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An elaborate antiquarian collection containing 19 large double-page armorials, apparently of the sixteenth century of the major families of Belgium, including Beaufort, Berghes, Egmont, Hornes, Lalain, Luzembourg, St. Aldegond, and including a number of members of the Order of the Golden Fleece. Each of these armorials bears detailed contemporary genealogies to their versos. These have been conserved by the British antiquary David Powell (?1772-1848) with other early genealogical material, his own notes and four large drawings of related stained glass, including a large window from the church of Notre Dame du Sablon (Brussels) and another in the hands of ‘Mr Whatson an eminent glazier Hanway Yard Oxford Street’ in 1816.

Born in Tottenham, Powell became a Lieutenant in the 14th Light Dragoons; he left a manuscript account of his 1794 experiences in Cork, Flanders and Brabant. He later entered Magdalen College, Oxford, receiving a B.C.L. in June 1805. He spent much of the rest of his life making heraldic and genealogical collections, and touring England and Wales to make watercolour sketches of churches and manor houses in over forty counties. He died in 1848, and his library was sold by Puttick & Simpson over three days. Many of Powell's manuscripts are now in the British Library.

A calligraphic certificate by Julia Beck, being the copy of a letter of 8 June 1914 sent by a leader of the women’s movement in France, Isabelle Bogelot to Canadian feminist, Lady Aberdeen endorsing the new book by Indiana feminist, May Wright-Sewell, entitled Genesis of the International Council of Women (1914). It was written on behalf of the Conseil National des femmes françaises.

Calligrapher Julia Beck was born in Stockholm in 1853 and moved to Paris in 1883. She became one of the first female artists from her country to make a living through art alone. She is best-known for her landscape paintings in the Impressionist style, which were highly regarded in France and abroad, but she supported herself partly through commercial calligraphy, at which she excelled. She was a committed advocate for women artists.

A Napeoleonic-era manuscript course in classical and modern French history made for a woman or girl, Caroline Hémart. Probably prepared by a tutor, the texts are enthusiastically neo-classical in tone: the opening ‘Élements de chronologie’ serve as a grounding in ancient history (with definitions of terms such as ‘Olympiade’) of Europe and the near East, based on the text of Napoleonic scholar, Luc de Lancival. The manuscript concludes with 27 stanzas of a heroic poem, ‘Ode à Clio’ by M. Le Comte François de Neufchateau (published c. 1807), which is, again, a glorious version of history seen through still-rosy Napoleonic lenses.

A superb collection of over 300 spontaneous sketches made in situ in Paris of popular films and entertainments of the 1950s, including the classics Les Vacances de M. Hulot, Buñuel’s El, Le Ballon Rouge and other French films by Renoir and Meliès, Sophia Loren in Neapolitan Carousel, Bob Hope and Lucille Ball in Fancy Pants, Jerry Lewis and Dean Martin in Artists and Models and Marilyn Monroe in Bus Stop.

Ryutchi Souzouki (1904-1985) had been a well-regarded and well-connected Montparnasse figure, counting Ernst and Foujita among his friends in the twenties and thirties and frequently exhibiting alongside the surrealists. Born in Yokohama, he spent much of his life in Paris, though his Japanese citizenship prevented him from exhibiting during the war years and probably accounted for his increasing isolation in the post war period. A solitary figure, until his death in poverty, he continued to work, experimenting with automatic drawing and making sketches, such as these, from popular films and entertainments, such as the tableaux vivants of the Casino de Paris, the Folies bergères, conjuring performances and the opera, instantaneously capturing their spirit on scraps of hotel stationery, recycled scraps or cheap spiral-bound notebooks. They are witty, touching and always engaging responses to what he saw in the cinemas and theatres of Paris. Following his death, the contents of his studio, including the many albums he had carefully collated in his final years (like ours) were conserved by his concièrge and dispersed at auction in 1985.

An unusual New Years’ gift from an unnamed compiler ‘for my dearly beloved Isabella Sophia Ochando de la Vanda. January one, 1830’; a manuscript compilation of verse and pious texts by hymnodist Edmeston, Shepherd, Southey (’The Victory’), Millman, Bowring, Burden, Emmerson, and Carlyle’s ‘Hymn before public worship translated from the Arabic’. Most of the texts are in English but a couple, by the Mechitarian cleric Nerses Clajense, are in Spanish and French respectively.

The two fine watercolours show HMS Victory in battle and....

A lively collection of biographies of the unpopular Fermiers généraux – men responsible for collecting indirect taxation in ancien régime France. The Mémoirs pour servir l’histoire du Publicanisme moderne was never published in print but circulated widely in manuscript — its tone is familiar, ironic and sometimes scurrilous in its treatment of the careers of these powerful and wealthy men.

There are more than 100 entries including those for important cultural figures, Alexandre Le Riche de La Poupelinière (one of the prime-movers in the great Lafontaine edition of 1762 called the ‘Fermiers généraux’ edition), Charles Le Normant de Tournehem (guardian of Jeanne-Antoinette Poisson, future marquise de Pompadour) and the collector Pierre Grimod du Fort. Each entry provides a brief account of the sources of their wealth, of their families and progeny, and of their administrative capabilities (or otherwise). Morality is neverfar from the surface, and there are frequent grumblings of sexual infidelities. The biography for Le Riche de La Poupelinière (the longest in the collection) includes the anecdote of his being surprised in bed with an actress from the Opera, mistress of the Prince de Carignan and of the secret passageway from a neighbouring house through the firelplace, through which his lovers came and went.

The text mostly in a single hand of 1750. Each entry includes spaces left for the arms of the subjected, never completed). A second hand, perhaps not much later, adds notes, some additional biographies and tables. The book apparently existed for some time stitched in the simple wrapper of its first and last leaves before being bound, probably a little later in the century. French libraries contain several manuscript examples of this popular text.

An interesting manuscript prospectus of a large and still-unpublished account of the French revolution. François-Jean Baudouin had been a printer and bookseller to the Assemblée nationale in the revolutionary period, later becoming a journalist and publisher. He evidently wrote a long first hand account of the politics surrounding the Revolution, which remained unpublished. It was apparently in the hands of one Tacheron, a doctor to the XI Légion at the opening of the nineteenth century, who wrote this manuscript prospectus of it, transcribing part of the introduction and giving a detailed précis or analyse of its 16 chapters. He notes that it would run to some eight or ten octavo volumes, probably suggesting he was intending to publish it. In the event it seems never to have been published and since the whereabouts of the manuscript is now unknown, this 43-page summary is witness to a major work of Revolutionary history.

‘François-Jean Baudouin, imprimeur-libraire, né à Paris en 1759, mort en 1838. Elu député suppléant du tiers aux Etats Généraux, il dut à cette circonstance d’être nommé imprimeur de l’Assemblée Nationale, privilège qu'il conserva jusqu’en 1809. Il fut aussi propriétaire du Logographe, journal dont il envoyait tous les jours le premier exemplaire à Louis XVI... Il publia en 1810, un Projet de règlement pour l’imprimerie et la Librairie...’.
Larousse II, 387.

A delightful example of Japanese art of flower arrangement, ikebana, in the form of 24 ‘Rikka Zu’ (flower arrangements), with an important provenance. The arrangements combine boughs of trees or bamboo. with flowers including chrysanthemums, lotus, lilies, irises, and cherry blossom. The style is deliberately and strikingly asymmetrical, with stems tightly bundled at the foot in keeping with prevailing decorative aesthetics.

The manuscript is dated, on the first extant image, Kansei 4 (1792) July 7th and there is a further inscription to the verso of one fold, now partly obscured by a paper strip (an old reinforcement) but still legible. It reads: ‘The lord Todo Izumino-kami, when his ambassador’s mission at Kyoto had a celebration in Ryokan’ and ‘Ikeno bo’. Ikenobo was the oldest and most important school of ikebana in Japan, founded at Kyoto in the fifteenth century, while the Todo clan were an ancient Samurai family with origins in the sixteenth century. The manuscript may be considerably older than the inscription of 1792. Its style is closely comparable with a manuscript now at Cambridge, Ikenobō rikka no zu (CUL FJ.978.12) dated to the ‘seventeenth or eighteenth century’ (2223 in Hayashi and Kornicki, Early Japanese books in Cambridge University Library).

The narrative pedigree of a royal librarian: François Damant (C. 1535-1611) and his brother Nicolas (c. 1531-1616). François Damant was Conseiller and Garde joyaux (i.e. keeper of the library) to the Dukes of Burgundy, Philip II and III, Kings of Spain in the Netherlands. His name appears in numerous contemporary manuscripts and records relating to the royal library and he was also a member of the Order of the Golden Fleece (Toison d’or) from 1587. He was son of Pierre Damant (1503-68), also of the Toison d’or and a royal librarian in his time. His brother Nicolas became Chancellor of Brabant and served Phillip II as a Councillor of State, Garde des sceaux and Garde joyaux, before (as is narrated in the pedigree) moving to Madrid when the centre of administration of the Austrian Netherlands moved there in 1698. The gruesome story of how and why he was granted two dogs (gros chiens) and a crown as part of his coat of arms is also related here in the context of a royal hunt (chasse du sanglier) in which a boar was killed by the royal dogs in his presence. Lemaire, Bibliothèque royale. Mémorial 1559-1969.

A celebration of the Feast of Fools, in a series of panels inhabited by De Bournazel’s mythological figures engaged in a series of mysterious rites. In keeping with the traditions of this midwinter festival souls are freed, offerings are made, the world is turned upside down, all under the watchful eye of the Lord of Misrule. In De Bournazel’s world, as expressed in her unique artist’s books, the mysteries of human life are considered with a combination of serious meditation and joyous play.

An interesting selection of watercolours, drawings and lithographs by a Victorian woman. Some are typical, if very accomplished, holiday or genre scenes, but there is an interesting scattering of domestic scenes: a women sewing, another at a substantial treadle sewing machine, making mincemeat, crocheting, picking peas, and drawing in an album. Of special interest are 5 original and probably unique lithographs, evidently the work of the same artist, nicely demonstrating the contemporary enthusiasm for amateur lithography among women. Some are trials for letterheads, giving the address: ‘The Rookery, George Lane, Parish of Woodford’ [Essex]. Among the travel watercolours are some really lovely seaside scenes and a finely observed interior of a railway sleeping compartment on the Geneva-Paris line.

First edition. One of the most spectacular fruits of nineteenth-century Medievalism, with its elaborate chromolithograph interpretations of illuminated manuscripts, many with gold and silver inks. The text volume additionally contains a sequence of original photographic reproductions of prints by Wierix. Issued as a series of 70 individual numbers, the pagination of the plate volumes is very erratic, with numerous additional plates outside the main sequence and with some leaves having plates on both sides, others on just one. The appendix provides an historical and bibliographical key to the plates, listing manuscripts in mainly French and Italian libraries. Curmer’s output and importance is discussed at length by Isabelle Saint-Martin, ‘Rêve médiéval et invention contemporaine; variations sur l’enluminure en France au XIXe siècle’ in Coomans and De Mayer, eds, The Revival of Medieval Illumination, 2007.

A collection of children’s stories evidently written by a father (perhaps Herr Schmutzer, whose stamp appears in each) for two young daughters. Each volume is a separate story telling of the girls’ adventures around the world. The text is in German throughout and every page bears a large illustration. A terrifying insight into one early-twentieth century father’s idea of a family entertainment.

Das buch von den beiden Babys. [n.d. c. 1902]. Small 4to (206 × 165 mm), pp. [22], alternating text and drawings. A tale of parental neglect: a family outing on a steam train goes terribly wrong.

‘...Laurentia und Emerentia Stutzlmeier’. 1902. Folio (330 × 210 mm), ff. [30] (the last blank) of which 28 each bear text and a large drawing. Card wrappers, loose in cloth backed boards. The tale of two young sisters lost in the forest during a family picnic. Rescued from a wolf by a kindly hermit they embark on a series of miraculous adventures with a cartload of magic pears and a menagerie of animals. Reunited with their parents they return to the woods to find the hermit dying; they bury him and he is borne aloft by angels.

‘Die gar wundersame geschichte von den beiden Babys in der Techanei’. 1904. Folio (325 × 210 mm), ff. [56], of which 54 each bear text and a large drawing. Crudely sew in cloth-backed boards, uniform with the above. The father takes his daughters out on an excursion, but an encounter with a witch separates the girls from him. Kidnapped in the witch’s house, they elude her protective snake, toad and cat and escape in a paper boat. Reunited with their father they embark on a series of terrifying adventures under his protection: he slaughters all assailants with a pistol, sword and bare hands, leaving a trail of bloodshed. A return to a derelict house scattered with the skeletons of pets and family members begins a new chapter, before the trio return home in a magical amphibious horse-drawn cart.

‘Die Geschichte von die beiden Babys und die Reise um die Erde’. 1910. Folio (340 × 205 mm), ff. [42], of which 41 each have text and a large drawing. Cloth backed boards. In this final volume Herr Schmutzer oversteps the mark. Taking his young daughters on a round-the-world trip in a self-propelled car (Gibraltar, Africa, Egypt, Persia, China, Siberia, The North Pole) he indulges in the worst kind of xenophobic violence against most of the inhabitants of the known world, all in the interests of the protection of his daughters.

A grant of arms to Richard Eaton, rector of Eaton (Norfolk), giving the right to bear the arms of Thomas Browne (formerly Lord of the Manor of Elsing. Signed by Sir Charles George Young, Knight Garter and Joseph Hawker, Clarenceaux. The arms had been granted by Queen Victoria on January 29, 1845.

John Waryng of Toneworth (Tanworth) grants land in Yardley (now a suburb of Birmingham) to Edmund (?)Middchurch and Richard (?)Crake in the presence of several named witnesses. Complete with the remains of a very good personal seal (presumably John Waryng’s) with an ox’s head and text around the circumference.

Extensive antiquarian transcripts from manuscript armorials and visitation documents (mainly sixteenth- and seventeenth-century) in the British Museum. Including Harleian MSS 1174, 1397, 1561, 4756, 7565, 1045, 1301 and Sloane MSS 4972-3. Evidently once part of a larger sequence, the volumes are marked VIII and IX respectively.

A beguiling anonymous illustrated manuscript with painted miniatures on vellum. The text is a poem by French poet of Greek and Franco-Levantine origin, Chénier (1762-94) who perished under the guillotine during the Terror. Praised as a precursor of the Romantics, his work was rediscovered and published during the nineteeth century. His exotic subjects, coupled with his tragic end made him a favourite among devotees of the decadent.

An attractive manuscript, apparently executed by Jermyn Moorsom (d.1951), brother of Raisley Stuart Moorsom (1892–1981, a member of the Bloomsbury set), and comprising two foxhunting poems by the Victorian MP William Bromley-Davenport.

‘Lowesby Hall’—after Tennyson’s Locksley Hall—is, according to the sporting novelist George Whyte-Melville, ‘the best parody in the English language’.

The personal account book of an English provincial bobby posted in Northamptonshire (variously at Northampton, Kettering, Oundle, Paulerspury, Daventry, East Haddon and Naseby) recording every arrest he made in the course of a 32-year career.

After early stints in Northampton and Kettering, Clarke’s experience was based in smaller villages and his notebook is a valuable and grimly fascinating account of English rural life at the opening of the twentieth century. The crimes here records include drunkenness, obscenity, vagrancy, poaching, gambling, begging, petty theft, domestic abuse, animal cruelty, unlicensed use of firearms, bicycle and motoring offences and playing football on the highway. Clarke was an assiduous recorder, itemising every arrest and its outcome, then, at the end of the year making a final reckoning. So, for the year 1911 he sums up, in red ink: ‘24 proceeded against. 15 fined £10,18.0. 5 sent to prison 16 months 21 days. 1 dismissed. 2 warned of reward. I bound over for 12 months’. The hundreds of arrests made over the course of his career is totalled in pencil at the end: ‘32 years service, Cases 523, Fines £359.15.5. Sent to Prison 53 years 6 months 0 weeks 5 days. Pay £5272. 5 [shillings]. 7 1/2 [pence].

One interesting development charted here is, of course, the rise of motor transport and its attendant offences. In the early years Clarke apprehends very few motorists (but rather more cyclists), while towards 1930 the vast majority of his successes (and revenue) involve reckless and speeding drivers from all over England. A few excerpts give a flavour:

‘October 30th [1900] Danile Bailey John Abrahams Edward Smith & Jim Mallard charged with stealing Fruit valued 5/- the property of Jethro Johnson Fine and Costs 7/6 each.’

‘Dec 16th [1900] Frederick Albert Coe, scholar, age 13 Abbey St Daventry Charged with stealing a Dutch Cheese Valued 2/6 the property of Messrs Bayley Brothers & was ordered to receive 6 strokes with Birch’.

‘March 3d [1901] Richard Clarke Cycle Maker Coventry charged with being a wandering Lunatic at Daventry committed to Berrywood Asylum’.

‘19 August [1909] Fred[eric]k Juggings... Commercial Traveller charged with Indecently assaulting Mollie Simpson age 5 yrs at Weston Favell. Fine £2.10.0 costs 6/-’

‘June 17 [1914] Lady Mabel Gore Langton Cosgrove Hall charged with keeping 5 male servants with 3 licences. Cautioned.’

‘Jan 27 [1917] William Lee, Cold Ashby, charge with supplying to [sic] wounded soldiers with whisky. Fined £10.’

A typical Victorian handwriting copybook, devoting a page to each letter of the alphabet, with a single sentence, phrase or word repeated over several lines, the text of varying size. ‘All thy commandments are righteousness’; ‘Be ye angry and sin not’; ‘Fulminate’; ‘Knowledge is Power’, ‘Mathematician’; ‘Obrometer’, ‘Vice is attended with sorrow’; ‘X begins no word in the English language’. The sequence is broken in two places, with 2 pages of elementary mathematical exercises, and the last page is signed ‘William Blundell June 29th 1868 in Sussex’.