Viceregal school. Perú. Central decades of the 18th century (reign of King Ferdinand VI, 1746-1749)“Inauguration of the office of alderman of Lima, of the viceroyalty of Peru, Don Fernando de Rojas Marres” and ”The Exaltation of the House of Nobility of the alderman of Lima, Don Fernando de Rojas Marres”Pair of oil paintings on canvas. 100 x 73 cm. each.The first painting is divided into two parts, the upper part possibly showing the swearing-in or oath of office of the new alderman of Lima, Don Fernando de Rojas Marres of the viceroyalty of Peru, as he climbs the semicircular stairs to the throne from which he will make government decisions. The golden throne is topped by a red curtain and an open crown, clear symbols of power. Behind it, the two Tuscan columns symbolise the strength and fortitude that every ruler must have in order to lead their people. Above the crown, apart from the word ‘fortune’, an allusion to this virtue, the scene is accompanied by two other virtues linked to power and dignitaries, science on the left and fame on the right. The two female figures who bestow symbols of power, the ruler's sceptre and the crown are the ruler's acolytes and witnesses to the scene.The central figure is dressed in the fashion of Ferdinand VI's reign, which dates the painting and its companion piece to the middle decades of the 18th century. To complete the parallelism of the central scene at the top, two noble coats of arms are placed at either end. The one on the right, topped by the helmet of a warrior, indicates the rank of knight or order of nobility of the person, who would in turn belonged to the order of knighthood of Santiago, one of the four most important orders of knighthood in Spain along with those of Calatrava, Montesa and Alcántara. During the restoration of the painting, the change in the iconography of the area of the coat of arms where the eagle is located came to light. Initially there were three vertical golden bands which were covered by the bird, although it is not clear whether this change was made while the painting was being executed or after the work was completed. The other coat of arms, this time with the crown of government, shows very different heraldry with no distinction of knighthood.The change the coat of arms underwent in this painting also affected its counterpart in the other painting.The noble coats of arms could have belonged to Rojas Marres' paternal branch, that of Don Feliciano de Rojas Ponce de León, and to his maternal branch, that of Doña Juana de Marres, or it is also possible that the one on the left could have been his own, that of the alderman, and the one on the right that of his wife, Doña María María Ana Concepción del Castillo Castañeda.Whilst the upper part of the painting represents political power and command over the people and the virtues that accompany the governor in order to govern well, the lower part, the most didactic part of the canvas, shows the values and qualities of the new government through the representation of 32 squares with elements divided into two panels of 16 squares each.The panel on the left represents objects that have explanatory symbolism linked to elements of power, while the panel on the right shows scenes with a written phylactery above them. These panels would have helped to explain the iconological programme, which symbolised the political programme of the new ruler, to the illiterate population, who made up the majority of the indigenous or native peoples at the time.The second painting shows that the importance of the family and its service to the empire rests on the Spanish monarchy and the Catholic faith.As if it were a ‘Tree of Jesse’, the distribution of the different elements that make up the rich and varied composition of the painting are arranged in a highly symmetrical and rational order.The base of the tree rises above the strong figure of the Child Virgin Mary on her throne, iconography that was very popular during the 17th and 18th centuries throughout Latin America, partly due to Zurbarán's paintings that came from the old continent to the ‘New World’. The feather below could refer to the feather of the archangel Saint Gabriel in the Annunciation. Given that the dogma of the Immaculate Conception was a matter of State and of protection by the Hispanic monarchy, the weight of the Crown rests on it and rests on the figure of the Virgin Mary; as one of the columns of Hercules in the coat of arms of Spain, legendary founder of the Hapsburg dynasty, acts as the trunk of the tree with the phylactery bearing the motto ‘NON PLUS ULTRA’, before Charles V and the anagram ‘Victor’ in golden letters.This anagram is flanked by the lion of Spain and the eagle of Saint John, protector of the Spanish monarchy, both also with golden crowns. On this rests the royal crown of the Bourbons, thus constructing the trunk of the compositional tree, where monarchy and religion are the pillars on which the family's noble coat of arms rests, which in turn is crowned by a laurel wreath bearing an angel and a scroll with golden symbols.The different branches of the ‘tree’ are divided according to the symbols and their distribution.In the upper part, the elements depicted are linked to the litanies of the Immaculate Conception, symbols related to the Virgin Mary. At the top is the sun, the eight-pointed star which has been linked to the Virgin Mary since antiquity, and the moon. The king of the day and the queen of the night contemplate the scene. Between there and the middle of the painting are a rose bush and an olive tree on the left, and a bunch of lilies and a cypress on the right, flowers and plants associated with Mary. All the iconographic repertoire, together with the symbols of the Marian litanies in the upper part of the painting, the elements of science (the book, the compass, the globe and the candle that is not extinguished by the four winds, also depicted) and the six virtues in the lower part, justify the service and work of this noble house to the royal house and the Catholic religion, the foundations of the Spanish empire in the Latin American colonies.In conclusion, these two paintings present a political programme for the government of the new ruler of Lima in the 18th century. The importance of this pair of canvases lies precisely in the way they represent this political programme by justifying the noble house as being in the service of the King of Spain and the Catholic faith. To this end, it also makes use of a graceful play of symbols, something rare to see in paintings from Spain itself, but common in the Americas, to educate and explain to the people how their new rulers will exercise their power.We are grateful to the art historian and restorer Ignacio Panicello for cataloguing and identifying these paintings.Provenance: Former collection belonging to Adrián de Rojas Maestre (descendant of the regent of Lima, Don Fernando de Rojas Marres).This family, or part of it, with important historical links, settled in Spain before 1950 at the Finca El Maestre in Seville. The paintings have always belonged to the family.The subject of our paintings, Fernando de Rojas Marrés, was born in Ceuta and died circa 1800 in Madrid.There is a record in the Spanish Historical Archive of his transfer to the Americas as a ‘Merchant of textiles, he went to South America on the ship Aquiles under the charge of Captain Martin Joseph de Echenique, bringing cargo directly to the port of Callao Lima. Record of information and passenger licence to the Indies of Fernando de Rojas y Marres’.
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Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383
Castillian School. Circa 1500."Saint Quiteria and Saint Barbara"Oil or tempera with gold background on panel. Fragment of an altarpiece, possibly belonging to a predella.37,5 x 40,5 cm.Even though we have not been able to recognise the master behind these two saints, his great artistic skill is evident. The faces of both saints are delightful and of unfathomable sweetness.An exceptional panel that shows the splendour of the Aragonese Renaissance, both in the colour palette, with those shimmering tones on the tunics, as well as in the physiognomy of the models and the flesh tones on their faces and hands in tempera and oil. It is also evident in the perfect gold ground-covered surface for the backdrop, decorated with plant motifs and pointillé, a decorative technique used on gold which consisted of engraving different drawings with small chisel strokes or pricks, thereby pushing down the smooth gilded surface or the stucco mass. There is no doubt as to which saints they are, as they are named on their limbs, Quiteria and Barbara.Quiteria was alive during the 2nd century A.D. The daughter of a pagan Roman governor, her mother gave her up for adoption, along with her eight siblings, to prevent her honesty from being questioned and to preserve her virginity. According to Christian doctrine, this adoption brought her closer to God. Always linked to prayer, as she appears reading a book of hours, she would eventually meet her parents. Tradition has it that her father, as soon as he learned of her profession of faith, had her head cut off.Barbara came from Nicomedia, on the Anatolian Peninsula, in the late 3rd and early 4th centuries AD. Highly intelligent, she was the daughter of Diocorus, a wealthy pagan man. Through her reading and studies she questioned her paganism, and because of her religious concerns, she was instructed in the catechism and converted to the Christian faith. Because of her physical beauty, she had no shortage of suitors, but she kept herself a virgin in order to consecrate herself to God. Her father had a tower built to keep her from the eyes of strangers. On one of her father's journeys, she herself ordered the workmen to build a third window (she only had two) to honour the Holy Trinity. She was tortured for her faith, but she did not die as she received help and care from heaven. As she refused to worship the pagan gods, her father finally cut off her head. After decapitating her, her father was struck by lightning and no trace of his body was left.In the panel, she is shown holding her most characteristic attribute, the tower in which she was imprisoned, at a reduced scale on her hand, as if it were a model. A moulding runs along it and frames it in the manner of the Gothic lines to strengthen a wall or window, in which verticality predominates over horizontality, underlining the mysticism of the figures it contains. This panel would clearly have formed part of the ‘flos sanctorum’ of the lower predellas or side sections of an altarpiece.Finally, it is interesting to note that marks of the gouge can still be seen on the back of the boards which are assembled horizontally and which form the panel, and the remains of rabbit glue dissolved in water as a grout can be seen, erasing imperfections and smoothing out the pine boards, the most advanced material used at that time for this type of work.
Attributed to Luis Juarez (Mexico, circa 1585 - 1639)"Saint Augustine of Hippo and Saint Gregory the Great, Fathers of the Church, and The Four Evangelists"Set of six oils on copper.22.5 x 17 cm (2) each, and 21 x 16 cm (4) each.A magnificent collection of 6 paintings on copper depicting the Evangelists with their iconic symbols and two of the four Fathers of the Church. Matthew with the angel, a man with wings highlighting the humanity of the Son of God; Mark with the lion, a symbol of strength, courage, and royalty; Luke with the bull, a beast of burden, calm and humble, and John with the eagle, the mystic who sees the world from the heights.The two Fathers of the Church depicted are Saint Gregory the Great and Saint Augustine of Hippo. (Possibly the other two, Saint Jerome of Stridon and Saint Ambrose of Milan are missing to complete the octet).Faux ovals contain phrases from their writings, representative of the Gospels or Roman liturgy: "Book of the Genealogy of Jesus, Son of David"; "Behold, I send an angel before you"; "who is famous among all the churches for his preaching of the gospel"; "In the beginning was the Word, and the Word was with God"; "Order our days in Your peace"; and "No one should pass without penance."With vibrant and lively colours, creating a cheerful and dynamic rhythm, the paintings display meticulous attention to detail, as well as soft light and shadows. The figures exhibit an idealised yet "almost real" beauty, balanced and serene, capturing the viewer as a contemplative observer of the saints of the church to imitate and follow.
Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.
Novo-Hispanic school. Mexico. 18th century.‘Stabat Mater Dolorosa, iuxta crucem lacrimosa’.Oil on canvas. Measurements: 69,5 x 54,5 cm. Devotional and catechetical canvas, creating the effect of an altarpiece of Our Lady of Sorrows. In a central oval, and as the base of a Christ on the cross, ‘stabat Mater Dolorosa’, mother Mary remains under the cross of her crucified Son. The painting is clearly devoted to Mary.Six angels of the Passion surround the cross: two weeping angels are at his feet, with the symbols of the Passion; two fly with scrolls reading respectively: ‘Christi sub cruce Mater erat’ (The Mother of Christ was under the cross), and ‘Maria pendens fuit in cruce Christi’ (Mary was hanging on the cross of Christ). Both texts are from ‘Epigramatum Libri 3’, a book written by Jacob Biderman, a Jesuit priest, and published in 1620 with ingenious religious epigrams in the manner of the classical writer Martial. Of the two remaining angels, one has the book EPs (a reference to the Epigrams) and the other holds an hourglass, symbol of the inevitable passing of time, of death and the end of time on earth, a clear allusion to the souls in flames.Under the Virgin of Sorrows are the blessed souls in purgatory: as their lives transition, they take the Virgin as their ‘ascent and mediator’ in their sufferings (which they compare with their own and know ‘they are heard’) and look towards the final horizon (clean and close after the cross) to Christ who suffers on the cross and who crowns everything. In short, the Christian theology of, ‘one must suffer to reach glory’.The presence of a heraldic coat of arms flying in the upper right-hand corner is a clear reference to the person who commissioned the work, the owner or donor of the painting.
A George III oval mahogany snap-top breakfast table with a central book-matched burr walnut panel with broad satinwood crossbanding, on a quadrupedal base of sabre legs with captive satin wood banded detail and box toe brass castors. 152 cm wide x 117 cm deep x 72 cm overall height.The top is un-split or warped, the cross banding is intact.The finish of the top has become dry in places and has blistered and flaked off in some small areas.The block that the top pivots on has been badly repaired, causing the table to to not sit quite vertically when flipped upright.
Pierce (Michael) and others. '...So Few: a folio dedicated to all who fought and won the Battle of Britain 10th July - 31st October 1940', number 43 of 401 copies, signed by the creative team with 25 tipped-in silhouette portraits of surviving pilots by Michael Pierce, all signed in pencil by the artist and subjects and with photographic plates of them & their related memorabilia and facsimile accounts, in original RAF blue morocco upper cover inlaid with pilot`s wings and blocked in gilt, with accompanying leaflet in original cloth drop-back box, 4to Royal Air Force Benevolent Fund 1990.Some minor dents to the edges of the outer slipcase, with surface wear - the book itself has no apparent damage.
A room size 'Antique' tomato red round Tabriz country house type carpet, first half of the 20th century, of 'Book Cover' design with a broad meandering palmette border with golden guard stripes, 420 cm long x 331 cm wideFormerly of Donnington Castle House, near Newbury, Berkshire Formerly of Donnington Castle House, near Newbury,Berkshire An even wear pattern but some foundation is visible in some areas. Some fraying to the ends back as far as the guard stripes. some small stain spots about the size of a 2p piece.
1642 | PUBLISHER: Lugd. Batavorum, Ex officina Elzeviriana | NUMBER OF PAGES: 768 | LANGUAGE: Latin | DIMENSIONS: 128 x 80 mm | THE FULL TITLE OF THE WORK: M. Tullii Ciceronis Opera. Cum optimis exemplaribus accurate collata. | NOTE: restored book | CONDITION: damaged back | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
NUMBER OF PAGES: 536 | LANGUAGE: German | DIMENSIONS: 210 x 155 mm | THE FULL TITLE OF THE WORK: [Ein newe Reyssbeschreibung auss Teutschland Nach Constantinopel vnd Jerusalem] | NOTE: illustrations, map | CONDITION: title page and end of book missing, both edge clasps missing, insect damage, damp stains, inscriptions, torn pages | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.
U2: McCORMICK (Neil): U2 By U2, Autographed hardback book - first UK edition, signed to the title-page in silver maker pen by Bono, The Edge, Adam Clayton & Larry Mullen Jr, numerous colour and monochrome illustrations, photo illustrated dust jacket, unclipped, published London: Harper Collins, 2006. Signed in person for the vendor at a book signing event.
Children's Film Memorabilia: includes press stills and slides, lobby cards, merchandise and ephemera -Press stills include: Monsters Inc. (x10 rolled), Recess, Inspector Gadget, 102 Dalamations, Doug's First Movie, Hunchback of Notre Dame, Little Mermaid, Pocahontas, Dinosaur, Emperors New Groove (x2), and Atlantis;Press slides include: 102 Dalmations (x8), Toy Story (x4), Hunchback of Notre Dame (x3), and Fox and the Hound (x4);Lobby cards include: Mighty Joe Young, Monsters Inc. (x2), Lilo and Stitch, Princess Diaries, Inspector Gadget, Fox and the Hound, Santa Claus 2, 102 Dalmations, and Atlantis banner sets (x2);together with, two Disney Pixar first-edition hardback books, the first: KURTTI (Jeff). A Bug's Life, publisher's lenticular pictorial board, published New York: Hyperion 1998; the second: HAUSER (Tim). The art of Wall.E, forward by Andrew Stanton, dust jacket unclipped, published San Fransisco: Chronicle Books 2008; Toy Story Hero alarm clock; Ratatouille children's dining set; four Tarzan art sets; Incredibles spiral-bound notebook; Mulan completed Panini sticker-book; Monsters Inc. advertising booklet; Pocahontas mobile card display; two Herbie: Fully Loaded control cars; eight Tarzan Tantoor friendly tales plushies; Monsters Inc. book-end; Mickey Mouse Disney store watch; Buena Vista 2003 dual-time alarm clock; six Chicken Little egg lights; Finding Nemo child's long-sleeved t-shirt with Man Hunter to front, size medium; Jungle Book 2 Storybook; Jungle Book 2 The Big Jungle Hunt; Disney Fairies woven bracelet with fairy pendant; Monsters Inc child wrist watch; four Topolino Micky Mouse figures 150, 119, 136, and 140/1000 with COA; Night at the Museum torch in case; Goal Addidas X Goal backpack, and a Wild backpack. (88) From 2000-2020, the vendor's late husband worked for a company that printed film posters. Their main clients were Buena Vista, 20th Century-Fox, Warner Bros., and other small independent film companies.
Tottenham Hotspur Football Club: Club Edition Opus Book, No.814 limited edition of 1000, leather bound and 850pp, page size 50cm x 50cm, signed to the inside by Ledley King, Juande Ramos and Robbie Keane, with original presentation clamshell, gloves and outer box.From the estate of the late Tony Berry, former Deputy Chairman of Tottenham Hotspur FC
A rare gold and enamel almanac charm pendant, France, late 18th century, designed as a book, the front and back covers applied with blue and white enamel, each centring on an oval grisaille enamel landscape, opening to reveal a printed book titled 'Le Reveil Matin Almanach Pour L'Année 1777 A Paris', pendant length 2.6cm including later jump ringMiniature almanacs were popular in Paris from the early 1760s, and typically contained a list of saint's days for the year ahead, alongside illustrations of various street vendors and related poems. Created as gifts for young ladies, they were also used as New Year’s presents, given out by pastry shops and chocolatiers.
No Reserve, a collection of reference books, including two copies of Louis Dieulafait, Diamonds and Precious Stones, 1874; W. Arnold Buffum The Tears of the Heliades or Amber as a Gem, 1896; S. Tolansky, The History and Use of Diamond, 1962; Julis Wodinska, A Book of Precious Stones, 1909; four books on Chinese jade carvings; one book on Chinese Snuff Bottles; and a Christie's catalogue, Fine Chinese Jades, February 13th 1978
Royal Academy of Art postcard "Craigie Aitchison CBRA", lamb in green field, written and sent to Maurice Costley 'Dear Maurice it is good to hear you are fine after the operation, hope to see you soon if you come to London ..., all best wishes Craigie' William, Andrew Gibbon "Craigie, the Art of Craigie Aitchison", with inscription for Maurice, best wishes Craigie Aitchison, with dust jacket Haste, Cate "Craigie Aitchison, a Life in Colour", with inscription best wishes, Cate Haste, with dust jacket Lambirth, Andrew "Craigie Aitchison Out of the Ordinary", Royal Academy of Arts book with dust jacket "Craigie Aitchison A Private Collection", Waddington Totnes Galleries 2013 catalogue Craigie Aitchison in Memorium folding programme, private view invitation to Tim Taylor Gallery Exhibition 2006 and another postcard From the collection of the late Maurice Costley Craigie Aitchison was a Scottish born painter, who studied at the Slade School of Fine Art. His work includes still life, portraits and paintings of his Bedlington Terriers. However he is best known for depicting crucifixions, which appeared in his work after he studied in Italy in the early 1950s. His work possesses a poetic use of colour, within simple but vibrant compositions. He had his first solo exhibition at the Beaux Arts Gallery in London in 1959 and exhibited regularly both internationally and in the UK, including at Marlborough Fine Art. Retrospectives of his work were held at the Serpentine Gallery and Hardwood House and The Gallery of Modern Art in Glasgow. He won the Jerwood Prize in 1994 and the Nordstrom Art Prize in 2000. His work is in many private and public collections, including several at the Tate, Birmingham Museum and Art Gallery and also the National Gallery of Scotland.
Collection of bisque fired white stoneware desk top objects consisting of five books, an inkwell and quill, magnifying glass and candlestick, unmarked (9) From the collection of the late Maurice Costley Condition ReportCandlestick cracked and broken through stem, in two. Chipping to feathered quill, the end of the quill is cracked off and detached. The open book with two loose pages (detached but present). The majority of the other books with some minor chipping to edges.
A pair of four Victorian silhouettes, of a girl wearing a long dress, reading a book with a dog at her feet, and a girl wearing a dress, holding a basket, each 20.5 x 13.5cm, framed in walnut, 29 x 22cmtogether with a similar pair, of a soldier, full length, holding a sword, standing to attention, and 'Mrs Boyd', a lady, full length wearing a bonnet and a long dress, holding a posy, with inscriptions verso each 22 x 15.5cm, framed in burr walnut, 31 x 24.5cm Condition ReportEach with foxing and time staining. The frames with knocks and wear.
A collection of Wedgwood black basalt ware, early 19th century and later, comprising, a teapot, with fluted decoration and figural finial, an oil lamp, lacking base, modelled with a figure holding an open book, a plaque, depicting Hercules and the Nemean Lion, 18.5x 13.8cm, The Frightened Horse plaque, after George Stubbs, plaque 7.5x 13cm, a bowl, together with a larger example (qty)Provenance: The property of the late Baron John Mauger Langin Condition ReportThe base missing from oil lamps. Small nibbles and wear. Light surface scratched but no obvious damage or restoration
A Betjemann patent's coromandel book slide, with two ends mounted with gilt brass gothic style panels, inset with two Jasperware style oval roundels, with a central plaque engraved 'G.Betjemann & Sons Makers London' and two outer gilt brass plaques engraved 'self closing book slide 6101',41cm wide18cm deep21.5cm highCondition ReportWith some surface wear marks to the wood. The gilt brass with some rubbing. The ends do spring back to centre when loaded.The ends are spring loaded to hold the books tight on the slide, sometimes this spring has worn or doesnt hold the books tightly. That is not the case on this bookslide, the spring is tight and opporational.
A Wedgwood 'Portland' vase, c.1970s, in blue and white Jasper, with impressed marks, together with original presentation box and book, 44/100, vase 26cm highProvenance: The property of the late Baron John Mauger Langin. Condition ReportWith light surface scratches. The box with wear and torn edges. The book with some handling creases, the protective plastic sleeve with tear.
A pair of cotton type Zoffany "Lennel" screen print from The Black Book Collection 1989 interlined curtains with taped pencil pleat headings, the blue ground with scrolling chinoiserie style decoration, 243 cm drop x 554 cm wide at bottom, together with pelmet with goblet heading CONDITION REPORTS GOOD but linings poor. General wear and tear conducive with age and use. See images for further information.
Two boxes of assorted Carlton ware china, to include cottage biscuit barrel, mushroom cruet, various posy vases, two section toast rack decorated with crab, etc together with a collection of Art Deco and later pottery to include a Clarice Cliff book vase, a Crown Devon Matlita bowl and matching lamp base, tea pot with kingfisher decoration etc (4 boxes)
Cecil ALDIN (ill): Cecil Aldin's Painting Books, No. 3: The Cat and Dog Book. Lawrence and Jellicoe, no date, c1920, with 10 pictures to colour, of which 6 are uncoloured, Tear to two pages, without loss; PLUS Two others, both With All Faults: No.2, The Farm-Yard; & American No. 2, The Poultry Book; Rough and Tumble. Frowde, H&S, no date (1913), with 24 colour plates. 4to. Pictorial covers; one plate with the facing page damaged (stuck together & separated); one page torn with loss (not affecting the text), a few crayon marks, including a couple of small ones to the margin of one plate; How to Draw Dogs. John Lane The Bodley Head, 1935, 1st. Edn. DW, with tears & missing part of the spine; VG; Jack and Jill. Henry Frowde, no date (1914). 1st. Edn. All 24 colour plates present. 4to. Pictorial boards, rubbed and spine torn & detached; Just Among Friends. Eyre And Spottiswoode, 1934, 1st. Edn. 4to. Covers rubbed, Good+; Berkshire Vale. Oxford, Blackwell, 1927, 1st. Edn. Folio. VG; Dogs of Character. Eyre & Spottiswoode, 1927, 1st. Edn. 4to. Very Good; Ratcatcher to Scarlet. Eyre and Spottiswoode, 1933, 3rd. Edn. 4to. Covers little rubbed; VG (10)
Cecil ALDIN (ill): The Mongrel Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1912), 1st. Edn. Original pictorial boards; The Red Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1910), 1st. Edn. With all 12 colour Plates. Original pictorial boards, a little rubbed; Ten Little Puppy Dogs. Sands & co. no date (1902), 1st. Edn. Oblong 4to. Covers rubbed, inner hinges cracked; The White Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1909), 1st. Edn. With all 12 colour plates. Original pictorial boards, little rubbed; The White Kitten Book. Frowde and H&S, no date (1909), 1st. Edn. 12 colour plates. Original pictorial boards, rubbed; inner hinges strengthened with tape; Just Among Friends. Eyre And Spottiswoode, 1934, 1st. Edn. 4to. Covers rubbed, Lacking front blank endpaper, o/w Good+; Morton: Who's Who in the Zoo. Eyre & Spottiswoode, 1933, 1st. Edn. DW. 4to.Tears & repairs to dw, o/w VG; Handley Cross, or, Mr Jorrocks's Hunt [2 volumes]. Arnold, no date, (1911); Dogs of Character. Eyre & Spottiswoode, 1930, reprint, DW. 4to. Very Good+; Emanuel: The Dogs of War. Bradbury, Agnew, 1906, 1st. Edn. Original pictorial covers. (11)
SHAW, George Bernard (Inscribed and SIGNED by Shaw and also by Gabriel Pascal): Marjorie Deans: Meeting at the Sphinx: Gabriel Pascal's Production of Bernard Shaw's Caesar and Cleopatra, with Forewords by Both the Author and Producer. MacDonald & Co. (1946). The frontis photograph of Bernard Shaw and Gabriel Pascal is INSCRIBED 'G Bernard Shaw, for the Lord Grantley's dustbin, I don't like the book'; Also, the half title INSCRIBED: 'A toi Dicky, la grand-Seigneur du Cinema brittanique, affectueusement Gabriel'. With the pictorial slipcase. The glassine dust jacket torn and taped to the inner covers, o/w VG
ART Biography (SIGNED): Tracey Emin: Strangeland. 2005, 1st. Edn. DW. Signed by author, fine; Maggi Hambling: George Always: Portraits of George Melly. Liverpool, 2009, 1st. Edn. Inscribed & Signed; McEwen, John: JOHN BELLANY. With a Foreword by John Russell. Edinburgh, 1994, 1st. Edn. DW. Inscribed, dated 'Cork Street 1994' and Signed by Bellany. Fine; Turner, Jon Lys: The Visitors' Book. In Francis Bacon's Shadow: 1st. Edn. Dw. Inscribed & signed by author, PLUS a limited edition postcard, with a drawing; Peter Davies: Bratby. 1st. Edn. Signed copy, soft covers; fine; Wood, C: Wiiliam Powell Frith: A Painter and His World. 1st. Edn. DW, Signed, fine; Moynihan, John: Restless Lives: The Bohemian World of Rodrigo and Elinor Moynihan. 1st. Edn. DW, Signed, fine; & Sturgis, M: Walter Sickert: A Life. 1st. Edn. Dw. Inscribed and SIGNED, VG (8)
![WILLIAMS, Anna: Miscellanies in Prose and Verse. T. Davies, 1766. First edition, [4], 184 pp. (First edition of the only book](https://cdn.globalauctionplatform.com/536a0b04-c67f-4130-8787-b206008a59c6/30d9cdde-5fd2-4963-a5c6-b21300d54974/468x382.jpg)
WILLIAMS, Anna: Miscellanies in Prose and Verse. T. Davies, 1766. First edition, [4], 184 pp. (First edition of the only book by Anna Williams (1706-1783), the blind poet and companion of Samuel Johnson); BOUND WITH: Lloyd, Robert: The New River-head: A tale. G. Kearsley, 1763, 1st. edn. 19pp; BOUND WITH: Dryden, John: Alexander's Feast or the Power of Musick. Tonson, 1762. 26pp. The three works are bound in cont. leather backed boards; hinges cracked and lacking the endpapers.
CHESS, Etc: Alexandre, A: Collection des plus beaux Problemes D'Echecs. Paris, Dufour, 1846, 1st. Edn. 4to. PP: viii+344+[68 solutions] with pictorial title page & diagrams. Cont. leather backed marbled boards; little rubbed. VG; Sarratt, J H: A Treatise on the Game of Chess. Longman Hurst, 1822. 351pp; with diagrams. Modern quarter leather & new endpapers; Selkirk, G H: The Book of Chess. 1868, 1st. Edn. Leather backed boards, rubbed and hinges cracked; Hood: Excursions into Puzzledom. 1879, 1st. edn. Pictorial red Cloth; Whitmore Jones: Games of Patience for one or more players, c1899, 1st. Edn. Pictorial boards. (5)
Lindbergh, Charles A: The Spirit of St. Louis. Charles Scribner's Son, 1953, DW. Not an 'A' edition, but the dust jacket prices $5. Title page SIGNED 'CHARLES A. LINDBERGH, 1953'; ALSO: facing the title page the inscription reads: 'To my friend Hollis Williams, this book, by one servant of aviation, will be enjoyed, I hope, by another servant of aviation, with regards, January 5, 1954, [& Signed??]'. PP: xii, (ii), 562. Original blue boards, the dust jacket rubbed and with tears and small loss; otherwise VG [David Hollis Williams FRAeS (18 February 1900 – 2 April 1974) was a British aircraft designer]
Peter Blake (SIGNED): One Man Show, by Marco Livingstone. This is a special edition, which incorporates a new screenprint, Roxy 2, produced by the artist in an edition of 100 SIGNED, in envelope, exclusively for this publication and packaged with the book in a slipcase. Both book and print are Signed. FINE.
Leonard Beaumont: ART FROM LINOLEUM. Printed by C Woollons & Sons Sheffield, published by the Book Room Library Press, Sheffield, 1932. The book, comprising six linocuts ('Two Members of the Swiss Alpine club', 'The curfew', 'Grinders', 'Marchers', 'The Typist' and 'Factory Chimneys'), one printed in colours pasted to the front cover. Original wrappers, VG
CHARTERIS, Leslie (The SAINT- 16 books, all Signed and Inscribed to Beryl), Plus a Signed typed letter: 1- The Saint's Choice. 1967, 1st UK edn; 2- The Saint and the Fiction Makers. 1968, 1st US edn; 3- The Saint and the People Importers, 1971, 1st UK edn; 4- The Saint and the People Importers, 1972, 1st US edn; 5- The Saint's Getaway. White Lion Publishers, 1973; 6- Catch the Saint, 1975, 1st US edn; 7- The Saint around the World. White Lion Publishers, 1976; 8- the Saint and the Hapsburg Necklace, 1976, 1st US edn; 9- Send for the Saint: The Midas Double and The Pawn Gambit, 1978, 1st US edn; 10- the Saint and the Templar Treasure, 1979, 1st US edn; 11- Count on the Saint: The Pastor's problem and the Unsaintly Santa., 1980, 1st US edn; 12- Catch the Saint. Magna print books, 1980, large print edition; 13- The Fantastic Saint, 1982, 1st US edn; 14- The Saint: Five complete Novels, 1983, 1st US edn. Thus; 15- Salvage for the Saint, 1983, 1st UK edn; 16- The Saint in Pursuit. Chivers Press, 1986, large print edition. All Very Good+/Fine copies, with Dust Jackets (Except for the two 'large print', which were not issued with DWs?. plus: TLS: A charming letter sent On his letter headed paper, 19 August 78. 'Dear Beryl, I had this book signed and wrapped…' Goes on to praise her 'steak-&-kidney pie that we love so much. It must still be the best in the world...' 22 lines, and signed Leslie & Audrey (16+1)
THE BEATLES: Don McCullin (SIGNED): A Day in the Life of The Beatles. 2010, 1st. Edn. DW. Signed by author, VG+; EPSTEIN, Brian: A Cellarful of Noise. 1964, 1st. Edn. Dw. Vg; John Lennon: THE BAG ONE PORTFOLIO. Bag One Arts, New York, C1990s. Soft covers, Fine; Paul Howard: I Read the News Today, Oh Boy: 2016, 1st. Edn. Dw, vg; The Yellow Submarine Gift Book. 1968, 1st. Edn; John Lennon: Drawings - Performances - Films. Thames & Hudson. Soft covers, 4to. Fine; Lennon, Cynthia: John. 1st. Edn. Dw. Vg; John Lennon: Imagine: 9 Oct 1940 - 8 Dec 1980: The First Exhibition of His Life and Works. Fine; Ringo Starr: Postcards from the Boys. 2004, 1st. Edn. Vg; Plus 2 others. (11)
BIBLES: BIBLES: 1- D'oyly, George & Richard Mant: The Holy Bible, According to The Authorized Version; 2 vols. Oxford, Clarendon Press, 4to. Folding map & Plates. Cont. full leather with gilt decoration and aeg. VG; 2- Richard Mant: Book of Common Prayer. Oxford, 1820. Cont. full leather, aeg; 3- Novum Testamentum Graecum. J Nichols, 1783, 2nd. Edn. 4to. Near cont. full leather, aeg; VG; 4- Book of common prayer; Etc. (Qty)
BINDINGS: A large collection, including: Hearne, T: The Itinerary of John Leland, Vols. 1 to 6 of 9 bound in 2 vols. J Fletcher, Oxford, 1745, With a folding plate, and a list of subscribers. Cont. full leather; Walker, J: The Sufferings of the Clergy in the Times of the Grand Rebellion. 1714, 1st. Edn. Two parts in one volume. PP: [4], li, [17], 1- 204, 1-436. Folio, Cont. full panelled calf and later spine; Foxe's Book of Martyrs, c1860; Strutt: The Sports and Pastimes of the People of England, 1833 & 34; Etc. (qty,)
Edward BAWDEN (ill): 1- Hoyle, Walter & Olive Cook: To Sicily with Edward Bawden. Previous Parrot Press, Oxford, 1998, Limited edition, #183 of 350 copies, SIGNED by Hoyle & cook. 4to. Original pictorial boards, VG; 2- Noel Carrington: Life in an English Village. King Penguin, 1949, 1st. Edn. VG; 3- Another copy, Spine torn, with loss; o/w VG; 4- BBC Year Book - 1947, 1st. Edn. DW; 5- Saunders, G: Bawden, Ravilious and the Artists of Great Bardfield. V&A, 2015, 1st. Edn. DW. (5)
![[THE BEATLES]- George Martin SIGNED: Summer of Love: The Making of Sgt. Pepper. Limited edition, numbered 230/350 DELUXE copi](https://cdn.globalauctionplatform.com/536a0b04-c67f-4130-8787-b206008a59c6/71091c09-9771-4a79-866c-b21300d646f5/468x382.jpg)
[THE BEATLES]- George Martin SIGNED: Summer of Love: The Making of Sgt. Pepper. Limited edition, numbered 230/350 DELUXE copies. Signed by George Martin; plus a print by Frank Hermann, Signed by him & Limited edn. 230/350. Genesis Publications, 2007. 4to. Housed in the original green silk-screen printed box with ribbon pull, the whole protected in a green felt drawstring bag. Deluxe copies also include a portfolio containing an original photograph of George Martin and The Beatles in the recording studio, signed by the photographer Frank Herrmann, plus a limited edition T-Shirt featuring the Peter Blake portrait of George Martin from the cover of the book. & Original shipping box. VG+Provenance: The David and Pam McCleave Collection of Modern British Art.
Lloyd’s Natural History: 1- A Hand-Book to the Order Lepidoptera, 5 Vols. 1896-87; 2- Monkeys: Vols. 1-2, 1896-97; 3- Carnivora (Cats), 1896; 4- British Mammalia, 1896. Plus: Fisherman’s Magazine, 2 vols. 1864-65, with hand-coloured plates; & Barker, C M: Book of Flower Fairies, Blackie, no date. (12)
John MINTON (ill): 1- Alan Ross: Time was away. A Notebook In Corsica. 1948, 1st. Edn; 2- Cross, Odo: The Snail That Climbed the Eiffel Tower & Other Stories.1947, 1st. Edn; 3- Cedric Salter: Introducing Spain. Methuen, 1953, 1st. Edn. DW by John Minton; 4- Stevenson: Treasure Island. 1947, 1st. Edn. DW (with tears); 5- Elizabeth David: French Country Cooking. 1951, 1st. Edn. DW; 6- Flower of Cities - A Book of London Illustrated by Minton, Bawden, Keith Vaughan, & Barbara Jones.1949, 1st. Edn. DW (with tears) (6)
Cecil ALDIN (ill): Freneuse: Chez Messieurs les Toutous. Paris, Hachette, no date (1909), With 16 colour plates. 4to. Very good; The Red Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1910), 1st. Edn. With all 12 colour Plates. Original pictorial boards, a little rubbed; The Black Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1909), 1st. Edn. 12 colour plates. Original pictorial boards, rubbed; inner hinges cracked; The Mongrel Puppy Book. Henry Frowde, Hodder & Stoughton, no date (1912), 1st. Edn. Original pictorial boards. One copy Good+; Byron, May: Cecil Aldin's Happy Family No. VI. Forager his adventures. Humphrey Milford, no date (1912)? 1st. Edn. Five colour plates, Pictorial boards, rubbed and spine with tear; The Young Folks Birthday Book. Hills, no date (1902), inscription dated. With 6 colour plates. Pictorial boards, little rubbed, Some entries in the diary filled with a neat hand. Good; Heron, Roy: Cecil Aldin et les chiens. Beaumont-en-Auge, no date. 1996, 1st. Edn? Fine copy; Heron, Roy: Cecil Aldin Peinture et venerie, Ibi, 1995, Proof copy, bound with blain endpapers, Fine copy; Emanuel: A Dog Day. 1902, 1st. Edn. large 4to.With only 21 of 28 plates, A/F. (9)
Cecil ALDIN (ill): Bunnyborough. Humphrey Milford, no date, (1919), 1st. Edn. Folio. With colour title page and all 16 colour plates present. Pictorial boards, rubbed; MAC. Frowde and H&S, no date (1912), 1st. Edn. 4to. Pictorial boards. All 24 colour plates present, BUT text page to plate V missing, and supplied in Photostat; Emanuel: A Dog Day. 1904 reprint, with 28 colour plates. Pictorial boards, rubbed; A Gay Dog. 1905, 1st. Edn. With 24 colour plates. 4to. Pictorial boards, corner of upper cover chewed off, o/w VG; The Twins. Henry Frowde, no date (1910). 1st. Edn. All 24 colour plates present. 4to. Pictorial boards, rebacked & inner hinges strengthened with tape. Good+; The Bunch Book, For Dog Lovers Only. 1932, 1st. Edn. Spine a little faded, VG. (6)
HERALDRY, Etc: Debrett: 1- The peerage of the United Kingdom of Great Britain & Ireland, In 2 vols. 1826, Frontis & plates; Cont. full calf, VG; 2- The Baronetage of England, in 2 vols. 1824. With plates. Cont. full calf, VG; Lodge, Edmund: Portraits of Illustrious Personages of Great Britain, 12 Vols. Bound in 6. Harding, 1835. 4to. Cont. full leather gilt, aeg; The National Gallery of pictures by the great masters. Jones, nd, c1836. Numerous engraved plates. 4to. Cont. half leather; one cover detached; Trimmer, Mrs: A New Series Of Prints Accompanied By Easy Lessons: 1- Scripture of old testament, 1808 (2 copies); 2- Roman History, 2 editions, 1803 & 1804; 3- New Testament, 1805 (2 copies); Ancient history, 1803 (2 copies). A collection of engraved plates in each volume. Cont full calf some covers detached; The Magazine of Art, Volumes 1 & 2. Cassell, nd, (1878-78). Cont. half leather; Cattermole: book of the cartoons. 1837. Covers detached. (22)
An accounts book from S Luckin & Sons of GREAT DUNMOW, 1918-1925. 434 double-sided ruled pages, 409 of which entered with transactions, including: dates, quantities, weights, product & price. Their client list includes: Mrs. Bond, Clock House; Lady Fane, Brook End; Mrs. E. J. Foakes; Lady Gordon Lennox, POW Camp Guards; Mrs. E B Trow, Grammar School; Lady Warwick, Pantry account, fruit account; Cat fish, Easton Lodge Kitchen; H. G. Wells. [S Luckin & Sons were fishmongers & fruiterers in Great Dunmow, Essex. Their principal customer appears to have been The Countess of Warwick at Easton Lodge. There are a number of accounts listed: Pantry Account; Easton Lodge Kitchen; Easton Lodge Cat Fish; Lady Warwick fruit account. There had been a disastrous fire in the house in 1918, by repute caused by one of her pet monkeys. The volume measures: 42 x 19 x4.5cm.
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