Group of studio glass including a Cowdy flared cylindrical purple iridescent vase, etched mark to base, a cased perfume bottle and stopper of tapering conical form, etched marks, a winged perfume bottle and stopper attributed to Steven Newell, 10.5cm high, a frosted amethyst jug with clear whiplash handle attributed to Steven Newell, a pale blue tinted baluster goblet with trailed ornament by Mark Taylor, etched signature, dated 1998 to footrim, a George Elliott mug with combed red, ochre and pink inclusions, etched signature, dated 1980 to base, a pressed glass sculpture of the Madonna with child designed by Stef Uiterwaal (1889-1960) by Glasfabriek Leerdam circa 1930's, moulded factory mark, 36cm high, a blue tinted conical footed bowl with spiralling trailed ornament, indistinct signature possibly Janet Glover, a green tinted globular two-handled jar with label for Mark Taylor, etched signature and dated 1992 to footrim and a small Vasart top-hat shaped vase in pale lilac and aventurine, etched mark to base (10) Condition Report Leerdam Madonna - Light surface marks, small bruise to side of head, two chips and ground down area on base. General wear and tear.We do not offer in-house shipping. Please try Mailboxes.com, bidandbox.com or mjmpost458@gmail.com
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A small group of curios - including a napped flint arrowhead, possibly Neolithic, 3.8cm long; eight unusual iron-based metal detector finds; a 19th century jointed wooden doll with painted head and shoulders, 8.6cm long (losses); a small china shoulder plate from a dolls house doll; and two lead bullets.
Mudejar cabinet chest in walnut wood with bone inlay. Decorative “Pinyonet” or rice grain technique. Aragonese manufacture from Teruel. Torrellas. 16th century.32 x 48 x 29.5 cm. Magnificent example of Aragonese Mudejar furniture. Structurally, it has two hinged doors and an interior body divided into three sections, the first being a single receptacle without a lid, while the last two house drawers: the central section is divided into two drawers, and the lower one is composed of a single drawer.It retains all its original iron fittings: hinges, handles and the lock, which remains complete but has lost the surround for the keyhole.As is usual in the highest quality examples, this cabinet chest is completely covered with “Pinyonet” decoration. The front of the chest is ornamented with a very architectural design that, in our opinion, creates a sensation of depth on two planes. In the second plane, there is a balustrade with two large arcades decorated on the inside with a border of geometric motifs, which end on both sides with a kind of fountain vase at each end, all supported by amphorae serving as columns, topped by a pomegranate on each side.Superimposed in the foreground of this landscape are two square vases that preside over the decoration. Nine flowers in their maximum splendor are displayed in the vases and there are also two lateral ones that seem to wither towards their pots, with the intention of creating movement in order to, with this format, better combine their forms with the previously mentioned amphorae on each side. A simplified version with some variations of this decoration can be found on the inside of the upper lid.The sides present concentric circles with sinuous garlands. Following the same pattern, we find richer and more elaborate decoration on the inside of the front lid. It should be noted that the lid has old stains, perhaps ink stains, due to the use of the lid as a writing desk.Finally, the decoration on the drawers displays elements that we have already seen adorning the external part of the chest, such as pomegranates, eight-pointed stars typical of the Mudejar style, flowers and sinuous garlands. It is very interesting to read the article recently published in 2023, in “Vegueta. Anuario de la Facultad de Geografía e Historia” by Mª Isabel Álvaro Zamora "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" (Furniture in 16th century Zaragoza homes. Lexicon, functionality, ornament and prestige), because, as she says in her introduction, she ’studies the furniture existing in 16th century houses, of varied social class and different economic position in Zaragoza [,] based on unpublished documentation from the archive of notarial protocols of Zaragoza (which includes, above all, inventories, as well as partitions of goods, sales, wills, marriage contracts, repossessions and work contracts)’. As it is of specific interest to the piece we present here, we quote an excerpt from section 2.7. dedicated to the “Escritorio, Escribanía, Arquimesa”, included in the section “Muebles de guardar y exhibir” (Furniture for storing and exhibiting) which, as the author indicates, groups together “all those pieces of furniture whose main function was to store one or more types of belongings in their interior or exterior, with the intention of keeping them safe, although some of these pieces of furniture, because of their material, shape and coating, could be decorative objects in themselves”. Such would be the case with this desk. Álvaro Zamora explains that “the documentation consulted in Zaragoza shows that they were almost exclusively owned by the wealthier classes. Thus, we find this type of cabinet chest in the living rooms of the houses of several gentleman merchants. As an example, the “pine cabinet chest with its lock and key” owned by Joan de Palomar, with the “the books of the business, study scissors, a lead inkwell and a dustpan”; the “walnut chest with a base”, that both Miguel Piquer and Miguel de Portas had, the first having documents related to Piquer´s trade and the second having numerous delivery notes, cash, some jewels and silver pieces, a mirror, a prayer book and even a gold tooth cleaner, which also had “two writing desks with two knives and scissors”. They were also found in the study of some notaries, such as Francisco Tobeña, who had “a large pine desk with a red cloth cover” (upholstered). And, exceptionally, we find another one in the house of two well-placed Moors from Villafeliche (Zaragoza), in 1609, a year before their expulsion. [...]However, the most refined and expensive examples were owned by nobles, such as Count Sástago II or the Duke of Villahermosa IV. Of the former, two archives were recorded in the study of his house in Pina de Ebro, one “in which there are two large drawers full of writings”, and another “of walnut carved with inlaid wood”, with documents of the county possessions and lineage kept in their drawers, and writing utensils (“silver and lead inkwells, penknives, silver powder compact and tin salver”). The second had “two small desks of plain wood”, “a small writing desk made of inlaid wood covered in black leather with eight drawers”, there was another one “with eight drawers inside and covered in crimson velvet with golden studs” and another one “made of inlaid wood with eight drawers”, as well as “a chest cabinet covered with green velvet with golden studs and six drawers” and another “of inlaid wood with two drawers”, presumably Spanish furniture that joined other German furniture, such as “a wooden desk from Germany with five drawers”, “a chest cabinet with German inlay with gilded trimming and ten drawers” and another, ‘of German wood with seven drawers and gilded studs with six pieces of carved glass rings.’ It is clear that the upper classes treasured the best chest cabinets as luxury objects that they exhibited and which gave them prestige, from the examples with Torrellas inlay to the pieces that were gilded and upholstered with the best leathers and fabrics, or the highly prized German ones, arriving especially from Ausburg.” This lot has been imported, so its export permit from the Ministry of Culture is guaranteed. Reference bibliography:Álvaro Zamora, Mª Isabel. (2023). "El mobiliario en las casas zaragozanas del siglo XVI. Léxico, funcionalidad, ornato y prestigio" en "Vegueta. Anuario de la Facultad de Geografía e Historia", 23 (2), 629-659. ULPGC. https://doi.org/10.51349/veg.2023.2.04
JAPAN -- HIROSHIGE -- WATANABE, S., (comp.). Catalogue of the Memorial Exhibition of Hiroshige's works on the 60th anniversary of his death. Tokyo, 1918. W. 5 cold. woodblock prints from the original blocks and many b&w. ills. Sm-4°. Cont. black cl. w. red mor. letterpiece. (Small tear in ti-p.).NOTE: Printed in a limited and numbered edition of 275 copies. From the library of A.J.B. Kiddell (1894-1980), collector, and a director at Sotheby’s auction house in London. He was an expert in Chinese jades and porcelain, as well as other ceramics. Inserted are two letters from mr. C.H. Mitchell addressed to Mr. Kiddell.
• Chauffeur driven car for Field Marshal Montgomery during WWII• HM King George VI, Winston Churchill and General Eisenhower were driven in this car• The Phantom III was the only pre-war Rolls-Royce powered by a V12 engine• Incredible history file and highly interesting provenance• Fitted with overdriveWe are pleased to present a truly remarkable automobile – the 1936 Rolls-Royce Phantom III Touring Limousine by Freestone & Webb, chassis number 3-AZ-186. A total of only 710 Phantom IIIs were built before production ceased due to the war, and today, fewer than 300 examples are thought to remain worldwide. This stunning car, famed for its smooth-running 7,338cc V12 engine and unparalleled luxury, is far more than a testament to the marque’s engineering prowess. It is an extraordinary piece of history, with direct connections to some of the most iconic figures of the Second World War, including Field Marshal Montgomery and Winston Churchill.The story of this Phantom III begins in 1936, when it was initially owned by Frederick Wilcock, the CEO of the Talbot Motor Company. At the outbreak of World War II, the car was requisitioned by the Ministry of War’s Transport Section for use by Field Marshal Montgomery, the commanding officer of the British Eighth Army. Montgomery, famously known as “Monty,” used the Rolls-Royce as his personal staff car during the war. The vehicle became known as the ‘Green Car’ due to its unique British Racing Green and black livery, a change from Montgomery’s usual black Rolls-Royces.Montgomery used the Phantom III extensively, travelling between his homes in Virginia Water, Surrey, and London, as well as during his time at Southwick House near Portsmouth in the crucial months leading up to the D-Day invasion of Europe. This car was part of the tight security and secrecy surrounding those meetings. In fact, Montgomery’s car carried not only him but also high-ranking military figures, including General and 34th President of the United States Dwight D. Eisenhower, Prime Minister Winston Churchill, and HM King George VI. A particularly fascinating detail is the custom electric cigar lighter fitted in the rear compartment for Churchill's personal use, still in place today.After the Allied victory in Europe, the Phantom III’s service continued. It was reassigned to the Chief of Staff of the United States Army Air Force, General Carl Spaatz. Unfortunately, while in American hands, it suffered some damage when an American fuel tanker backed into it, the damage that was subsequently repaired. In the 1950s, during the Suez Crisis, the car was purchased by a rubber-planter in Malaya and shipped to Penang. Given the closure of the Suez Canal, it was driven through Italy and shipped from Capetown to its new home in Malaya.By this time, the Phantom III had already earned a reputation as one of Rolls-Royce’s finest models, powered by the iconic V12 engine, unique to the Phantom III and the only Rolls-Royce to be powered by a V12 until the Silver Seraph arrived in 1998. Known for its smoothness, near-silent operation, and extraordinary torque, the Phantom III set a benchmark for luxury motoring in its day. Although the car had faced mechanical challenges in more remote regions, its engine was rebuilt several years ago and remains in superb condition. It now benefits from the fitment of overdrive, enhancing its refinement for modern road use. The car was serviced at Cheshire Classic Cars in 2017 at a cost of around £11,000 plus VAT, work consisted of a comprehensive engine service, a new exhaust system, and an alloy carburettor to replace the fragile Mazak original. In more recent years, the car has seen very little use, so some recommissioning would be recommended but the engine ran very smoothly during our photography, with some coughs from the exhaust, possibly due to either old fuel or an exhaust leak.In 2014, DGY 1 was driven back to Southwick House for a commemorative event marking the 70th anniversary of D-Day. Present at the event were prominent figures such as Patrick Churchill, Winston Churchill’s grandson, and Lady Arabella Stuart-Smith, Montgomery’s granddaughter. The car’s participation in this event, along with its mention in various media outlets, solidified its status as an important historical artifact.The extensive history file for this vehicle is a testament to its remarkable past, including its original wartime requisition letter. The file also contains numerous old logbooks, a huge amount of correspondence during the 1960’s when Mr Wilcock’s Son was trying to track down and purchase the car, writing to several owners trying to chase the car, but often just missing it after it had been sold, photographs, and further documentation detailing the car's fascinating ‘second life’ after the war. This 1936 Rolls-Royce Phantom III (DGY 1) is a rare and historically significant motorcar, offering a unique connection to the military and political leadership of World War II. It is a true collector’s piece, preserved in remarkable, possibly original, condition and benefitting from a well-documented provenance. A once-in-a-lifetime opportunity, this Phantom III is a must-see for any serious collector of automotive or wartime history. Supplied to auction with V5C registration document, highly detailed history folder and fitted toolkit in the boot, this Phantom III would be welcome at many top-level events and deserves to be shown around the world. Consigned by Fraser SmithCHAUFFEUR DRIVEN CAR FOR FIELD MARSHAL MONTGOMERY DURING WWIIHM KING GEORGE VI, WINSTON CHURCHILL AND GENERAL EISENHOWER WERE DRIVEN IN THIS CARTHE PHANTOM III WAS THE ONLY PRE-WAR ROLLS-ROYCE POWERED BY A V12 ENGINEINCREDIBLE HISTORY FILE AND HIGHLY INTERESTING PROVENANCE
ROLAND KLEIN A rare early 1970s soft crepe tiered "Little Black Dress" made in England by Marcel Fenez. Fits modern UK 10-12(Roland Klein (b.1938) first worked at Christian Dior in 1960-1962. He then went to work for Karl Lagerfeld as an assistant at Patou. Klein went to London in 1965, where he worked at Marcel Fenez. In 1973 he was made the director of the house, and was given his own label. In 1979, Klein opened his own design business.Marcel Fenez was a manufacturing business. In the late 1950s and early 1960s they also made the ready-to-wear line of Madame Carven. (Fuzzylizzie Vintage Fashion Guild 2025 https://vintagefashionguild.org/resources/item/label/fenez-marcel-by-roland-klein/ accessed 11.4.25)Lot is item(s) described only. Accessories are not included in the sale.Condition Report: Good condition
SIR HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) FOR ARAM DESIGNS LTD. 'LIBERTY ROOM' TABLE, 1984 hand-painted Finnish birch plywood 51cm high, 74.5cm wide, 45.5cm deep (20in high, 29 3/8in wide, 17 7/8in deep) Julia Lane, former wife of Howard Hodgkin. Literature:H. Hodgkin, M.C. Chamowicz, R. Hamilton and A. Caro, Four Rooms, exh. cat., Arts Council of Great Britain, London, 1984, n.p.;S. Colloway, Liberty of London, Masters of Style & Decoration, London, 1992, p. 215. The Four Rooms exhibition, conceived by contemporary artists Howard Hodgkin, Marc Camille Chaimowicz, Richard Hamilton, and Anthony Caro, was presented at Liberty & Co. in London in 1984. Each artist created a distinct installation, evoking vastly different atmospheres. Hodgkin’s playful and vibrant display contrasted sharply with Hamilton’s minimalist interior, which featured bare walls and only a few functional, undecorated objects. Chaimowicz’s ascetic space and Caro’s Cubist-inspired sculptural arrangement added further layers of contrast.“I wanted to make a strong little table you could use to stand on to mend something around the house, and use the way plywood absorbs ink spills,” said Howard Hodgkin.
LAURENCE STEPHEN LOWRY (BRITISH 1887-1976) GOING TO THE MILL, 1925 signed and indistinctly dated (lower left), oil on panel 43.2cm x 53.4 cm (17in x 21in) Acquired directly from the Artist by A.S. Wallace, 1926, and thence by descent to the present owner. Exhibited:On long-term loan to Pallant House Gallery, Chichester, 2013-2024L S Lowry’s early masterpiece Going to the Mill was painted a hundred years ago and, quite remarkably, has been in the same private family collection for all but one of those hundred years. It was acquired directly from Lowry by the journalist A.S. Wallace, an editor at the Manchester Guardian who had illustrated three of Lowry’s works in the special ‘Manchester Civic Week’ supplement published by the paper. Civic Week was held from the 2nd to the 9th of October 1925, ostensibly to celebrate Manchester’s industrial success, but also with an ulterior motive to discourage the city’s disgruntled workers from going on strike. It was the grim nature of the workers’ lives that, of course, interested Lowry, but which also made it hard for him to find an audience for his visual elegies of the industrial city – a concept that is perhaps hard to fathom now, for those of us that have grown up knowing Lowry as one of Britain’s most celebrated ‘painters of modern life’. During Civic Week, Lowry’s works were displayed in Lewis’s department store, where they were mostly passed by – despite the favourable reviews the Guardian had given his first solo show in 1921. A.S. Wallace, however, fell for Lowry’s depictions of the ‘lovely, ugly town’ (to borrow from Dylan Thomas’s description of his hometown of Swansea), striking up a friendship with the artist and asking to buy one. Lowry duly obliged: Going to the Mill is marked on the back as being £30 – Lowry let Wallace have it for £10. If not his first ever sale, this has to have been one of his earliest. He also threw in an additional work - The Manufacturing Town. The Wallace family still have Lowry’s letter of 9th November 1926, in which the artist writes: ‘Many thanks for your letter and cheque £10. I am very glad Mrs Wallace likes the picture Going to Work and take the liberty of asking you to please accept The Manufacturing Town as a souvenir of the Civic Week. I can assure you that it will always be with great pleasure that I shall think of that Saturday morning.’ The latter painting was sold by the Wallace family – with Lowry’s blessing, as he understood that a new generation of the family needed help getting set up – and is now in the collection of the Science Museum in London. Going to the Mill was kept – recently being on long term loan to Pallant House Gallery, Chichester, and only comes to market now as a further generation finds themselves in need of a ‘leg up.’Going to the Mill is the epitome of a 1920s Lowry, when he truly becomes a unique voice. In the overall smoky, sooty quality of the sky and buildings – it will be a few years yet before Lowry begins to stage his visions of the city against isolating backgrounds of plain flake-white – we see the influence of his teacher, Alphonse Valette, who had been drawn to Manchester precisely for its grit and the Romantic quality of its dark streets and thick polluted skies, the poetic fallacy of heavy-set architecture shrouded in smog, from which individual stories emerged, lamp-lit for moments, before being swallowed up by the gloom. Yet Lowry holds our attention to these individual lives much longer (and this is eventually the function of those white backdrops, to separate individuals from the mass and to hold them in time). Looking at Going to the Mill, initially all we see is a crowd, drawn inextricably – like water pouring towards a drain – to the gate of the mill on the left. But Lowry invites us to spend time looking, and slowly the painting reveals the men walking away from the mill, the woman standing alone looking out at us, drawing the viewer into the lives of others, or the man carrying what seems like a large portfolio, who could be an avatar of Lowry himself. As such, the crowd is broken down into individuals, each with a story – a story that Lowry himself manages to capture with a flick of the brush, a weighting of the paint, a bend of the knee or turn of the shoulder. Going to the Mill shows us that he is no naif painter of ‘matchstick men and matchstick cats and dogs’ as the old pop song goes – this is an artist of true dexterity who is making a deliberate formal choice, abstracting the figure, in order to express a concept, the sense of a life lived in even the smallest, most incidental figure. His works are as composed and deliberate as Seurat’s A Sunday on La Grande Jatte but imbued with an intensity of feeling more easily found in Van Gogh’s early paintings of Dutch peasants. These comparisons are not over-blown, not least as Lowry, in the early 30s, was one of the very few British artists exhibiting in the Salon in Paris and gaining recognition for the precision and intensity of his vision. And it is important to note that it was T. J. Clark, the great art historian of French painting of the late 19th and early 20th century, who curated Lowry’s 2014 Tate retrospective and presented Lowry deliberately as another of the great ‘painters of modern life’.Lowry’s paintings are never simple renditions of what he saw on the streets of his beloved city (or, more accurately, cities – Salford and Manchester). Works such as Going to the Mill are theatrical in their conception, which is why the ‘backdrop’ of the mill at Pendlebury repeats itself, often in altered configurations, throughout his works – such as the slightly later A Town Square, formerly in the Midland Bank collection, which sold at Sotheby’s in 2024. The city becomes a stage for an exploration of loneliness, isolation, loss, hope, although in Lowry’s hands the buildings themselves function as actors – figuring birth, marriage, death and the tyranny of mill-time, before, in later works, they are enveloped in an all-consuming white of Beckettian structure. Lowry was an inveterate theatre-goer who – intriguingly, instructively – cited both the 1920s ‘kitchen sink’ drama Hindle Wakes and Luigi Pirandello’s absurdist masterpiece Six Characters in Search of an Author as highly influential on his work. The breadth between these two plays indicates the breadth of Lowry’s conceptual framework for his apparently ‘simple’ painting. This conceptual reach, centred on the urban experience, is – as T. J. Clark argues so persuasively - what makes Lowry so relevant today, in our world of megalopolises, many of them growing at the same break-neck speed as Victorian Manchester once did.
Unusual Victorian and later Police Gallantry medal trio comprising Victorian Jubilee (Police) medal 1887, with 1897 clasp, City of London Police named to PC. 653 A. Sanders, Edward VII Coronation (Police) medal 1902, City of London Police named to Insp. A. Sanders. and a Balloon Society of Great Britain Medal, engraved ‘Alfred John Sanders, Actg. Sergt. City Police, For Bravery at Fires in the Parish of St. Andrew by the Wardrobe, March 1893.'Alfred John Sanders was born in Heanton Punchardon, Devon in 1864 and twenty years later joined the City of London Police, attaining the rank of Inspector. During his early years of service, he received the Balloon Society of Great Britain Bronze Medal for Bravery in Saving Life. The Balloon Society was an educational and philanthropic society active in the late 1800’s and early 1900’s. On 31 March (Good Friday) 1883, he rescued an old lady, Miss Bird, from the burning printing works of Messrs. Judd. Two days later he was again involved in saving life from a burning building, this time rescuing an aged caretaker, Mrs Fisher, from the top floor and in the process injuring his knee, which required hospital treatment. He retired from the Police in 1909 and spent his retirement in Devon. He died in his house, ‘Pinehurst’, at Vellator, Braunton, Devon, on 13 August 1939. (See ‘The Balloon Society of Great Britain’, by S. Adams and J. Boddington, L.S.A.R.S. Journal 41, p.45-50 for further information on the society and the rescues). Sold with an original photograph believed to be of the recipient, a draft of the journal article and a quantity of copied research, including his police service papers and newspaper extracts concerning the rescues.N.B. Ex. Jack Boddington Collection, D.N.W. 6th December 2006, Ex. John Wilson Collection, D.N.W. lot 615, 25 March 2013.
Grecon miniature vintage rare Queen cloth doll, German, 1920s, hand written to wooden base Grecon No 19, wool-bound wire with cotton face, embroidered features, woollen wig, Excellent Plus to Near Mint, 5"/13cm tall. N.B. Grecon was registered initially by Grete Cohn in Berlin, Germany. The trade-mark name was used for the production of miniature dolls and doll's house dolls. Many of these early dolls were stamped to their wooden bases with D.R.G.M. Grecon. Post World War Two the dolls continued to be made in the UK (as being of Jewish origin Grete Cohn fled Germany to make her living in premises in Streatham High Road, London).
Grecon miniature vintage rare Exotic Dancer cloth doll, German, 1920s, hand written to wooden base Grecon, wool-bound wire with cotton face, embroidered features, woollen wig, black lace dress (to cover her modesty!), Excellent Plus to Near Mint, 4.5"/11.5cm tall. N.B. Grecon was registered initially by Grete Cohn in Berlin, Germany. The trade-mark name was used for the production of miniature dolls and doll's house dolls. Many of these early dolls were stamped to their wooden bases with D.R.G.M. Grecon. Post World War Two the dolls continued to be made in the UK (as being of Jewish origin Grete Cohn fled Germany to make her living in premises in Streatham High Road, London).
Grecon miniature vintage rare Witch cloth doll, German, 1920s, wool-bound wire with cotton face, glass bead eyes, mohair wig, wooden clogs and broomstick, Excellent Plus to Near Mint, 5"/13cm tall. N.B. Grecon was registered initially by Grete Cohn in Berlin, Germany. The trade-mark name was used for the production of miniature dolls and doll's house dolls. Many of these early dolls were stamped to their wooden bases with D.R.G.M. Grecon. Post World War Two the dolls continued to be made in the UK (as being of Jewish origin Grete Cohn fled Germany to make her living in premises in Streatham High Road, London).
Grecon miniature vintage rare Lady with pet parrot cloth doll, German, 1920s, hand stamped to wooden base D.R.G.M. Grecon, hand written 21, wool-bound wire with cotton face, embroidered features, woollen wig, Excellent Plus to Near Mint, 4.5"/11cm tall. N.B. Grecon was registered initially by Grete Cohn in Berlin, Germany. The trade-mark name was used for the production of miniature dolls and doll's house dolls. Many of these early dolls were stamped to their wooden bases with D.R.G.M. Grecon. Post World War Two the dolls continued to be made in the UK (as being of Jewish origin Grete Cohn fled Germany to make her living in premises in Streatham High Road, London).
A large selection of dolls house furniture, including drawing room furniture, Kitchen furniture, pianos, seating, carpets, fireplaces, standard lamps, bedding, longcase clocks, Ranges, dressers, cheval mirror, sanitary ware, doll characters, dinner services, miniature food, utensils etc (Qty)
FRANZ LUDWIG HERMANN (GERMAN, 1723-1791) The Dedication of the Temple of Solomon Oil on canvas, 173 x 354cm Signed and inscribed "Invenit & Pinxit Anno MDCCXX"Franz Ludwig Hermann was thought to have been born in Ettal, Bavaria in 1723, although 1710 has also been suggested as his date of birth. Not a great deal has been written about his life, however we do know he was the son of the painter Franz Georg the Younger (1692–1768), with whom he received his artistic training. Ludwig Hermann was educated at the Noble Academy of the Ettal Benedictines. After he married in 1750, he predominantly lived and worked in the Lake Constance region, where he is said to have painted ceiling frescoes in more than twenty churches. Hermann was also a court painter for the Prince-Bishopric of Constance, a small ecclesiastical principality of the Holy Roman Empire.One of Hermann’s many commissions around lake Constance, was Münsterlingen Abbey. In fact, the only work by Herrmann in a UK public collection is a portrait of Anna Gertrude Hofner, Abbess of Münsterlingen, which is housed in the Bowes Museum, Durham. While a drawing titled The Archangel Michael Banishing Vice, from 1782 is held in the Metropolitan Museum, New York.Monumental in scale, The Dedication of the Temple of Solomon (1760) is one of several known works Hermann created depicting King Solomon. Solomon was the son of David and is believed to be responsible for undertaking construction of the First Temple and home for the Ark of the Covenant on what it thought to be the site of the present-day Temple Mount, where the Dome of the Rock presides in Jerusalem.The painting depicts a fantastical view of the Temple, where early Jewish iconography sits alongside more contemporary Italianate Mannerism. The viewers’ attention is drawn primarily to the large plume of smoke arising from the centre of the picture, which symbolises an overpowering cloud that interrupted the dedication ceremony as a sign from God, indicating Solomon’s success in creating an exalted house and seat for the Ark.Solomon kneels in the foreground as he leads the assembly in prayer, flanked by lion cubs, soldiers and an entourage. The dedication was concluded with musical celebration and sacrifices said to have included twenty-two thousand bulls and one hundred and twenty thousand sheep.Much of the architectural language in the painting is borrowed from 17th century prints such as those of Jan Luyken (Amsterdam 1649-1712). We see objects associated with historical accounts of the Temple such as the raised sacrificial alter and Brazen Sea, a large bronze sculpture that stood in the Inner Court of the Temple and was formed of twelve oxen beneath a large basin. We can also see the ten bronze lavers present in the composition, which are described in the bible as being placed around the Temple building itself, five on the north side and the other five on the south, being used for washing the hands and feet of the priests before ritual service.The bottom flanks of the picture are filled with attendants, minstrels and perhaps merchants. Whilst the door of the temple is open and we catch a tantalising glimpse inside its gilded entrance hall, which led the way to the most sacred room of the Temple, the Holy of Holies, which in turn housed the Ark of the Covenant, the sacred relic for both Christians and the Israelites, containing the two stone tables bearing the Ten Commandments. Condition Report: Re-lined circa 1990's
A George III oak housekeeper’s cabinet, late 18th/early 19th century and later, of breakfront outline, with four arched panel doors above an arrangement of graduated drawers, 265cm wide 55cm deep 240cm highProvenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportGeneral knocks, splits, marks and wear commensurate with age and use. Some fading in places. Some breaks and repairs. Losses to moulding at middle left hand edge and a small piece of return moulding to central break front. Some splits and lifting to mahogany veneer. Warping to large door panels. General wear, scratches and knocks to interiors. Some wear and splits to drawers. General wear to feet. Joints sound and solid. Drawers run smoothly.
RED HOUSE PAINTERS - S/T LP BOX SET (RECORD STORE DAY - 4AD - RHP BOX 1). This wonderful 2015 Record Store Dat issued 6 LP box set includes all four Red House Painters albums originally released between 1992 and 1995: Down Colorful Hill (1992); Red House Painters (1993, also known as "the Rollercoaster album"); Red House Painters (1993, also known as "the Bridge album"); and Ocean Beach (1995). The Shock Me EP (1994) is added as the D-side to Ocean Beach. Limited to 1500 copies worldwide on bronze vinyl. (RHP BOX 1, 2015 UK/ US release on 4AD. All in Ex+/ Like New condition.
CLASSIC/ PROG/ FOLK - ROCK LP COLLECTION. A smashing pack of 19 rock LPs. Artists/ titles include Hardin & York - Tomorrow Today (SBLL 125), Paladn - Charge (ILPS 9190), Franco Battiato - Clic (ILPS 9323), Richard And Linda Thompson inc I Want To See The Bright Lights Tonight (ILPS 9266), Hokey Pokey (ILPS 9305). John And Beverley Martin - Stormbringer (ILPS 9113, pink/ white i labels), John Cale - Fear (ILPS 9301), Michael McGear - Woman (ILPS 9191), Mott The Hoople (ILPS 9108), Quiet Sun - Mainstream, Kossoff Kirke Tetsu Rabbit (ILPS 9188), Sparks - Big Beat, Bob Marley - Exodus, Spencer Davis and Peter Jameson - It's Been So Long, Ronnie Lane - S/T, Claire Hamill inc October and One House Left Standing. Sandy Denny - Sandy and The Meters - Cissy Strut. Condition is generally Ex to Ex+.
Antique baby miniature dolls and a boxed feeding bottle; to include a small 3 ins articulated all bisque baby doll on original presentation purple cushion with ribbon skirt, a tiny 2” bisque dolls house doll baby with dress( dress has marks) and a half doll with lace skirt base with painted yellow and green., together with a 1930s baby feeding bottle with cleaning brush etc, all original ( 4 items) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
German antique Gesch 216 intaglio Eye character shoulder head baby doll on soft core body in antique dress and silk printed cape blue eyes open mouth smiling character with small rattle toy.c 14” Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
Antique 19thC 21” Fine bisque shoulder head fashion doll ( likely Kestner) with very good figured shaped white Kid leather jointed body and lower arms( as shown), original wig and bow and shoes and later faded dress and coat set and hat made by Eve dolls milliner, well made-suit has sun fade at the front and has layers below. Heeled kid lady fashion boots are original , and has one original earring to left side.(1) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
Vintage O gauge D&S Models finely scratchbuilt North Stafford Loco and NSR Horse box wagon &NSR brake Third from Crowbent castings x 2 finely built sets together with a long high quality display case with Perspex weighty cover nad wooden base with a rain trip within-see all images. ( loco and box and 2 carriages and display case) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
French wooden 1908-1911 Painted dolls robe and dressing table, condition worn but Items that require some restoration as unusual pieces and suit an antique doll c 17-22” in scale terms-owned by vendors family since purchased. ( 2 pieces) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
A group of 1960s fashion to include an early 60s cocktail dress with zipper front and braid detail by Spectator of Mayfair, a Graham Bell maxi dress with bell sleeves, a cream crepe evening dress with beaded collar, a black gown with embroidered voile yoke and sleeves, a black lace cocktail dress by Bernard Freres. All size S, (5 in 1 bag) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
Late 20th century womenswear to include a Margaretha Ley for Escada jacket in a lightwieght wool gaberdine with gold tone buttons and zipper pockets in navy blue, a similar skirt (both size 36), a Hardy Amies wool suit with velvet collar and buttons, a herringbone weave striped blazer by Basile, sz 40, a pair of green velvet trousers by Joseph, sz 42, a brown velvet Rena Lange blazer with duck egg satin lining, sz10, a black velvet skirt, unlabelled, a Rena Lange cardigan, still with tags, a Rena Lange baby doll dress with lace bodice, a silk satin Rena Lange pencil skirt, uk 10, Rena Lange virgin wool trousers and a black and white check suit by Escada (12) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
Mary Hoyer Vintage doll- toy ; Boxed unused. A special Christmas golden angel doll 1998, ( short 100 production) with golden dress , separate wings and additional tulle underskirts for a fine display piece. Boxed and as sold pristine with certificate, made USA These are classic dolls from Mary Hoyer high quality dense vinyl dolls and great Heirloom pieces. Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
Antique French 18” Jumeau doll 1907 doll with blue glass spiral eyes 18” tall , slight open mouth , in old antique 2 piece dress and her silk french dolls part perished parasol, outfit and French straw heavily ribboned bonnet straw bonnet , good hands and paint scuffs on body and feet, which is all original to the doll. Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
A 1980s hot pink quilted Escada skirt suit with peplum jacket. The quilting is done in gold thread and there’s a double breasted effect fastening with oversized pink and gold buttons, sz 36, along with an alphabet embossed red grosgrain effect suit by Rena Lange, a navy blue wool core suit with oversized hammered gold tone buttons by Milka Schon, sz 40, a black wool silk blend skirt set with passementerie effect embellishments by Rena Lange and a black wool Hardy Amies suit with black lurex fleck (5) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
Vintage 0 gauge Blacksmith Model Railway interest ; a good scratchbuilt S &DJR loco 73 and coal tender and 2 Finely built carriages all scratchbuilt in dark navy with etched Brass side cast carriages to include the Comp/coupe nd Brake 3rd. All pieces are boxed and finely built. Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
A group of vintage and antique doll's and babies' clothes to include a pink cotton cape with lace trim, a cotton flannel underdress, split crotch pantaloons, cotton jersey wrap vests, a modern tape lace doll parasol and an antique silk parasol, a pair of child's leather clogs with wooden soles, sheepskin booties and other items (qty, 1 box) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
Antique Bisque head doll, Kammer and Reinhardt 121 character 18” toddler with toddler body and straight leg slant hips body, with blue eyes with lashes and an open mouth with rolled inner tongue and 2 teeth , one finger missing and good wooden ball jointed firm body , has her original curled blonde wig( loose) and has a replacement hair wig on in braids in addition. She has a cream duchess silk satin dress and a later summer dress and bonnet and underwear and sandals-attractive model. (1 + additional clothes ) Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
A group of 1970s women's fashion to include a rose print peplum dress with buttons to the side by Jaeger, a Susan Foxton knitted maxi dress in salmon pink, a Younger Set (at) Harrods dress coat with belt, a Caroline Rohmer sundress and a tomato red maxi dress in jersey with suede trim by Ann Buck (5) all size XS-S all grubby from storage but structurally ok Open viewing day in person for this sale is Sunday 27th April at Bishton Hall ST17 0XN 11-3pm: courtyard coffee house and gardens open.
The Orange and Blews - an extremely rare Gold medal attributed to Lt Gen Sir Robert Rich, ca 1748. The medal obverse depicts a group of arrows bound by Electoral crown upon an altar embellished with a skull and drapery, part surrounded with a scroll inscribed “Strength More Powerful By Union”, the medal rim incorporating a further banner translating to “He Who Is Envious Is Inferior”, this being a shot to James 111 (the Old Pretender) or Prince Charles (the Young Pretender). The medal reverse is dominated by a garter and star above an octagonal altar, the garter inscribed with an abbreviation of “Glorious First August”, and a further inscription being an abbreviation of “Another is not Wanting”, with sides carrying an orange and sprig with abbreviation for “4th November”, the dates commemorating William 111’s arrival in England, the Hanoverian Succession to the British throne, while the latter motto being a further shot at the deposed Stuarts According to the King’s Own Regiment Museum at Lancaster, the society was formed some time between 1733 and 1736 by officers of the King’s Own Royal Regiment to honour the Revolution of 1688 and to celebrate the rise to the throne of the House of Hanover. The colour orange referred to the association with King William 111 while the blue, which was spelled Blew in the 18th century, symbolized the royal connection. Archived information reveals that the society convened quarterly formal dinners until its final such event in 1801, and a list of the founders and later members from 1801 is preserved in the British Library at London. Included in the lot is a hardback book entitled 'The Loyal Friendly Society of Orange and Blew, 1733-1802, author Paul Anwyll which includes an image of this medal on page 36.
A deactivated (to the latest standard) MP40 machine pistol serial number 1779. This iconic German machine gun from WW2 is a must for any serious collector. It has a folding stock and what appears to be its original leather sling and flip-up sights This item comes with the latest Birmingham gun barrel-proof house certificate. [S} The latest deactivation standard requires the magazine to be locked in place and the action(cocking) to be locked too.
A deactivated (to the latest standard) Sterling sub-machine gun.(SMG) serial number KR105480. It is marked to the magazine " MAGAZINE STERLING 9MM 34RDS.and marked STERLING 9MM to the receiver. It also has a fully functional folding stock. This item comes with the latest Birmingham gun barrel-proof house certificate. [S] Note: The SMG is welded.
A deactivated (to the latest standard) K98 WW2 German bolt action rifle serial number 7771. The chamber is marked dot 1943. The bolt cycles and the roller sights can be moved to an optimistic 2000 meters. It also has a leather sling that shows some age. that is possibly original. This item comes with the latest Birmingham gun barrel-proof house certificate. [S]
The Orange and Blews - an extremely rare 18th C white metal medal for 'The Loyal Friendly Society of Orange and Blew' with ribbon. The medal obverse depicts a group of arrows bound by Electoral crown upon an altar embellished with a skull and drapery, part surrounded with a scroll inscribed “Strength More Powerful By Union”, the medal rim incorporating a further banner translating to “He Who Is Envious Is Inferior”, this being a shot to James 111 (the Old Pretender) or Prince Charles (the Young Pretender). The medal reverse is dominated by a garter and star above an octagonal altar, the garter inscribed with an abbreviation of “Glorious First August”, and a further inscription being an abbreviation of “Another is not Wanting”, with sides carrying an orange and sprig with abbreviation for “4th November”, the dates commemorating William 111’s arrival in England, the Hanoverian Succession to the British throne, while the latter motto being a further shot at the deposed Stuarts According to the King’s Own Regiment Museum at Lancaster, the society was formed some time between 1733 and 1736 by officers of the King’s Own Royal Regiment to honour the Revolution of 1688 and to celebrate the rise to the throne of the House of Hanover. The colour orange referred to the association with King William 111 while the blue, which was spelled Blew in the 18th century, symbolized the royal connection. Archived information reveals that the society convened quarterly formal dinners until its final such event in 1801, and a list of the founders and later members from 1801 is preserved in the British Library at London. Included in the lot is a paperback book entitled 'The Loyal Friendly Society of Orange and Blew, 1733-1802, author Paul Anwyll which includes an image of this medal on page 39.
A deactivated (to the latest standard) MP44 assault rifle serial number 1649 aa/44. This WW2 German machine gun represents a rare opportunity to own THE original assault rifle. This item comes with the latest Birmingham gun barrel-proof house certificate. [S] The latest deactivation standard requires the magazine to be locked in place and the action(cocking) to be locked too.
![SCOTLAND: 1- [Burt, E]: Letters from a gent in north of Scotland...2 vols, Vol.1- 1754, 1st. Edn. Vol.2- 1759, 2nd. Edn. Fron](https://cdn.globalauctionplatform.com/c30de5d5-edea-4cb4-b6c2-b2bf0091d765/c74568b3-a709-4f5b-a6b2-b2bf0133eb3f/468x382.jpg)
SCOTLAND: 1- [Burt, E]: Letters from a gent in north of Scotland...2 vols, Vol.1- 1754, 1st. Edn. Vol.2- 1759, 2nd. Edn. Frontis plan plus 8 plates. Cont. full speckled calf, rubbed; 2- Pennant, Thomas: A tour in Scotland MDCCLXIX. Warrington, W Eyres, 1774. With vignette title page plus 21 plates (one folding). 4to. Cont. full ribbed calf. G+; 3- Hogg, James: The Jacobite Relics of Scotland; being the Songs, Airs and Legends of the Adherents to the House of Stuart, 2nd series. Edinburgh, 1821. Later leather backed boards, vg; 4- Neale, J. P., Moule, T: Views of the seats of Noblemen. No title, but all 40 engraved plates present. Plates dated 1830-31. 4to. Cont. full calf and later spine; 5- Johnson, S. M'Nicol, D (Remarks): Journey to the Western Isles. Glasgow, Stanhope Press. 1817, 1st. Edn. Half leather, upper cover scratched; 6- Scott: The Lay of the last Minstrel. 1806, 5th edition, (7)
![Bible [English]. The Bible: Translated according to the Ebrew and Greeke, and conferred with the best Translations in divers](https://cdn.globalauctionplatform.com/c30de5d5-edea-4cb4-b6c2-b2bf0091d765/534685f3-1c63-4738-938d-b2bf01337747/468x382.jpg)
Bible [English]. The Bible: Translated according to the Ebrew and Greeke, and conferred with the best Translations in divers Languages..., Imprinted at London by Robert Barker, 1614/13, general title and New Testament title within woodcut border (imprint to general title dated 1614 and imprint to New Testament title dated 1613), And with The Genealogies Recorded in the Sacred Scriptures... by J[ohn] S[peed]. PP: (iv), (ii), 1-34 (Genealogies), (ii) Double-Page Map, 1-435 Leaves (434) End of Apocrypha, (viii), 441-554 Leaves (all catch words correct); Bound With: Two Right Profitable. L, Robert Barker, 1613. PP: (ii) TP, A-L2. Colophon dated 1613. 4to (21.5 x 16cm). Original boards, with later spine. Cont. Manuscript notes to endpapers, blank pages and some margins; The first few pages, including the Genealogies with tears and small losses; some edges frayed.From the library collection of Mulberry House, a former rectory of High Ongar church.
Four Bibles: 1- 1726 BIBLE: The Holy Bible, containing the Old Testament and the New. Edinburgh, John Baskett, 1726 (both title pages). PP: A-Uuu4 (Last page loose & full on cont. manuscript family history), A-K8 (Apocrypha); (Xx1) New Testament title page, Xx2-Lll4, a-d4 (Index), A-G2 (Psalmes, etc). 4to. (25.5 x21 cm), C19 full blind stamped leather, a.e.g. The bookplate of: Lt Col George Sceales to front pastedown; 2- 1743 BIBLE, Etc: The Book of Common Prayer. Oxford, Thomas Baskett, 1743, PP: A-G4; Bound with: The Holy Bible, containing the Old and New Testaments. Oxford, T. Baskett, 1743. PP: A-Rrr2 (including the Apocrypha); The New Testament. Oxford, T Baskett, 1743. PP: (ii) Title page, Qqq2-Iiii2, & a-d4 (Index); Bound with: Whole book of Psalmes. L, Company of Stationers, 1746. PP: A-G4. 4to. (27 x 21.5 cm), cont. full panelled calf, rubbed and Common Prayer title page with tears; 3- 1761 BIBLE: The Holy Bible, containing the Old and the New Testaments. L, Mark Baskett & Assigns of Robert Baskett, 1761 (Both title pages) PP: A-Uuu4m A-K8n A-U4m A-E3 (Index). 4to. (25.5 x 21 cm). Cont. full tree calf, rubbed. Leaf A of the Index, torn with repair & loss; 4- The Holy Bible, containing the Old Testament and the New. L, John Baskett, 1716 (both title pages). PP: A-Bbb2, a-l8 (Apocrypha), A-P4 (New Testament); Preceded by The Whole book of Psalms. L, S. Collins, 1717; AND An incomplete Index to the Holy Bible (lacks the title page), 4to. (25 x 19 cm), Cont. full leather, rubbed and upper cover detached. (4)From the library collection of Mulberry House, a former rectory of High Ongar church.
Six Bibles: 1- The Holy Bible, the old and the new Testament. L, Charles Bill & Executrix of Thomas Newcomb, The engraved Title dated 1704, & the two printed titles dated 1703. PP: Two titles, A2, A-Eee4, (Fff)-Kkkk2 New Testament, a-b8 (Index, etc). 4to. Cont. full panelled calf, rubbed and hinges cracked, front endpapers loose; inscription to verso of the printed title; the odd tear and; 2- Henry, Matthew: The Family Devotional Bible, in 2 vols. Bound in 3. L, J. Talis, no date, c1850, with numerous engraved plates. 4to. (28 x 23 cm), cont. Full leather, rubbed. Tear and repair to two pages in vol.1, & the first page of the new Testament with frayed edges; 3- The Vulgate New Testament - The Douay Version of 1582, in parallel columns. S Bagster, 1872; 4- The Holy Bible, containing the Old Testament and the New. Cambridge, Archdeacon & Burges, 1795. (Both title pages). 8vo. Cont. full calf, rubbed, detached and lacks one cover; 5- 1661 BIBLE, Etc: The Book of Common prayer. L, John Bill & Christopher Barker, 1663. PP: A-M6; Bound with: Bible- The Old Testament, L, Christopher Barker, 1661. PP: Engraved Title page, Dedication; 6- The Holy Bible. Oxford, Thomas Baskett. 1761. Covers worn, A/F, (8)From the library collection of Mulberry House, a former rectory of High Ongar church.
![Bible [English] + Prayer book + Genealogy + Psalms: The Book of Common Prayer. L, Robert Barker & Assignes of John Bill,](https://cdn.globalauctionplatform.com/c30de5d5-edea-4cb4-b6c2-b2bf0091d765/32104fa5-5e92-4f0a-a96b-b2bf01334eb4/468x382.jpg)
Bible [English] + Prayer book + Genealogy + Psalms: The Book of Common Prayer. L, Robert Barker & Assignes of John Bill, 1637. PP: A-G4 (The Engraved Title page torn & repaired); Bound With: The Genealogies.. By J[ohn] S[peed], 1638. PP: A-C2 (including TP), (ii) Map of the Holy Land; Bound With: The Holy Bible, Containing the Old Testament, and the New. Robert Barker & Assignes of John Bill, 1638. PP: A-Yy3 (End of Apocrypha); Bound With: The New Testament. Robert Barker & Assignes of John Bill, 1638. PP: (5 leaves) including Engraved TP, Zz-Kkk8 Bound With: The Whole Book of Psalmes. Companie of Stationers, 1638. PP: A-G4. (18x12 cm); Contemporary full leather with elaborate gilt decoration, marbled endpapers and all edges gilt; a little rubbed. The occasional small tear or stain; on the whole, complete and very good.From the library collection of Mulberry House, a former rectory of High Ongar church.
Five Bibles: 1- 1716 BIBLE: The historical part of the Holy Bible or the Old and New Testament exactly and completely describ'd in above two hundred histories curiously engraved by J. Cole from the designs of ye best masters. Engrave title page followed by a printed one: London, John Baskett & assigns of Thomas Newcomb & Henry Hills, 1716 (both title pages for the Old and New testaments). PP: A-Bbb2, a-l8 (Apocrypha), P4, a-b8 (Index); Bound with: The whole book of Psalmes. L, S. Collins, for the Company of Stationers, 1717. PP: A-F8. 4to. (25 x 20 cm). C19 full leather, rubbed & small cut to head of spine; covers taped to the endpapers; 2- 1706 BIBLE, Etc: The Book of Common prayer. Oxford University printers, 1706. PP: A-K2; Bound with: The Holy Bible, Old Testament: Oxford University printers, 1706 (Engraved title page). PP: A-Ddd2, a-aa2 (Apocrypha), New Testament, printed title page, Oxford University Printers, 1706. PP: A-Q4, a-b8 (Index); Bound with: The whole book of Psalmes. L, Company of Stationers, 1706. PP: A-G3 (G3 torn, with loss); occasional small stain and tear, browning to few pages, otherwise a good copy and looks complete, but not collated. C19 half leather, rubbed; 3- The Holy Bible, containing the Old Testament and the New. Engraved title page, dated 1678, and Printed title page: L, Charles Bill & the Executrix of Thomas Newcomb, 1697. PP: Title pages, A2-Kkk8; a-o3 (Apocrypha); New Testament (lacks title page), PP: A2-S2; Bound with: The Whole book of Psalms. Horton, for the company of Stationers, 1697. PP: A-G3. 4to. Cont. full leather & later crude spine. Tears, repairs & some loss. A/F; 4- 1683 BIBLE: The Holy Bible, The Old Testament. Lacks title page; PP: A-Lll2; The New Testament. Oxford, at the Theatre, 1683. PP: Aaaa-Rrrr6, A-D4 (Index); Bound with: The book of Psalmes. L, Company of stationers, 1676. Incomplete. 4to. (24 x 19 cm), Cont. full calf, rubbed and spine torn with small loss; 5- 1661 BIBLE, Etc: The Book of Common prayer. L, John Bill & Christopher Barker, 1663. PP: A-M6; Bound with: Bible- The Old Testament, L, Christopher Barker, 1661. PP: Engraved Title page, Dedication leaf, a-b4, B-Gggg2; The New Testament. L, Henry Hills, 1661. PP: AH8. Title page torn, and lacks pages D2 to E7 (torn off, small residue remaining). Red ruling throughout. The upper board is in crude plain modern leather. Sold A/F, with all faults. (5)From the library collection of Mulberry House, a former rectory of High Ongar church.
Three Bibles: 1- BIBLE, Etc: The book of Common Prayer. L, Robert Barker & Assignes of John Bill, 1642. PP: Title, (A2)-E4, (vi); Bound with: The Holy Bible, containing the Old and New Testaments. L, William Bentley, 1648 (Both titles, Old & New). PP: Title, A2-N8, Mm-Tt8 (Apocrypha), (viii) four illustrations, one hand-coloured; NT title,(Oo2)-Bbb3, (ii) blank; Bound with: The Whole book of Psalmes. L, A.M. For Company of stationers, 1648. PP: Title, A2-A5,1-92, (ii) Table. Illustrated with numerous plates. (17.5 x 11.5 cm). Cont. full leather gilt. Covers rubbed; a few small tears, no loss. G+; 2- BIBLE, Etc: The genealogies recorded in the sacred scriptures.. By J. S. (John Speed), 1633. PP: A-C3 (incomplete, last page frayed with loss, & loose; Bound with: The Holy Bible, containing the Old Testament and the New. L, Robert Barker & assignes of John Bill, 1634 (Both titles, old & New). PP: Title, A2-Yy2 (includes Apocrypha); Yy3 New Testament Title-Kkk8; Bound with: Briefe Concordance. L, 1630. PP: (iv) Title & to the reader, A-F8; Bound with: Whole book of Psalmes. L, G.M. For the Company of stationers, 1634. PP: Title, A2-G4. Cont. full leather & later spine. With 5 of 8 brass corner pieces, & one of two centre pieces, also lacks the straps. the block is detached from the binding, and some gatherings are loose. Although it looks complete, it is SOLD A/F; 3- BIBLE, Etc: The Old Testament: Lacks title, PP: A-Bbb5; New Testament title: London, Charles Bill & Executrix of Thomas Newcomb, 1695. PP: (Bbb6)-Rrr3; Bound with: The whole book of Psalms. L, H Hills for Company of Stationers, 1693. PP: A-G8. Illustrated with numerous plates. 18 x 12 cm. Cont. full leather, rubbed and lacks the two clasps. X4 & X5 (Old Testament) torn with loss; Oooo5 bottom corner torn with small loss; Sold A/F. (3)From the library collection of Mulberry House, a former rectory of High Ongar church.
BIBLES, Etc.(English): 1- The Genealogies recorded in the sacred scriptures.. By J. S. (John Speed), no date C1632. PP: Title page + 34pp; Bound with: The Holy Bible (lacks the General title page. PP: (xvi) Dedication, etc, + Leaves: 1-232, 237-378, 380-404 (Mispagination, but NO missing pages). Two pages with torn margins and loss of a few words; New Testament Title Page. London, Robert Barker & Assignes of John Bill, 1632. PP: TP, (405)- 418, 502 (misbound), 419-501, 503-507 (Complete), Colophon dated 1632; Bound with: (ii) blank, The Whole book of the Psalmes. L, R Badger, for the Company of Stationers, 1632. PP: 1-108, lacks leaf 109/110, and 111/112 torn with loss, and finishes with a double page Map of 'Canaan & bordering countries', incomplete? Cont. full leather, rubbed and lacks the spine; 2- Mathew Henry: An exposition of the prophetical books of the Old Testament. London, Printed for F Lawrence, et al, 1712. PP: A-A4, *a-*a2, B-Hhhhhhhh2. Folio (35.5x24.5 cm), Cont. full panelled calf, hinges cracked and the front two blank endpapers taped on; 3- The Holy Bible, containing the Old and New Testaments. [London, for George Eyre & Andrew Strahan, 1813] Lacks the general title page. PP: A2-5K2, A-2A4; Bound with: The New Testament. London, for George Eyre & Andrew Strahan, 1813. PP: TP, 5L2-6Y4. (30x24 cm). Cont. full leather with blind stamped decoration and all edges gilt. Covers rubbed, front blank endpaper taped to the pastedown (3)From the library collection of Mulberry House, a former rectory of High Ongar church.
FOUR BIBLES: The Comprehensive Bible, containing the Old and New Testaments. L, S Bagster, 1827 (both title pages). PP: (viii), 96, 1352+Indices. 4to. Cont. full leather, a.e.g. VG; The Holy Bible, containing the Old and New Testaments. Oxford, John Baskett, 1736 & 1735 (New Testament). PP: (iv) Title & Dedication pages: loose, frayed & creased, A-Ddd8, Eee-Rrr2 (Apocrypha), NT title page, Qqq2-Iiii2, a-d5 (Index & Tables)- the last 3 leaves loose, frayed & creased. 4to. The block is loose and in later covers; The Holy Bible, containing the Old and New Testaments. Edinburgh, JH Blair & J Bruce, 1799 (both title pages). PP: A-4I1, A-S4, (4I2)- 5N4. 4to. Original boards recovered in faux leather; cont. inscriptions to endpapers and verso of NT title page; Blomfield, E: The Impartial Expositor and Family Bible Containing the Old and New Testament, in 2 vols. Bungay, Brightly and Childs, no date, c1815. With numerous engraved plates. 4to. Covers and the first few pages detached. (5)From the library collection of Mulberry House, a former rectory of High Ongar church.
Seven Bibles: BIBLE, ETC: The book of Common Prayer. L, Charles Bill & Henry Hill, Thomas Newcomb, 1688. PP: Title, A2-I8; Bound with: The Holy Bible, containing the Old Testament and the New. L, Charles Bill & Thomas Newcomb, 1690. PP: Title, A2-Iii6, A-I4 (Apocrypha); NT title, dated 1694, (Iii77) -Cccc4. (20.5 x 12.5 cm). Cont. full leather with gilt decoration; rubbed; The book of Common prayer with tears and loss to some six leaves; The Holy Bible, containing the Old and New Testaments (Reference Pearl edition). Glasgow, James Lumsden, 1856. With colour maps. Cont. full leather with gilt decoration & a.e.g. Vg; The English version of the Polyglot Bible; Old and New Testaments. L, S Bagster, no date, c1880, with six colour maps. Cont. full leather with blind decoration and a.e.g. VG; The New Testament, in an easy reporting style of Pitman's Shorthand. Pitman, ND, c1900, frontis map. VG; The New Testament. Halifax, for Preston & Sugden, 1815. With a frontis, which has been hand coloured. Cont. reverse calf, G+; Holy Bible. Eyre & Spottiswoode, 1864. Full morocco, rubbed; The New Testament. Aberdeen, George King, 1827. Cont. half bound, rubbed. (7)From the library collection of Mulberry House, a former rectory of High Ongar church.
Six Bibles: 1- The Holy Bible, containing the Old and New Testaments. Frontis /Pictorial general Title, Title page: Oxford, Printed by the University Printers, 1701 (both title pages), PP: Frontis, (x), A-Iii, a-s2 (Apocrypha), (iv) Frontis & New Testament title page, A2-R6, a-e (Index). Folio (45 x 30cm), Cont. full reverse calf; rubbed and torn with loss; hinges cracked; worm holes to the last few pages of the Index & last few pages of the New Testament; 2- Holy Bible, The old and new Testaments. L, Thomas Baskett, 1753-54. PP: (6 leaves) Title, dedication, etc, A-Yyy1 (includes Apocrypha); NT Title page, A-S1+Index & Tables. Folio, 49 x 33 cm. Cont. full leather, spine taped on. Tear to corner of dedication page, with small loss; the odd tear & stain; 3- The Holey Bible, containing the Old and New Testaments. Oxford, John Baskett, 1727 (both Title pages). PP: (x) includes general Title, (ii) Title page for 'Sacred Geography' But the work is not present, A-Yyy, (iv) Frontis & Title page to the New Testament, A-S, A-F (Index); Bound with: The Concordance. R Ware, 1726. Mostly taken from a smaller copy, A/F. Folio, (47 x 29.5cm). Cont. full calf and later spine; four corner metal pieces and a central one. With tear and loss to upper cover; 4- The Holy Bible, containing the Old Testament and the New. Oxford, Clarendon Press, printed by W Jackson & A Hamilton, 1781 (both title pages). PP: (iv) TP & dedication, A-9Y2M, 9Z-12C1 (Apocrypha), (ii) New Testament title page, 12D-14Y2. Elephant folio (48 x 32 cm). Cont. full reverse calf, rubbed and with tears, scattered worm holes & repair to edges of the first six leaves; 5- Holy Bible containing the Old and the New Testament. Liverpool, Nuttall, Fisher, Dixon & Gibson, 1813, with two title pages, a frontis to the New Testament & numerous engraved plates. PP: TP, vi, (ii) dedication, B-10K2, A-2Y (Apocrypha), 10L-13R2. Folio, 44 x 28cm. Cont. full leather, covers detached; one plate with a tear across (no loss); occasional small tear; 6- William Burkitt: Expository Notes with Practical Observations on the New Testament. L, Printed for James, John & Knapton, et al, 1734. With a frontis portrait. Folio, (38.5 x 24.5cm). Cont. half leather; rubbed, the last two leaves creased and edges frayed (6)From the library collection of Mulberry House, a former rectory of High Ongar church.
BIBLE, etc: The Book of Common Prayer. Oxford, John Baskett, 1719. PP: a-a8 (bottom blank margin of a4 cut out & 4 leaves torn, no loss), A-H8; Bound with: The Holy Bible containing the Old and New Testaments. Oxford, John Baskett, 1723. PP: A-Qqq4; Bound with: The New Testament. Oxford, John Baskett, 1723. PP: (Qqq5) - Iiii2, a-e, (ii) blank; Bound with: The Whole book of Psalms. T. Wood & S. Palmer for the Company of Stationers, 1723. PP: 1-56. Quarto (27x21 cm). Cont. full leather with blind stamped decorations and gilt decoration to spine, marbled endpapers and all edges gilt. VGFrom the library collection of Mulberry House, a former rectory of High Ongar church.
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