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Land Below the Wind, John Boswell's London Journal, and Marbacka. Land Below the Wind: Agnes Newton Keith; Little, Brown and Company; New York; 1940; 1.5in x 6in x 8.75in. Boswell's London Journal 1762-1763: Fredrick A. Pottle; McGraw-Hill; New York; 1950; 1.25in x 6.25in x 9.25in. Marbacka; Selma Lagerlof; Doubleday, Page and Company; New York; 1926; 1.5in x 5.75in x 8.25in. This item has no reserve. Country of Origin: United StatesCondition: Age related wear.

Motoring Literature, including a 1964 Volkswagen Beetle owners pack (some water damage), two buff logbooks (Royal Enfield 500cc, VPC 874 and a 1957 Norton 600 outfit, VRH 648, both not found on the DVLA register), Shell Successes 1960 book, Vintage Motorcycles Illustrated (from the VMCC), Glass's Motorcycle Check Book, The Rudge Enthusiasts Journal, Vintage Sports and Racing Cars book, and a Fordson Dexta instruction book

A large quantity of The L & NWR Society Journal magazines.

Zeitschriften - Mode - - Sammlung von verschiedenen Modezeitschriften, meist 30er Jahre. Enthält: Sport im Bild und (Nachfolger) Der Silberspiegel. Sammelband von 1934 sowie Jg. 1936, Nr. 7-12 (gebd. in 2 Bdn.) und 15 Einzelhefte. - Die neue linie, 5 Hefte (1938-45) - Das Herren-Journal, 8 Hefte - Hella - Frauen-Illustrierte, Sammelband 1939 - Weite Welt, 20 Hefte - Konvolut weiterer Hefte aus Deutsche Moden-Zeitung, Deutschland, Illustr. Zeitung Leipzig, Neue Illustr. Zeitung, Elegante Welt, Berl. Modenblatt, Kladderadatsch, Brennessel, Fliegende Blätter u.a. - Teils mit Gebr.-Spuren.

Medizin - - Giovanni Baptista della Porta. De Humana Physiognomonia libri IV. Qui ab extimis, quae in hominum corporibus conspiciuntur signis. Editio postrema priori correctior. Mit Druckermarke auf Titel und zahlr. Textholzschnitten. Frankfurt, Hoffmann für Fischer, 1618. 6 Bll., 2 Bll w., 402 S., 21 Bll., 2 Bll. w. Ldr. d. Zt. (fleckig und etwas beschabt, Kapitale überklebt). Wohl 3. in Deutschland gedruckte Ausgabe. - Wellcome I, 5199 - Hirsch-H. IV, 656/7 - vgl. Garrison-M. 150. - Porta's De humana physiognomia "clearly established the doctrine of the correspondence between the external form of the body and the internal form of the person" (DSB XI, 97). - Notiz auf Vorsatz, Seiten teils stark gebräunt. - Dabei: Blancardi, S., Lexicon Medicum. Viri celeb. Joh. Heinr. Schulz. Praefationem praemisit A. E. Büchner. Mit gest. Frontispiz. Magdeburg, Bierwirth, 1748. HLdr. d. Zt. (beschabt). - Mehrf. gestempelt. - Hufeland, C.W., Neues Journal der pract. Arzneykunde, 20. Bd., 1.-4. St. Mit 3 Kupfertaf. Berlin, Unger, 1804. HLdr. d. Zt. - Paullini, Heilsame Dreck-Apotheke. 1. Th. Mit 1 Abb. Stuttgart, 1847. OKart. (etw. fl.) - (Der Schatzgräber III).

Luftfahrt - Ballonfahrt - - Sammelband mit 12 zeitgenössischen Zeitungsberichten zu den Luftfahrten von Jean-Pierre Blanchard und John Jeffries. 1785-1786. 22 Bll. 8°. Mod. Halbmaroquin mit breiten Maroquinecken, Marmordeckeln, goldgepr. RTitel und DVignette, Kopfgoldschnitt (Rücken minimal verfärbt). Signiert: Georges Gauché, Paris. Enthält: 8 Ausgaben und ein Supplément des Journal de Paris. Je 2 Bll. bzw. 1 Bl. (Supplément): 11. Januar 1785. - 12. Januar 1785. - 13. Januar 1785. - 28. Januar 1785. - 3. Februar 1785. - 4. Februar 1785. - 22. März 1785. - Supplément der Ausgabe vom 11. Oktober 1785. - 15. Januar 1786. - Auszug aus dem Journal Politique de Bruxelles von Januar 1786. 1 Bl. - Auszug aus The European Magazine and London Review. Juni 1785. 1 Bl. - Auszug aus einem nicht identifizierten britischen Magazin. Januar 1785. 3 Bll. Enthält Berichte über die missglückten Flugversuche eines Mr. Harper aus Birmingham und eines Mr. Sadler. - Mit Marginalien in Buntstift. Etwas gebräunt und nur vereinzelt leicht fleckig. Interessante und wohlerhaltene Sammlung. Aviation - Ballooning - Collection of 12 contemporary newspaper reports on the balloon flights of Jean-Pierre Blanchard and John Jeffries. Mod. half morocco with wide marocco corners, marbled boards, gilt title and cover vignette, gilt top edge (spine minimally discoloured). Signed: Georges Gauché, Paris. - Contains: 8 issues and a supplement of the Journal de Paris: see above. - Extract from the Journal Politique de Bruxelles. January 1786. - Extract from The European Magazine and London Review. June 1785. - Extract from an unidentified British magazine. January 1785, containing reports on the unsuccessful attempts at flying by a Mr Harper from Birmingham and a Mr Sadler. - With marginalia in coloured pencil. Somewhat browned and only occasionally slightly stained. Interesting and well-preserved collection.

Journal of a voyage from Scotland to China in 1839.

Bar Knight and Co of Glasgow, vertical steam engine, spirit fired, comprising green painted base, with single cylinder vertical engine, with filler cap and 1 inch spoked fly wheel, free running, sold and advertised from the Trade Journal Games and Toys of 1920, retailed by A.Bell of London

Joker. Jennie Jewitt-Harris. Oil on canvas. Signed to the front, framed, 40cm x 30cm. Jennie Jewitt-Harris gained her PhD in Fine Art from Brighton University/UCA and her Medical degree at Kings College, London. Jennie had two artworks selected for the 250th Royal Academy Summer Exhibition 2018, completed a residency at Watts Artists Village, and her works are in private collections nationwide. Her solo exhibitions include In Residence at Watts Contemporary Gallery, Fideles Oculi at C&C Gallery, London; Time and Vision at One Paved Court, London and Anything But the Eyes at James Hockey Gallery, Farnham (this exhibition moves to The Mirror Gallery at South Hill Park in February 2021). She has exhibited in many group exhibitions, including at the London Art Fair and Affordable Art Fair, at the Cultural Olympiad in 2012, and as a duo with Aimee Jewitt-Harris at Blah Blah and Tandem at the Poly Gallery Falmouth. Jennie uses her knowledge of psychology and medicine to inform her practice which considers our relationship with time, connection with others and what makes us who we are, using a variety of media mainly collage and painting. She has appeared with her artworks on Great British Railway Journeys and has permanent photographic works on display at Guys Hospital and The Royal Free Hospital. Her artworks have been published by the British Medical Journal, The Psychologist and The Ophthalmologist magazines. Please note that Ewbank's are charging no buyers premium for any lots sold in this auction.

Qty of books inc antique French (inc 1785 Nouvelle description des curiosites de paris) & 1870's journal(s) of the Geological Society of London (a/f) etc

Bronte' Studies - The Journal of the Bronte' Sisters.

λ&nbspGRAHAM SUTHERLAND (BRITISH 1903-1980) DEVASTATION - EAST END - BURNT-OUT PAPER ROLLS & FALLEN LIFT-SHAFT Watercolour, coloured crayon, ink and chalk Inscribed Mound of paper rolls in burnt warehouse (to centre of the sheet); further inscribed Lift-shaft fallen over rubble (lower left); titled (verso) 21.2 x 16.3cm (8¼ x 6¼ in.)Painted in 1941. Provenance: Private Collection, Herbert Spencer (a gift from the artist) Thence by descent Literature:D. Cooper, The Work of Graham Sutherland, London, 1961, no.40b (illustrated as Burnt-out Paper Rolls) Herbert Spencer (1924-2002) was one of the most influential British graphic designers of the 20th Century. In 1949 he founded, wrote and designed the ground-breaking journal Typographica. It focused on typographical design and its applications in the real world. It was the first journal to really explore how typography can contribute to and even shape popular culture as opposed to merely its practical applications and it introduced a new generation of printers and designers to the history of modernist design in Europe. As a designer one of his first clients was the Institute of Contemporary Arts where he met Eric Gregory, the Chairman of Lund Humphries. They would subsequently go on to publish Typographica and Douglas Cooper's The Work of Graham Sutherland in 1961 which Spencer designed. It was during this project that he met and became friends with Graham Sutherland.     Condition Report: The sheet is stuck down with glue at the two lower corners. Old glue residue visible to the upper two corners where the sheet was once stuck down. The illustration of paper rolls in the upper section of the sheet has been executed on a separate sheet and stuck down. A small nick to the lower left edge. Condition Report Disclaimer

Various volumes of Engineering and Illustrated Weekly Journal, edited by WH Maw and B Alfred Raworth, published by The Offices for Advertisements and Publication London 1906, cloth bound with gilt tooling.

Hali Magazine: The international Journal of Oriental Rugs & Carpets, Vol 1-4, Spring to Winter 1978, folio, later bound as one volume, quarter brown leather and cloth boardsThe Library of Raymond Benardout

A rather interesting collection of paperwork, photographs, drawings, models and other items relating to Scalextric and Merit. Includes Scalextric catalogues from the 1960s and 1970, Topper toys 1970, Games toys Hobbycrafts by Mini Models 1970, Craft Master Palette Touch tapestry & Readicut 1970, 3x 101 circuits for Scalextric drivers, 2x issue of Model roads and racing from 1964, A4 colour leaflet for Tri-ang Skyrail toy, British toys the International Toy journal September 1967 featuring Century 21 and Captain Scarlet toys, Scalextric " The definitive guide" hard back book, also a few items from J & R Randall ( Merit), includes possibly pre production HO scale figures and a prototype boxer figure, These come with some hand drawn sketches and notes. Lot also includes a good quantity of Scalextric Black & white publicity photos, some of prototypes and pre production pieces, there are slides and a letter from Tri-ang to the owner, Some large size hand painted Scalextric mechanic figures and a couple of Merit hand built model kits. Includes other items. This is an amazing Archive from the original owner. Eric Arthur Davis designer for Tri-ang, Lines Brothers, Mini Models. GC-VGC £150-200

FIVE BOXES OF NUMISMATIC AND COIN COLLECTION BOOKS, MAGAZINES, AND JOURNALS to include twelve ring bound copies of the International Bank Note Society Journal and a large quantity of unbound copies, reference books on Russian, British, and European coinage, a collection of newspaper cuttings from 1944-1945 from various newspapers from across the British Empire, money catalogues, etc (5 boxes) (s.d)

Chelsea The Blues Early 60s Supporters Club Memorabilia: The Blues supporters club journal Volume 10 numbers 2 to 7 inclusive plus a long sheet for Sep/Oct 61 of the harder to obtain magazine. C/W from 61/62 home programmes v Morton fair and Wolves Youth Cup semi final good. Included is a 60/61 Supporters Club balance sheet. (10)

A bone handled hunting knife, 23 cm, also a pair of "The Wray Eleven" binoculars, ashtray, journal boxes, (A Lot). 

A collection of Great Western Railway Journal glossy magazines - mostly 1990's and early 2000's titles

Lancashire Lightning XL shirt, England Cricket XL Shirt, Lancashire Cricket 46/48 shirt, England Cricket L top, England Cricket L t-shirt, Lancashire Cricket Club hat Tigermeet baseball cap, England Cricket cricket ball, Golf Masters Journal 2012 with carry bag and Golf cap

A VICTORIAN OVAL GILTWOOD OVERMANTLE MIRROR BY C.NOSOTTI, 19TH CENTURY The rope-twist surround with tied cresting, supported by dolphins with looped tails and a channelled scrolled base, metal label to reverse `C.NOSOTTI, CARVER & GILDER, UPHOLSTER & CABINET MAKER, 398 & 399 OXFORD ST' 170cm high, 180cm wideIt is believed the firm of C. Nosotti began in 1822 as evidenced by an early Victorian mirror sold Christie's, London, 9 December 1992, lot 402 bearing the label 'C. Nosotti, House ... Looking Glass Manufacturer 397.398 Oxford Street 399.399, established 1822.' In 1829, Francis Nosotti, looking glass and picture frame maker, is listed at 298 Oxford St, while Andrea Charles Nosotti is listed at 2 Dean St., Soho, from 1835-40, trading as carver, gilder, upholsterer and cabinet maker. Almost certainly born in Milan, Andrea Charles Nosotti's high standard of workmanship led him to exhibit a giltwood cabinet at the 1862 London Exhibition that he had made for the Countess of Waldegrave's drawing room at Strawberry Hill. The cabinet is illustrated in J. Meyer, Great Exhibitions 1851-1900, London, 2006, p.167. Further commissions came from the millionaire industrialist John Allcroft at Stokesay Court, Shropshire. Nosotti advertised furniture in the Art Journal Catalogue of the International Exhibition, 1867, noting that his firm enjoyed the patronage of the Princess of Wales and he later collaborated with the firm Howard and Sons. Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The mirrors replaced.Condition Report Disclaimer

AN ANTIQUARIAN GILT BRONZE AND CHINESE LACQUER-MOUNTED BREAKFRONT SIDE CABINET 19TH CENTURY, OF LOUIS XIV STYLE, THE LACQUER PANELS 18TH CENTURY The marble top above a frieze of foliate scrolls and acanthus above three doors displaying re-used lacquer panels enclosing oak shelves, above a raised plinth centred by a panel with bearded mask and with rosette blocks, on tapering feet with acanthus clasps, one lock stamped Comyn Ching & Co 97cm high, 160cm wide, 58cm deepProvenance: The Hon. Claude John Yorke, and thence by descent This imposing cabinet reflects the antiquarian taste prevalent in England in the 19th century, led by London dealer/agents and manufacturers such as Edward Holmes Baldock who was trading from various addresses in of Hanway Street from 1805 and Robert Hume trading from Berners Street from 1829. Indeed the Covent Garden and Soho areas of London witnessed a huge number of businesses engaged in the trade in new, restored and second hand furniture and works of art, from the likes of Baldock and Hume whose clients included royalty and the nobility, to traders who bought and sold `curios' and others who were little more than dealers in scrap. The trade was fanned by enthusiastic and wealthy and collectors of `antiques' such as William Beckford (d.1844) and the Duke of Hamilton (d.1852), historic house refurbishments such as at Hardwick Hall (1839 - 49) and sometimes hare-brained projects such as the Earl of Eglinton's chivalric Tournament of 1839 offered dealers an easy opportunity to make money, while auction sales of eminent collections brought yet more artefacts to the market. Part of this trade saw new furniture created re-using older element, particularly those items deemed precious or valuable, hard stones, Chinese and Japanese lacquer, carved ebony, boulle and tortoiseshell and even old oak. Makers such as Baldock incorporated these in conventional ways, using newly made pieces and the best are superbly executed. A detailed study of the trade was published by Mark Westgarth, Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers, Regional Furniture Society Journal, 2009, vol.23. A Regency cabinet of similar type, black and gilt-japanned and incorporating 18th century Kangxi lacquer was sold from Crichel, Dorset, at Christie's, London, 23 May 2013, lot 152 (£22,500 including premium).The attribution to a London antiquarian manufacturer is reinforced by the use of locks marked by the Seven Dials ironmonger Comyn Ching & Co.      Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There are minor scratches marks and scuffing and some constructional shrinkage cracks. The marble top is in good order but with some repairs, a crack running front to back about 23cm from the left edge and a repaired break to the back right corner. Otherwise some minor edge chips. The ormolu all present, of large scale with good chiselling, overall of reasonable quality. Lacquer panels with typical craquelure and yellowing of surface varnish. but with sensitive conservation they would come alive. Minor lifting to the brass stringing on the left side. There is a 26cm piece of ebonised facing detached to the upright inside the centre door. The carcase made of framed and panelled oak, quite precisely machined and assembled typical of 19th century work. Each door revealing a single shelf. Overall a handsome and robust cabinet. Condition Report Disclaimer

FOLLOWER OF SAMUEL SCOTT THE THAMES AND ST PAUL'S CATHEDRAL FROM THE GARDENS OF SOMERSET HOUSE Oil on canvas 59 x 100.5cm (23 x 39½ in.) In a carved giltwood Kentian frame Provenance: Property of Florence Julia, Lady Granet, mother in law to Denis Mackail, and thence by descent Illustrated: The Connoisseur, May 1965, p.3 This painting is a copy of one by Canaletto (1697-1768) entitled 'The Thames from Somerset House Terrace towards the City', now in the Royal Collection (RCIN 400504, house-terrace-towards-the-city ). The Canaletto painting is one of a pair, painted by the artist probably when he returned to Venice from London in c. 1750-1. The accompanying picture is 'Thames from Somerset House Terrace towards Westminster' (RCIN 400506). The Canaletto pair of paintings was acquired by his great friend and patron, Joseph Smith, who was British Consul in Venice, and from whom they were later purchased in 1762 by George III. Canaletto became popular in England after his visit in 1746-55, which saw the emergence of a group of English topographical painters. One of the most renowned was Samuel Scott (1710-1772), who evolved from being a marine painter to creating drawings and paintings depicting scenes of the Thames and its environs. Scott, for example, completed a series of at least 62 paintings in oil and all but one use the Thames in the foreground, populated by river craft, together with riverside buildings forming a topographical townscape (M. Ellis, 'River and labour in Samuel Scott's Thames views in the mid-eighteenth century', The London Journal, Vol. 37 No. 3, November 2012, pp. 152-73). On occasion, Scott used artistic license rather than topographical accuracy, adding or deleting spires, and omitting material from the background. Scott's sea and cityscapes were fashionable, and he exhibited in London from 1761 at the Society of Artists, the Free Society, the Royal Academy and the Spring Gardens Rooms. Condition Report: The canvas has been lined. There is an uneven layer of dirty varnish and this has caused some discolouration to the sky (see online images). Over vertical stretcher mark visible, centre left, in a raking light. Rubbing and abrasions to the framing edges. Inspection under UV light reveals no evidence of restoration or retouching.Condition Report Disclaimer

* Gibbings (Robert John, 1889-1958). A Series of 16 autograph letters signed by Robert Gibbings to William Bridges, Department of Publications, The New York Zoological Society, 1936-1939, 16 autograph letters in Robert Gibbing's hand in ink on headed paper (either The Orchard, Waltham Saint Lawrence, reading, Berkshire, or The University, Reading, all signed, the contents relating to Gibbings' planned trip to Bermuda to see and draw the coral reefs, in 1936, and 1937 plans for a new trip to the Red Sea, etc., together with Original Typescript copies of Gibbings' article Artist Under the Sea, addressed to William Bridges, New York Zoological Park, 6 pages on thin typing paper, a similar typescript entitled Sharks Permitting or An Artist Under the Sea, 8 pages, each with several editorial corrections, the 2nd with pencil note at head 'about 1900 words', a group of 10 carbon copies of replies from William Bridges to Robert Gibbings, as well as several to various New York editors, including one to William Beebe asking permission for Gibbings to use Beebe's Bermuda Station facilities, and later autograph letter by Wiliam Bridges to David W. Coombs, dated November 18 1974, gifting the correspondance to him as a collector and enthusiast for the work of Robert Gibbings., plus a typewritten list of the letters compiled by Alan Tucker, poet and bookseller of Stroud, as well as an autograph letter signed by John Randel to Alan Tucker regarding the letters and thier possible publication in the journal Matrix, dated 23 October 1997 on Whittington Press headed paperQTY: (an archive)

Postcards, a mixed trade periodicals advertising cards (over 800), mostly UK topographical and subject. Series include Miniature Novels, Smart Novels, Fine Art Series, Cassell Saturday Journal, Ideal Moments, Early Cinema from Cinema Chat (over 100), Hants Education Committee and other Councils, a few chickens, comic, flowers, Churchill etc (mixed condition)

MACKAY HUGH BAILLIE SCOTT (1865-1945) FOR JOHN P. WHITE, THE PYGHTLE WORKS, BEDFORD ARTS & CRAFTS 'DAFFODIL' DRESSER, CIRCA 1901 oak, painted wood, with beech inlay, bronze, bears label to reverse, G. H. MORTON & SON LTD, BOLD STREET, LIVERPOOL, retains original keys 170cm wide, 168cm high, 59cm deep Provenance: Sotheby's London The Fine Art Society; 142 Years on New Bond Street, 5th February 2019, Lot 272 Exhibited: London, Fischer Fine Art ‚ Truth, Beauty and Design: Victorian, Edwardian and later Decorative Art, May-June, 1986Cambridge, Kettle's Yard, Baillie Scott, Sept-Oct 1995Cumbria, Blackwell Arts and Crafts House, The Lake District and beyond: Arts and Crafts Designs and Interiors by MH Baillie Scott and CFA Voysey, July-October, 2011 Literature: Furniture made at the Pyghtle Works, Bedford by John P. White designed by M.H. Baillie Scott, Pyghtle Works sales catalogue, 1901, fig. 18 Gotch J.A. ‘Modern Furniture', The Art Journal, January 1904, p. 133Adrian J. Tilbrook and Fischer Fine Art Limited, Truth, Beauty and Design: Victorian, Edwardian and Later Decorative Art, exhibition catalogue, Fischer Fine Art Limited, London, 1986, p. 66, fig. 163The Fine Art Society Spring 1990, exhibition catalogue, The Fine Art Society, London, 1990, illustrated p. 51, fig. 50Note: The son of a wealthy Scottish landowner, Baillie Scott was born at Beards Hill, near Broadstairs in Kent. the second of ten children. His rural upbringing and deep love for nature profoundly influenced his later work. Initially, Baillie Scott pursued agricultural studies at Cirencester Agricultural College, but soon shifted his focus to architecture. In 1893, Baillie Scott moved to the Isle of Man, where he lived for several formative years. This period was crucial in shaping his architectural and design philosophy. While on the island, Baillie Scott established his architectural practice and began to gain recognition for his innovative designs. The Isle of Man, with its rugged landscapes and natural beauty, further deepened his connection to nature, a recurring theme in his work. It was during this time that he began to publish his ideas on domestic architecture, advocating for homes that were both functional and aesthetically in harmony with their surroundings. His designs from this period often incorporated local materials and reflected the Arts and Crafts ethos of simplicity and craftsmanship. His work on the Isle of Man helped establish his reputation.Baillie Scott began his professional relationship with John P. White, head of the Pyghtle Works in Bedford, in 1898. White’s workshop was known for producing high-quality Arts and Crafts furniture, and Baillie Scott’s designs were perfectly suited to this ethos. The two men formed a close friendship, and in 1901, Baillie Scott moved with his family to Bedford, where White's workshop was located. This collaboration marked one of the most fruitful periods of Baillie Scott’s career.The present lot, crafted in John White’s workshop, is a prime example of Baillie Scott’s furniture design from this era, around the time he was completing his architectural masterpiece, Blackwell, a country house near Windermere. Completed in 1900, Blackwell remains one of the finest examples of Arts and Crafts architecture, and the present furniture piece echoes the same focus on craftsmanship, nature-inspired motifs, and functionality.

SIR WILLIAM REYNOLDS-STEPHENS (1862-1923) 'CROWN OF THORNS' ROUNDEL, 1903 bronze, signed and dated W. REYNOLDS-STEPHENS/ 1903 62cm diameter Provenance: Church of Mary the Virgin, Great Warley, EssexCollection of A.R. Dufty, Kelmscott Manor Literature: The Art Journal, 1905 which illustrates the current lot in situ as part of the altar rail, St. Mary the Virgin, Great Warley

An Elizabeth II silver presentation salverLondon, 1986, Garrard & Co Ltdof circular form with raised piecrust border with cast shell and scroll rim, on scroll feet, engraved '100 Years Meat Trades Journal A Century of Service 1888 1988 The Meat Trades Journal Centenary Salver Presented to The Worshipful Company of Butchers by Meat Trades journal to commemorate 1000 years of publishing 5th May 1988'diameter 42.2 cm., weight approx. 62.9oztCondition:Surface scratches and wearButcher's Hall, The Worshipful Company of Butchers

A George II Gentleman and Tradesman Daily Pocket Journal for the Year 1756, printed for R Dodsley (London), the diary and ledger pages unused with a few annotations from the 1830s together with a group of mid 19th Century letters, references and ledgers associated with a Scott family (mainly addressed to a John or Gideon), many of whom where shepherd's by profession

A Collection of vintage books including the motor car journal, Pinkerton An Essay on medals, Our Iron Roads etc. this lot cannot be posted

A Victorian fashion magazine illustration. 'The Young Ladies Journal No 16 Fashion Plates', 24.5cm x 36cm, framed and glazed

A 1932 journal by German Student's visit to England

PUNISHER LOT (6 in Lot) - Includes PUNISHER LIMITED SERIES #3, 4, 5 + PUNISHER VOL.2 #1 + PUNISHER WAR JOURNAL #1 + MARVEL SUPER ACTION #1

COMICS JOURNAL #93 & 116 SIGNED BY ALAN MOORE & DAVE GIBBONS (2 in Lot) - (1984/1987 - FANTAGRAPHICS) - Includes #93 (the Swamp Thing Issue) signed by Alan Moore & #116 (the Watchmen issue) signed by Alan Moore and Dave Gibbons

PIERRE-AUGUSTE RENOIR (1841-1919)Baigneuse signed 'Renoir' (lower right)oil on canvas27.7 x 23cm (10 7/8 x 9 1/16in).Painted in 1916Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie Durand-Ruel, Paris.Paul Vallotton, Lausanne, no. 7754.Galerie Tanner, Zurich.Private collection, Switzerland (acquired from the above); their sale, Sotheby's, London, 27 June 1990, lot 103.Anon. sale, Sotheby's, London, 4 December 1996, lot 119.Private collection, Europe (acquired at the above sale); their sale, Christie's, London, 21 June 2006, lot 222.Private collection, UK (acquired at the above sale).LiteratureA. Vollard, Pierre-Auguste Renoir, Tableaux, Pastels et Dessins, San Francisco, 1989, no. 1373 (illustrated p. 287).G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. V, 1911-1919 & 1er Supplément, Paris, 2014, no. 4373 (illustrated p. 445).Baigneuse was painted around 1916, at a time when Pierre-Auguste Renoir was deeply invested in exploring the theme of the female nude within a natural environment. The artist sought inspiration from the French and Italian Masters, such as Jean-Auguste-Dominique Ingres (1780-1867) and Raphael (1483-1520), whose paintings captivated him during his 1881 tour of Italy. Renoir's motivation stemmed not only from a desire to cement his legacy in art history alongside his heroes, but also to offer a more expressive alternative to the polished, idealised nudes of academic painters such William-Adolphe Bouguereau (1825-1905). Renoir's devotion to the subject was remarked upon by Berthe Morisot (1841-1895), who wrote in her journal in 1886: '[Renoir] is a draftsman of the first rank [...] He tells me that the nude is absolutely indispensable as an art form' (G. Muehsam (ed.), French Painters and Paintings from the Fourteenth Century to Post-Impressionism: A Library of Art Criticism, New York, 1970, p. 513).Baigneuse depicts a nude woman stepping into an inviting blue stream, her back turned toward the viewer, her arms raised delicately to balance her passage through the reeds. While her posture grants fluidity and movement to the composition, the soft transitions of light and shadow across her skin give it a lifelike texture. The rouge of her left cheek is echoed within the delicate pink accents that appear across her figure, sensuously evoking her youthful vitality and perhaps her reaction to the coolness of the water. These honest and tender details generate a wonderful fusion of spontaneity and intimacy – an evocative framework by which to celebrate the sensuality and grace of the female form. Typical of his mature style, Renoir employs softer, more fluid brushstrokes and a warm, luminous colour palette. The play of light across the bather's skin conjures a golden radiance, while the more loosely worked water and vegetation, with their cooler tones, swathe her within an atmospheric veil. Nude women being enveloped by nature was a key artistic motif for Renoir, who was fascinated with the harmonious relationship between humanity and nature. He took his cue from his more classical forbears, such as Titian (c. 1488-1576) and Peter Paul Rubens (1577-1640), who frequently portrayed nudes within mythological or pastoral contexts. For Renoir, this trope was key to achieving his certain sense of joie de vivre – inviting the viewer into idyllic and pleasurable scenes that offer a retreat from the rapidly industrialising world outside.'Hymns to light and colour, to youth and life', Renoir's female nudes stand among the most celebrated works of Impressionist art (G. Muehsam, op. cit., p. 516). Indeed, the present work boasts an important early pedigree, with its first documented owner being Galerie Durand-Ruel, an institution that played a pivotal role in the promotion and success of Impressionist artists. Paul Durand-Ruel (1831-1922) was a visionary art dealer who recognised the potential of Renoir and his contemporaries at a time when their work was often met with scepticism from critics. His early support and international promotion of the Impressionists was critical in securing their enduring recognition. Baigneuse was subsequently owned by the esteemed Lausanne gallerist, Paul Vallotton (1864-1936). Like Durand-Ruel, his discerning taste and critical influence played a key role in the circulation and appreciation of Impressionist and Modern Art. More recently, the present work has remained in the same private UK collection for almost two decades. As a tender and luminous evocation of Renoir's devotion to nature and the female form, Baigneuse represents a remarkable example of the most pure and expressive work of his mature period.For further information on this lot please visit Bonhams.com

ALBERT DUBOIS-PILLET (1846-1890)Reines-marguerites dans un pot sur le rebord d'une fenêtre signed 'Dubois-Pillet' (lower left) and dated 'Août 1885' (lower right)oil on canvas81.5 x 64.8cm (32 1/16 x 25 1/2in).Painted in August 1885Footnotes:ProvenanceAugustin Durastel de Rocheblave Collection, Puy-en-Velay (acquired directly from the artist).Private collection (by descent from the above); their sale, Sotheby's, London, 1 July 1970, lot 29.Giusto Tolloy Collection, Rome (acquired at the above sale). Private collection, UK (by descent from the above). ExhibitedParis, Salon des Indépendants, 2e exposition de la Société des artistes indépendants, 21 August – 21 September 1886, no. 160 (titled 'Des fleurs sur une fenêtre').LiteratureL. Trézenik, & G. Rall (eds.), Lutèce, journal littéraire, politique, hebdomadaire, 20 August 1886.J. Le Fustec, 'Exposition de la Société des Artistes indépendants', in Journal des artistes, 29 August 1886, p. 290.F. Fénéon, 'Les Impressionistes', in La Vogue, no. 8, 13-20 June 1886, p. 275.R. Gounot, 'Le peintre Dubois-Pillet', in Cahiers de la Haute-Loire, Revue d'études locales, Le Puy, 1969, p. 123 (titled 'Des fleurs sur une fenêtre').J.U. Halperin (ed.), Félix Fénéon, Oeuvres plus que complètes, Vol. I, Chroniques d'art, Geneva, 1970, p. 44.L. Bazalgette, Albert Dubois-Pillet, sa vie et son oeuvre (1846-1890), Paris, 1976, p. 162 (titled 'Des fleurs sur une fenêtre').P. Smith, Seurat and the Avant-Garde, New Haven, 1997, p. 83 (illustrated p. 84; titled 'Bouquet de reine marguerites à la fenêtre').J. Monneret (ed.), Catalogue raisonné du Salon des Indépendants, 1884-2000, Les Indépendants dans l'histoire de l'art, Paris, 2000, p. 172 (titled 'Des fleurs sur une fenêtre').D. Lobstein, Dictionnaire des Indépendants, 1884-1914, Vol. I, A-D, Dijon, 2003, p. 572 (titled 'Des fleurs sur une fenêtre').P. Offenstadt, Albert Dubois-Pillet, Catalogue raisonné, Paris, 2018, no. 85 (illustrated p. 104).Albert Dubois-Pillet's Reines-marguerites dans un pot sur le rebord d'une fenêtre, painted in August of 1885, is a remarkable example of the artist's pivotal influence on Pointillism, a groundbreaking movement that was then burgeoning in Paris. Exhibited in 1886 at the second Salon des Indépendants, the painting garnered early critical attention, notably from the renowned art critic Félix Fénéon. In his seminal article, 'Les Impressionistes', published in La Vogue in June of 1886, Fénéon used this work to highlight how Dubois-Pillet, as well as other artists such as Georges Seurat (1859-1891) and Paul Signac (1863-1935), were revolutionising the established Impressionist style. Rather than working spontaneously or subjectively as the Impressionists did, Fénéon emphasised how these artists were pioneering a new scientific approach, dividing highly keyed colours into their constituent parts with tiny dabs of paint upon canvas, allowing them to blend optically in the viewer's eye. This technical, structured approach to achieving vibrancy and luminosity would come to be known as Neo-Impressionism, a movement for which Fénéon's article would later become revered as a foundational text. The present work depicts vibrant pink and purple flowers arranged in a floral-patterned pot placed upon the windowsill of the artist's studio, framed by a typical Parisian rooftop in the background. Its tight composition and meticulous stippled treatment of the sky showcase Dubois-Pillet's precision and fascination with light and colour. Engaging with contemporary colour theories, notably those of Georges Seurat, he applied tiny dabs of colour to deconstruct light and achieve a unique form of radiance through optical blending.As a friend and contemporary of Seurat, Dubois-Pillet was involved in the same avant-garde circles that challenged the traditional and academic norms of painting. While he aligned with the Neo-Impressionist movement due to his scientific approach to painting, his works conveyed a more restrained and poetic sensibility to those of his counterparts. As Seurat explored the bustling metropolitan life of Paris, Dubois-Pillet focused on still-lifes and quiet interiors, emphasising introspection and the domestic sphere with a delicate and evocative sensibility. In addition to its significant early acclaim – demonstrating its presence at the heart of a transformative moment in modern art – the present work comes with an impeccable, unbroken provenance. Its first owner, Augustin Durastel de Rocheblave, acquired the work directly from the artist. Durastel de Rocheblave was a lawyer from Puy-en-Velay, the French commune that Dubois-Pillet was transferred to as an artillery captain in the French military, and which inspired many of his final paintings. Dubois-Pillet passed away in August 1890 due to an outbreak of smallpox in this region, after which his friend Paul Signac and the Société des Artistes Indépendants – of which Dubois-Pillet was a founding member – organised a memorial exhibition of his work. Extant paintings by the artist are exceedingly rare, due to a fire that destroyed the majority of his work, as well as his early death. The present work, therefore, remains an exceptional example of Dubois-Pillet's most pioneering work, and a testament to his contribution to the tectonic shifts in modern art that took place at the end of the nineteenth-century.For further information on this lot please visit Bonhams.com

Collection of French L'Illustration Journal Universel magazines, a modern postcard album and The Leisure Hour

18th century and later leather bound volumes, to include: The Works of Henry Fielding, 1783, vol. XI; Works of Moliere, 1748, vol. VI; The Works of Alexander Pope vol. IV part III, 1742; The Spectator, the twelfth edition, 1739; The Works of Moliere, volume the eighth, 1748; The Monthly Review or Literary Journal Enlarged, from September to December inclusive 1797; and four further volumes. (10)

A large collection of archaeological interest journals, including: Archaeologia Aeliana, The Journal of Roman Studies; Transactions of the Cumberland and West Moorland Antiquarian and Archaeological Society; and others; together with a selection of archived photographic slides. (1 pallet)

Jurisprudence & Caricature - Edmund Xavier Kapp (1890-1978), after, four prints, from the popular series Ten Great Lawyers, Sir Thomas Willes Chitty, Bart, The Right Hon. The Baron Hewant of Bury, Lord Chief Justice, The Right Hon. Viscount Cave, other untitled, published by The Law Journal 1925, the largest 31cm x 21.5cm overall (4)'Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp' - Virginia Woolf

Art Nouveau & Arts & Crafts History - a collection of magazines, The Studio, dating 1894-1920s, approx. fifteen issues; The Art Journal magazine, 1911, six issues; The Artist magazine, October 1897; a quantity of The Graphic (qty)

[Oldys (William)] The British Librarian: Exhibiting a Compendious Review or Abstract of our most Scarce, Useful, and Valuable Books..., lacking advertisement f. at rear, title working loose, a few ink inscriptions to front endpapers, some light browning and spotting, contemporary calf-backed boards, spine in compartments, one lettered "24" in gilt, damp-stain to lower cover, extremities quite worn, upper joint split but holding firm, for T. Osborne, 1738 § Akenside (Mark, editor) The Museum: Or, the Literary and Historical Register, 3 vol., titles in red and black with engraved vignette, vol. 3 with 19th century ink ownership stamp to front free endpaper, vol. 1 A2-3 & 3I1 with small hole affecting a few letters, some scattered spotting, lightly browned, vol. 1 & 2 lower hinges cracked with a few leaves working loose, modern half calf over marbled boards, red morocco spine labels, rubbed, for R. Dodsley, 1746-47, first collected editions, book-label of J.O. Edwards; and others 19th century, including James Savage's journal The Librarian (1808-09), 8vo (7)   *** Both mentioned first published in parts.

Mining.- Railways.- Mine rescue station commission of the State of Illinois. Report to the Governor and General Assembly, full-page lithographed and photographic illustrations and plans, p.[9] some red ink marking to outer margin, occasional spotting, original printed wrappers, lightly browned and marked, a solid copy, 8vo, Springfield, Illinois, Illinois State Journal Co., State Printers, 1911.    *** Rare report on the specialist mine rescue station and train in Illinois. We can trace only three copies (Cornell, Colorado School of Mines, and Lehigh). 

OLIVER R. A. & FAGE J. D. (Eds).  The Journal of African History. A carton of these. Cambridge University Press, 1960's-early 1970's; also 1 other vol.

Wax seal impressions, 19th century An interesting group of red wax seal impressions originally in the collection of 'Mr. Allis F.S.A.' [some of which were exhibited by him at the Archaeological Institute and subsequently recorded in the Archaeological Journal of the Institute, No21, March 1849, page 73]. Subjects include St. Leonards Hospital, Leicester, found in Barn Field, Saffron Walden (the matrix now in the town Museum), St. Nicholas Monastery, Worcester, found in a garden at Bennington, Herts, the Statute Marchant of Worcester (Clothworkers company of Worcester 1654), and others, inscribed card mounts and letter of provenance (11)

PARRY (William E) Journal of a Voyage for the Discovery of a North West Passage from the Atlantic to the Pacific; with Supplement and Appendix, 2nd edition, London: John Murray, 1821-24, 4to, folding charts, plates as called for, some offsetting otherwise a good tight copy; Journal of a Second Voyage for the Discovery of a North-West Passage from the Atlantic to the Pacific. London: John Murray, 1824, 4to, plates and charts as called for, tissue guards, both vols. in 20th century tan half calf (2)

BROWN (Robert, Corporal in The Coldstream Guards) An Impartial Journal of a Detachment from the Brigade of Foot Guards commencing 25th February 1793 and ending 9th May 1795, Illustrated with a Map of the Seat of War. London: for John Stockdale, London, 1795, 8vo, with fold out map of the Southern Provinces of Holland with part of the Netherlandsrebacked and front board almost detached. Old ink notes to first leaves. Inserted notes leaf. See images.

DARWIN (Charles) A Naturalist's Voyage. Journal of Researches into the Natural History and Geology of the Countries Visited During the Voyage of H. M. S. 'Beagle' Round the World. London: John Murray, 1889, 8vo, portrait frontis, illustrations, 4 pp. advertisements at end, a crisp copy in bright original cloth gilt, early owner's name neatly stamped to a blank page

JAPANESE JOURNAL OF GEOLOGY AND GEOGRAPHY, a miscellany of volumes, early 20th century, with a selection of Cotteswold Naturalist Field Club, Bristol and Gloucestershire Archaeological Society, etc, ex college libraries, (qty)Condition Report: Ex-Library / public library / university library books will have ink stamps, labels or residues of library labels to the pages inside and / or spines.

HERROD-HEMPSALL (W), BEE-KEEPING NEW AND OLD, Vols I and II, pictorial green cloth, The British Bee Journal, 1930, three sets, (6).

THE WORLD OF FASHION AND CONTINENTAL FEUILLETONS, vol XIII, with 98 hand coloured plates and 23 others, London, Mr Bell, 1834-1837; THE YOUNG LADIES’ JOURNAL, vol 5 only, with 12 folding hand colour plates, London, Harrison, 1868, both disbound, (2).Condition Report: Both bindings defective. The black and white uncoloured plates in the smaller book are in poor condition. The colour fashion plates are better but all have been cropped along all edges and many have losses or no text remaining at the bottom.The pates in the larger book are all folded, some miss-folds and some with wear along the edges where they have protruded out of the book. General age toning to the paper, some shadows of plates visible on the reverse side.No library stamps to any. Colours bright.

A collection of 19th century and later illustrated books, to include, FOSTER (B), illus, SABBATH BELLS CHIMED BY THE POETS, Bell and Daldy, 1856; MORE LEAVES FROM THE JOURNAL OF A LIFE IN THE HIGHLANDS FROM 1862-1882; London, Smith, Elder & Co, 1884; GISSING (G), BY THE IONIAN SEA, London, Chapman and Hall, 1901, (21).

THE BRITISH COUNCIL, writers and their work, 100 editions; THE LONDON MERCURY, 9 vols, HORIZON, 8 vols; LILLIPUT, 55 vols; FOLK LIFE, 6 vols; GUILDHALL STUDIES / MISCELLANY, 26 vols; GEOGRAPHIC JOURNAL, 18 vols; with various copies of Encounter and others, (qty).

DEWHURST (H), BARCLAY’S UNIVERSAL ENGLISH DICTIONARY NEWLY REVISED, with 62 maps and other illustrations, full suede calf, spine split at gutters, London, George Virtue; MARTIN (B), NEW PRINCIPLES OF GEOGRAPHY AND NAVIGATION, lacking all plates and charts, London, 1758; THE JOURNAL OF THE HOUSE OF COMMONS, Vol XVII, 1711-1714; BUTLER (J), A COURSE OF GEOGRAPHY, incomplete, London, 1832; WHISTON (W), WORKS OF FLAVIUS JOSEPHUS, Dublin 1796; VAN DER BURG (A), SCHOOL OF PAINTING FOR THE IMITATION OF WOODS AND MARBLES, 6th edition, chromo and engraved plates, Crosby Lockwood, 1923; with other poor condition books with plates, (qty).Condition Report: AS FOUND - sold with all faults.

POTTLE (F), BOSWELL’S LONDON JOURNAL 1762-1763, No 415/1050, ¼ vellum, Heinemann, 1951; BAIN (I), ALBERT SCHLOSS’S BIJOU ALMANACS, No 99/150, Nattali & Maurice, 1969; WILDER (T), THE WOMAN OF ANDROS, 16/160 signed, Longmans, 1930; BETJEMAN (J), GHASTLY GOOD TASTE, No 112/200, signed, Anthony Blond, 1970; SELECTED POEMS OF COLERIDGE, 500 copies, Nonesuch Press, 1935; with four other books, (9).Condition Report: Poems of Coleridge in poor condition – heavily damp marked / browned internally.

This is a great photo of Dale Earnhardt Sr. in the car, with an image of the entire car superimposed in the bottom right corner. It is signed by the racing legend in black ink. The piece is matted and framed, with a sight size of 9.75"L x 7.75"H. The frame measures 15.25"L x 1.25"W x 12.25"H. Additionally included is the front-page section of the News-Journal from Daytona Beach, FL, the day he passed. Dimensions: See DescriptionCondition: Age related wear.

Measurements 80 x 56 cm, exhibited in: Paleological Museum of Elche, year 2015. Species from Mongolia. Attached is a certificate from the Cidaris scientific institution issued by Doña Aberasturi Rodríguez, year 2016. Property of an important collector and philanthropist, Barcelona. With attached steel and glass urn. Bibliography: You H. & Xu X. 2005. An adult specimen of Hongshanosaurus houi (Dinosauria: Psittacosauridae) from the Lower Cretaceous of Western Liaoning Province, China. Acta Geologica Sinica (English edition) 79(2): 168-173; Russell, D.A. & Zhao X. 1996. New psittacosaur occurrences in Inner Mongolia. Canadian Journal of Earth Sciences 33: 637-648.

Charles Elcock's Personal Effects, From the previous lot but not related to his microscopy, a manuscript journal concerning the ... a brass printers block for Elcocks business card, various letters concerning his involvment with the Quakers and other documents

A Good Swift "Dick" Petrological Microscope English, c.1895, signed to foot ‘J Swift & Son, London’, standing on cast brass foot finished in black lacquer, trunnions at top support body, plano-concave mirror on gimbal below substage, substage assembly with rotating Nicol prism on rotating divided circle for angular measurement, square stage with Swift 2″ patent stage, main body to rear of stage incorporating the ‘Dick’ rotating mechanism with fine focus via screw and course focusing via diagonal rack work, body tube incorporating a sliding plate with aperture and slide in/out Bertrand lens, to top a rotating and folding analyser engraved with 45 degree positions, complete with 2 Swift objectives, 3 eyepieces in original mahogany case The Dick Petrographic Microscope by James Swift & Son: A Historical and Operational Overview Historical Context - The history of the "Dick" Petrographic Microscope is closely intertwined with the evolution of microscopy and mineralogical studies in the late 19th and early 20th centuries. This particular microscope was developed by James Swift & Son, a company that became a key player in the production of scientific instruments in England during that period. James Powell Swift initially worked under the instrument maker Andrew Ross before establishing his own company in 1854. As the company expanded and his son joined in 1877, it was renamed J. Swift & Son. By 1912, the firm had evolved into James Swift & Son Ltd. One of the significant advancements in the field of petrographic microscopy came from Allen B. Dick, an inventor who, in 1889, designed a unique gearing system that allowed for synchronized rotation of both the polarizer (beneath the stage) and the analyzer (above the stage). This innovation made it easier to observe and study mineral samples by eliminating the need for constant adjustment and re-centration of the specimen and objective lenses when rotating the stage. Swift and Son were the first to manufacture microscopes incorporating Dick's patented gearing system, and they introduced the first model in their 1891 catalog. Known as the "Dick Microscope," . Although it was expensive and relatively few examples remain today, it was used by prominent geologists and mineralogists, including during the British polar expeditions to Antarctica. In particular, photos from the expeditions show geologist Frank Debenham preparing samples using a Swift/Dick microscope, highlighting the instrument’s role in significant scientific research. Over the years, the Dick Microscope underwent several iterations, with various modifications made to improve its design and functionality. Although these microscopes were produced for many years, they were always considered premium instruments, and as a result, their numbers were limited. Today, surviving examples of the Dick Microscope are rare, and many are missing essential components such as the slotted eyepiece or waveplates. The Operation of the Dick Microscope The Dick Petrographic Microscope was designed for examining thin sections of minerals using polarized light, a key technique in petrographic analysis. The microscope’s construction allows for the observation of mineralogical structures in ways that are not possible with conventional optical microscopes. Key to its functionality is the polarizer, which sits beneath the stage, and the analyzer, positioned above the stage. These two components are crucial for creating "crossed polars," a method that significantly enhances the visibility of mineral structures by utilizing polarized light. Here’s how it works: 1. Polarized Light: When light passes through the polarizer, only waves vibrating in one direction are allowed through. When no sample is on the stage and the analyzer is aligned at 90 degrees to the polarizer, the field of view appears black—a condition known as "extinction." 2. Anisotropic Materials: When a mineral sample, specifically an anisotropic material (one that has different properties depending on direction), is placed on the stage, it alters the path of the polarized light. Instead of the black field seen during extinction, various colors or interference patterns appear, depending on the mineral’s optical properties and its orientation relative to the light. 3. Crossed Polars and Rotation: The Dick Microscope’s main innovation is the synchronized gearing mechanism that allows both the polarizer and analyzer to rotate together. This eliminates the need to manually rotate the stage and re-center the objective lens—a process that could be tedious and required great precision. With the polarizer and analyzer moving in unison, the specimen remains stationary, allowing for smooth and efficient analysis of even the smallest mineral grains. 4. Mineral Identification: By observing the way light interacts with the mineral as the polarizer and analyzer rotate, geologists can identify minerals based on their optical properties, such as birefringence, pleochroism, and extinction angles. This technique is especially useful for studying thin sections of rocks, where the optical properties of individual mineral grains provide clues to their composition and formation history. 5. Waveplates and Additional Features: Many petrographic microscopes, including the Dick model, were equipped with accessories like waveplates, which help to determine additional optical properties of minerals, such as their optical sign (positive or negative). However, many surviving examples of the Dick Microscope lack these additional features, possibly due to wear or loss over time. Significance in Geological Research - The Dick Microscope represents an importatn step in petrographic microscopy. By simplifying the process of rotating polarizers and analyzers, it facilitated the study of mineral structures, making it easier for geologists to carry out precise optical analysis. This design innovation became particularly valuable in the field of geology, where the accurate identification and analysis of minerals are essential for understanding rock formation and the Earth's history. The instrument's role in early 20th-century geological expeditions, such as those to Antarctica, underscores its importance in scientific discovery. The high precision and quality of the microscope made it a valuabel tool for researchers working in some of the most challenging environments on Earth. References - Bracegirdle, B. *Microscopes: A Short History*. - Powell, J. "The Evolution of the Petrographic Microscope." *Journal of Geological Sciences*, 1901.

The Cabinet:English, c.1880, constructed of French polished mahogany, 2 doors opening to reveal a bank of drawers, label to inside of door reads 'ELCOCK - September 29th at 28 Fitzroy Avenue, Belfast, Harriet Sophia wife of Charles Elcock of a son, 1878', the top drawer containing a selection of slides, some by Elcock and others of diatoms and other subjects including one from the HMS Challenger Expedition, the bottom drawer containing a number of hand blown glass bottles and vials containing soundings from the HMS Challenger Expedition ( sounding dates, depths and locations corespond with the charts from 'VOYAGE OF THE CHALLENGER, WYVILLE THOMPSON, 1878', a copy of whihc is included in another lot), with 8 drawers of blank diatom slides and mounting equipment, the cabinet 59cm wide, 59cm tall, 33cm deep.Charles Elcock (1834-1910) was a well known figure in the world of microscopy, particularly known for his expertise in creating microscope slides featuring foraminifera, a group of amoeboid protists characterized by their intricate shell structures. Born in Pontefract, Yorkshire, England, on August 18, 1834, Elcock was the second son of Charles and Mary Ann Elcock. The Elcock family were Quakers, a religious background that profoundly influenced Charles throughout his life, as reflected in his writings and humanitarian efforts during the Franco-Prussian War. Elcock's early career was varied, encompassing teaching and publishing, but it was his later work in microscopy for whihc he is remembered.Early Life and Career.Elcock's early years were marked by a strong education and a diverse set of experiences. After the death of his father in 1837, his mother took up teaching to support the family. Elcock attended the Friends' School at Rawdon, which was a formative experience given the Quaker values emphasized there. His early professional life included roles as a teacher and printer, and he maintained a close association with the Quaker community throughout. By the 1860s, Elcock was involved in publishing religious texts, which eventually led to his work in London and Gloucester, where he likely developed his interest in microscopy through his connection with Alfred William Bennett, a prominent member of the Royal Microscopical Society.Microscopy and Foraminifera.Charles Elcock's most significant contribution to science was his work with microscopy, particularly in mounting foraminifera on microscope slides. Foraminifera are microscopic marine organisms that produce a shell, often referred to as a "test," which can be quite intricate and beautiful. Elcock's slides were celebrated not just for their scientific utility but also for their aesthetic appeal. His work involved arranging these tiny shells meticulously on slides, often organizing them by species and orientation, which made his slides valuable for both scientific study and as objects of beauty.Elcock's expertise in preparing these slides was widely recognized. He became a member of the Belfast Naturalists' Field Club shortly after moving to Ireland, where his skills in mounting foraminifera were lauded. In 1879, his work won a prize from the club for its artistic skill and superior finish. His techniques and methods were innovative, and he shared his knowledge through articles, most notably in the Journal of the Postal Microscopical Society, where he also advertised his slides.Legacy and Impact.Elcock's slides were distributed through well-known retailers in London, Manchester, and Bath, and they were highly regarded by contemporary scientists and hobbyists alike. Reviews of his work praised the meticulous attention to detail and the scientific value of the slides. His contributions to microscopy, particularly in the study of foraminifera, have left a lasting legacy in the field. While much of his life was also dedicated to religious writing and humanitarian efforts, it is his work in microscopy that has cemented his place in the history of science. A large part of his original equipment and the slides he produced is held at the Whipple Museum of Science in Cambridge: https://www.whipplemuseum.cam.ac.uk/explore-whipple-collections/microscopes/foraminifera-slides-and-working-tools-microscope-slide-maker Challenger Expedition: Revolutionizing Oceanography through Deep-Sea SoundingsThe Challenger Expedition (1872-1876), a pioneering oceanographic endeavor, marked a turning point in our understanding of marine sciences. This British voyage, named after the HMS Challenger, was the first dedicated scientific exploration to systematically study ocean basins, marine life, and geology. Among its most critical contributions were the extensive soundings, temperature recordings, and water samples taken during the expedition, which have had a lasting impact on oceanography.Deep-sea soundings, the process of measuring the depth of the ocean, were among the most revolutionary aspects of the Challenger Expedition. Utilizing newly developed sounding equipment, the expedition made nearly 500 soundings across the world’s oceans. These measurements were pivotal, not only in mapping the seabed but also in discovering the global patterns of oceanic trenches, underwater mountains, and plains.Prior to the Challenger Expedition, the depths of the oceans were largely unknown. The sounding techniques employed involved lowering weighted lines, known as sounding lines, into the ocean until they reached the seabed. The depths recorded by Challenger revealed for the first time the complex topography of the ocean floor. One of the most significant findings was the Challenger Deep in the Mariana Trench, recorded as the deepest part of the world's oceans.The data collected on these soundings provided foundational knowledge that spurred further scientific inquiry. For instance, the temperature profiles of ocean waters at different depths, also recorded during these soundings, helped scientists to begin understanding thermocline and its role in oceanic circulation patterns.The implications of these findings were vast. They challenged previous notions of a lifeless deep sea by providing evidence of life at all depths, and the samples of sediment helped develop the fields of marine geology and paleontology. This wealth of data collected by the Challenger laid the groundwork for modern oceanography and prompted the establishment of permanent oceanographic institutions.The Challenger Expedition was instrumental in transforming oceanography from a field cluttered with myths and speculations to a serious scientific discipline. Its soundings opened up new realms in the understanding of oceanic depths and laid down the benchmarks for future explorations, forever altering our relationship with the oceans. The expedition not only charted unknown waters but also set the course for future marine scientific endeavors, proving its legacy in the history of science.