermarked laid paper), addressed to Thos. Phillips Bart, Middle Hill, Broadway, single page manuscript transcript of marriage bond, with pencil notes in Sir Thomas Phillipps' hand, red wax seal applied, folded and post markedQty: (1)NOTESThe letter reads "Registrars Office Worcester, 2 June 1836, Sir, On the other side I send you a copy of the bond given at the time of obtaining a marriage licence for William Shakespeare and Anne Hathwey. We have been very busy in preparing for the Bishops Visitations which commence on Tuesday next and end on the following Saturday after which time copies of the Wills you wrote for shall be sent, I am Sir (for W. Clifton) Your very obt. sevt. James Davis." The bond was discovered among the Registry archives by the antiquary Sir Thomas Phillipps and was one of the few surviving records containing information regarding Shakespeare's life and marriage, for which the discovery was of great importance. The original marriage bond, dated November 28, 1582 states that there was nothing to prevent William Shakespeare and Anne Hathaway’s marriage from taking place and that the bishop of Worcester, who issued the marriage license would be safeguarded from any future possible objections. The bond is one of two documents recording the marriage of William Shakespeare and Anne Hathaway; however, the evidence appears to be confused. An entry, dated the day before the bond on November 27, 1582, in the bishop of Worcester’s register records that a license was granted to William Shakespeare for his marriage to Anne Whateley of Temple Grafton, while this bond names the parties as William Shakespeare and Anne Hathaway of Stratford-upon-Avon. The marriage bond is only one of three documents that might have been produced to secure the license (now lost). William Shakespeare married Anne Hathaway late in November 1582. However, the marriage did not take place in the couple’s parish church at Stratford-upon-Avon and nor were the banns read there three times, as would normally have been required. Instead application was made to the bishop of Worcester, in whose diocese Stratford-upon-Avon then lay, for a license for the marriage to take place elsewhere after a single reading of banns. The license itself, which would have been addressed to the minister of the church at which the ceremony was to take place, is not extant. However, no existing surviving parish register records the event; therefore Shakespeare’s marriage may have taken place at any local church without a surviving register. Anne Hathaway was three months pregnant (the couple’s child being born the following May) and the couple’s relative ages were unusual for the time. William was 18 and Anne was eight years older than Shakespeare at the age of 26. Considering Anne’s pregnancy, scholars have argued that the couple may have been married by license due to insufficient time for the reading of banns three times before Advent began on December 2. Advent was a customary prohibited period for marriages, which lasted until eight days after Epiphany, observed 12 days after Christmas. (See: Robert Bearman, "The Shakespeare marriage bond," Shakespeare Documented, https://shakespearedocumented.folger.edu/resource/document/shakespeare-marriage-bond).

* [Murphy, James Cavanah, 1760-1814]. A collection of 37 plates from The Arabian Antiquities of Spain, circa 1815, 37 engraved plates, including 9 hand-coloured and engraved sectional title, of views, reliefs, plans, elevations, mosaics, ornaments etc, a few mounted, occasional light spotting, the largest sheet size 47.5 x 64 cmQty: (37)NOTESCicognara 2536; Graesse IV, 631. The plates depict views and details of the Alhambra Palace in Granada and the Mosque at Cordoba, taken from James Cavanah Murphy's The Arabian Antiquities of Spain, first published in 1815-16 with Cadell & Davies continuing to publish the work until 1820. Murphy was an Irish architect who travelled to Cadiz in 1802 and spending some seven years studying the Moorish style at the Alhambra and the Mosque at Cordoba.

Beveridge (Sir William, Dr. Julian Huxley and Sir John Boyd Orr, editors). Target For Tomorrow, Numbers 1, 3, 8 & 12 (Industry After the War, Who Is Going to Run It? by Charles Madge, Food and The People by Sir John Boyd Orr, The Future of the Colonies by Dr. Julian Huxley and Phyllis Deane, and Remobilisation for Peace by Sir Ronald Davison), 4 volumes, Pilot Press, 1943-1944, monochrome illustrations after photographs, etc., all original boards, with cover design by Abram Ganes to each, dust wrappers a little rubbed and with some fraying to extremities, small loss to lower edge of upper cover of the first volume, slim 4to, together with: Florence (Lella Secor). Only An Ocean Between (America and Britain series, edited by P. Sargant Florence), 1st edition, George G. Harrap, 1943, colour illustrations, monochrome illustrations after photographs, original blue cloth in dust wrapper, with some light spotting, plus the second and third titles from the same series America and Britain: K.B. Smellie, Our Two Democracies at Work, George G. Harrap, 1944 & Lella Secor Florence, Our Private Lives, George G. Harrap, 1944, colour and monochrome illustrations to each, both original cloth in dust wrappers (the first with dust wrapper designed by Jon Heartfield), slightly frayed to extremities, large 8vo, and other World War Two-related propaganda booklets and publications, including His Majesty's Stationery Office, Bomber Command, The Campaign in Burma, Ark Royal, Frontline 1940-1941, Build The Ships, Land at War, Merchant Men at War, Fleet Air Arm, The Eighth Army, The Mediterranean Fleet, etc., Stephen Taylor, Battle for Health, a primer of social medicine (The New Democracy), 1st edition, Nicholson & Watson, 1944, Michael Young & Theodor Prager, There's Work for All (The New Democracy), 1st edition, Nicholson & Watson, 1945, both in dust wrappers, Maurice Lovell, Landsmen and Seafarers (The Soviets and Ourselves series), George G. Harrap, 1945, Spirit of the Soviet Union, Anti-Nazi Cartoons & Posters, foreword Lord Beaverbrook, 1st edition, Pilot Press, 1942, Oxford Pamphlets on World Affairs series, etc., original cloth, including some in dust wrappers, and many bound in original printed wrappers, stapled as issued, mainly 8voQty: (approximately 150)

Belnos (Mrs S[ophia] C[harlotte]). The Sundhya or the Daily Prayers of the Brahmins. Illustrated in a Series of Original Drawings from Nature, demonstrating their Attitudes and Different Signs and Figures performed by them during the Ceremonies of their Morning Devotions, and likewise their Poojas. Together with a Descriptive Text annexed to each Plate, and the Prayers from the Sanscrit, translated into English, 1st edition, [London: Day & Son], 1851, hand-coloured lithographic vignette title-page, 24 hand-coloured lithographic plates, preface leaf, 20 leaves of descriptive text (of 21: lacking text-leaf for plate 23, 'Punch Agnee'), pencilled numbering to upper outer corners, most plates and text-leaves with nicks and closed tears to edges (with amateur clear-tape repairs verso; text-leaves with concomitant staining visible recto), text-leaves toned, marginal spotting to most plates, various finger-marks and other blemishes, vignette title-page and plate 8 somewhat browned, plate 7 with loss to upper outer corner, typescript list of contents tipped to upper inner corner of title-page, similar replacement for the missing text-leaf for plate 23 tipped to relevant plate, all text and plates loose in modern portfolio (with no sewing-holes or evidence of disbinding), large folio (63 x 45.6 cm)Qty: (1)NOTESAbbey Travel 477; Lipperheide (1965) Ld 37; not in Colas or Tooley. Rare. 'Relatively little is known about Mrs. Belnos. Her husband, Jean-Jacques Belnos, was a French miniaturist and lithographer, who had travelled to India in 1807, and established a practice in Calcutta as a painter of miniatures and portraits of the British, a business which his widow seems to have continued following his death' (De Silva, Colonial Self-Fashioning in British India, c.1785-1845, pp. 106-7). Abbey speculates that Mrs Belnos was Indian, but she was in fact almost certainly the daughter of William Moore, assistant surgeon in the Bengal army. This seems to be her second and last published work, following Twenty four Plates Illustrative of Hindoo and European Manners in Bengal, which appeared in 1832. Another copy was sold in these rooms on 20 January 2021 (lot 5).

Ellis (John). Ellis's English Atlas: or, a compleat chorography of England and Wales: in fifty-four maps. Containing more particulars than any other collection of the same kind. The whole calculated for the use of travellers, academies, and of all those who desire to improve in the knowledge of their country. From the last surveys of the several counties ... Engraved by, and under the direction of, J. Ellis, London: Carrington Bowles, [1768], title with vertical fold and torn with loss of right third (with loss to map index list to verso), 50 engraved maps of 54 each hand-coloured in outline (including 48 double-page & 2 folding, lacking folding general map & 3 others), few marks, occasional spotting and light toning, endpapers renewed preserving early 19th century inscription, contemporary half calf, marbled sides, morocco reback, some wear, 8voQty: (1)NOTESChubb CCXXVIII. Sold as a collection of maps, not subject to return.

* Earlom (Richard). The Inside of the Pantheon in Oxford Road, Robert Sayer, 1772, uncoloured mezzotint after Charles Brandoin, title repeated in French, trimmed to the image on three margins, slight creasing, occasional marginal closed tears, mounted in verre églomisé with an additional title in gilt below the image, framed in a later black and gilt mouldingQty: (1)NOTESBM satires 5091. The Pantheon was a highly fashionable place of public entertainment on the south side of Oxford Street which was designed by James Wyatt. Charles Burney stated that "The Pantheon is regarded both by natives and foreigners as the most elegant structure in Europe, if not on the globe......No person of taste in architecture or music, who remembers the Pantheon, its exhibitions, its numerous, splendid and elegant assemblies, can hear it mentioned without a sigh." The building was all but destroyed by fire in 1792 and although rebuilt it never regained its former popularity. It was finally demolished in 1937 and a Marks and Spencer store now stands on the site.

* Van der Aa (Pieter, 1659–1733). Volo, Fuochi, Artificiali, et altri Givochi nel Giovedi grasso, from Splendor Magnificentissimae Urbis Venetiarum Clarissimus [Magnificent Illuminations of the Illustrious City of Venice], published by Pieter van der Aa, Leiden, circa 1720, copper engraving on two conjoined sheets of laid paper, caption title in Italian, Latin and French, plate size 32 x 41.5 cm, sheet size 39.5 x 50.5 cm, loose in window mount, together with Anonymous. Des Waereld doen en doolen, Is maar een Mallemoolen, fom the series Het Groote Tafereel der Dwaasheid, [1720-1721], etching on two conjoined sheets of laid paper, a closed tear to both left and right margins, not affecting image (the left hand side repaired to verso), plate size 31.5 x 44 cm, sheet size 39 x 47 cm, hinge-mounted in modern card window-mountQty: (2)NOTESThe second work is a satire on the financial crisis of 1720 (more commonly known in England as the South Sea Bubble), which had serious repercussions in England, France, Holland, and elsewhere across Europe. The poem in Dutch in four columns below the image is signed 'Philadelphus', nom de plume of Gysbert Tyssens (1693-1732), who also wrote six plays concerning the Wind Trade.

* Printing/blocking press. A Hopkinson Albion Press, 1847, for benchtop operation with horizontal lever, currently converted for use as a blocking press with electric heating element (requires rewiring & appropriate updating), cast iron manufacturers name to frame "Hopkinson & Cope, Finsbury, London", with brass finial and engraved maker's details " Hopkinson's No. 2199 Albion Press 1847", height approximately 115 cm (45.25 in), with three non-original chases 5 x 10 cm (2 x 4 in), 13 x 8 cm (5 x 3.25 in), and 21 x 8 cm (8.25 3.25 in), together with:Type, A good selection of hot foil type, including sizes 10pt, 12pt, 14pt & 24pt, with quads, spacers for 6pt, 8pt, 10pt, 12pt, 14pt, 16pt & 24pt, plus a small selection of decorative zinco blocks and punches, gold blocking foils, together with a pair of shears and small Dryad bench standing board chopperQty: (-)NOTESThe Albion Press was the invention of Richard Whittaker Cope of London, who is thought to have assisted George Clymer, maker of the Columbian Press. The date of the invention of the Albion press is not known, but the first record of the press dates from 1822, when some Albion presses were imported into France. The Albion had a different form of toggle levers from American presses, and a large spring on top of the press for the return of the platen. Cope died in 1828. J. & J. Barrett were Cope's executors and carried on business under the direction of John Hopkinson, Cope's foreman. For ten years all three names were cast into the press, but after 1840 the style became simply “Hopkinson & Cope.” Hopkinson introduced some improvements, notably the modification of the toggle form and the addition of the word “Patent” (a claim apparently without foundation). Hopkinson became a partner in the business and on his death in 1864 the business was handed back to Cope’s son, James Cope. This press, which has been converted for use as a blocking press requires rewiring & appropriate updating prior to continuing use as a blocking press. It could also be converted back to its original state as a printing press, although several parts would need to be sourced to make this possible.

Harford (Ralph). A Gospel-Engine, or Streams of Love & Pity to quench and prevent New Flames in England, being a Petitionary Letter to the most active London Ministers, Subscribers of the Representation (by Letter to the Lord General,) or their Vindication, concerning their present actings in relation to the State, and their too frequent sowing Tares of Dissention for a Third War, without any other cause then their own Exorbitant Interests, viz: for Domination. Munday, March 5. 1649. Presented to them at their houses, by a friend who cordially wisheth the Kingdoms and their welfare, as his own. The particular Men, presented to, are named in the next page. 2 Martii 1648. Imprimatur, Gilb: Mabbot, London: Printed (to save transcribing) for R[apha]. H[arford]. in Queens-head Alley, Paternoster-row, 1649, 11, [1]pp., small label to lower outer corner of spine, signed at end: Rapha Harford, some toning and spotting, 20th century half morocco, 4to, together with: [Nortcliffe, Counsellor], An Argument in Defence of the Right of Patrons to Advousons. And incidently of the Right of Tythes in generall. As it was delivered to the Committee for Tythes, on Wednesday the 14 of September 1653 and taken exactly by one that hath skill in Tachygraphy or the Art of Short-writing, London: Edward Blackmore, 1653, 12pp., ink manuscript numbers to verso of title, some dust-soiling, light fraying to margins, old library label to upper pastedown, 20th century morocco-backed cloth, rebacked, library numbers at foot of spine, extremities rubbed, 4to, Streater (John), A Shield Against the Parthian Dart, or, A Word to the Purpose, Shot into Wallingford-House. Answered in Defence of the present Actions of State here in England, that produced the late Change of Government. By J.S., [London: s.n.]: Printed in the year, 1659, 23, [1]pp., first word of title and some page numbers slightly cropped at head, some toning, 20th century marbled wrappers, 4toQty: (3)NOTESA Gospel-Engine, 1649 - Wing H768; ESTC R234769. An Argument in Defence of the right of patrons, 1653 - Wing N1279; Thomason, E.713[14]; ESTC R207166. A Shield Against the Parthian Dart, 1659 - Wing S5950; Thomason, E.988[11]; ESTC R208075.

Roy Brewer Eric Gill The Man Who Loved Letters, London Fredrick Muller Ltd 1973, together with Eric Gill and The Guild of St Joseph and St Dominic, in an edition of 1000 copies Hove Museum 1990 and The Engraved Works of Eric Gill, Victoria & Albert Museum 1963, three books in total (3)

Good Selection of 21st Army Group Documents and Maps including 9 x Intelligence Reviews for 1945 ... Who's Who In Germany and Austria Part I & II, printed March 1945 ... 4 x American printed Civil Affairs Handbook Germany ... Military Manual Of Civil Affairs In The Field, 1944 ... 8 x maps I.A. & C Division showing various statistics around the edge. Formerly property of Lt Col R N Hamilton

WW2 German West Wall Badge worn on the side of caps of the 215th Infantry Division who serve there.

Charles II, Halfcrown, 1676, Shillings (8), of William III, Anne, George I, II, III, George IV (2), William IV and Victoria; together with (perhaps) an Edward III Penny and a Henry VIII Halfgroat (these clipped), all fitted in a wooden framework and set in a hand-drawn architectural background. The Shillings are set in four pairs, vis-à-vis and shaking hands, each wearing period clothing and enclosed in an arcade. The hammered coins form the centre of capital letters. Below the reverse of the 1676 Halfcrown and the second George IV Shilling are set within the legend ‘New Utterings of Old Coins and Recoinings of Old Utterances, Illustrated by T.C. Hine’s Pastime Sketchings’. Above and below are rhyming couplets and quotes from Shakespeare [12]. Coins in varied state, some gilt or coloured, an amusing and unusual Victorian numismatic puzzle or riddle (c. 1880?); set in a contemporary glazed frame [this somewhat distressed], almost certainly a UNIQUE item £150-£200 --- Thomas Chambers Hine (31 May 1813-6 February 1899), born in Covent Garden, London, was an influential 19th century architect who based himself in Nottingham from 1837 and was active in the city until the early 1890s. He was responsible for the design of many of Nottingham’s private and public buildings between 1850 and 1890, including the Adams Building in the Lacemarket (1855), All Saints’ Church (1863-4) and Nottingham Castle Museum (1875-8). His interest in church architecture led to his involvement in the restoration and alteration of many of Nottinghamshire’s medieval churches, and surviving detailed sketches reveal his passion. Towards the end of a long obituary published in the Nottingham Guardian on 11 February 1899, is the following: ‘He was also an ardent antiquarian, being for close upon 30 years a Fellow of the Society of Antiquarians and among his collections are a number of historical cartoons which he cleverly conceived and drew round the various faces of old English coins, a series which has on more than one occasion been exhibited in the Castle Museum’