Helmingham (13 results)

Unframed Print. Condition: Very Good. Alexander Francis Lydon (illustrator). An original 1860 colour print, image 13 x 19 cms, from Morris' work A Series of Picturesque Views of Seats of the Noblemen & Gentlemen of Great Britain and Ireland. Together with brief accompanying text pages. Printed using the coloured woodblock process known as Baxter Printing, by Benjamin Fawcett of Driffield, these bright and attractively coloured prints are often mistaken for chromolithographs. It has been noted that the printing is so subtle that it gives the appearance of a watercolour (Friedman, 1978). The print comes with a backing card, the accompanying descriptive text and is nicely presented in a cellophane sleeve, making a perfect present. IDEAL FOR FRAMING. Illustrator: Alexander Francis Lydon. Category: Prints from Morris' Seats; PRINTS : Buildings & Places; Antique Colour Prints. Cosmo Books : 29 years on ABE, 47 years taking care of customers. A bookseller you can rely on.

FIRST EDITION, pp.164; 23 colour plates of Framsden, Helmingham, Debenham & environs; new in pictorial laminated card covers. Facing retirement and unsettled by change near her Norfolk home, the author rented a cottage on the Helmingham Hall estate, and edited and published Catherine Tollemache's 18thC Household Book 'Fruitful Endeavours' (see next item). The story of her 'silver gap year', twelve months of 'history and hilarity, risk and resolution'. Helmingham Framsdenerfumes 16thC Social History SUFFOLK.

FIRST EDITION, A4; pp.x + 59 leaves printed on rectos only; folding parish maps from different periods; with introduction, glossary & bibliography; well preserved in original card covers & plastic binder. Parish Survey SUFFOLK.

Soft cover. Condition: Very Good. 140 pages. Illustrated. Hester M Black and Philip Gaskell "Special Collections In Glasgow University Library" / Arthur Rau "Edouard Rahir 1862-1924" / Edward Wilson "The Book-Stamps Of The Tollemache Family Of Helmingham And Ham" / Richard Gullible "An Enquiry Into An Enquiry".

Paperback. Condition: Good. Good copy. 56pp. 14x9cms. Book.

Soft cover. Condition: Good. No Jacket. 1st Edition. 12mo, printed wrappers, small library stamp on upper cover, moderate wear, 24pp. A good+ copy.

Colour print, from Morris's "Views of Seats", 1880,

No Binding. Condition: Very Good. J.P. Neale (illustrator). A fine original black and white antique engraving from Views of the Seats of Noblemen and Gentlemen in England, Wales and Scotland. This fine engraving was drawn and published by J.P. Neale 1818-1829. Ilustration comes with separate page of descriptive text. This illustration being a fine exterior view of Helmingham Hall of Suffolk, titled and dated. Size approx 6 x 5" (16.5 x 13cm). Ready for framing.

No Binding. Condition: Very Good. J.P. Neale (illustrator). A fine original black and white antique engraving from Views of the Seats of Noblemen and Gentlemen in England, Wales and Scotland. This fine engraving was drawn and published by J.P. Neale 1818-1829. Ilustration comes with separate page of descriptive text. This illustration being a fine exterior view of Helmigham Hall of Suffolk, titled and dated. Size approx 6 x 5" (16.5 x 13cm). Ready for framing.

Colour tinted lithograph, from Hall's 'The Baronial Halls and Ancient Picturesque Edifices of England', good margins,

Tinted lithograph, from Hall's 'Baronial Halls' stainin left margin,

Condition: Very Good. First edition. Paperback. Quarto. Typed manuscript with folding maps, very good indeed in plastic folder. No date, c.1981. Commissioned by the Local History Society.

Condition: Good. 15 color prints, each matted and 14 are also shrinkwraped. 16 x 13 inches mat size. 41 x 33cm.Tudor Plants and Trees:Published 1972 by Hugh Evelyn; They were drawn by an artist unknown between 1520 and 1530.Known as "MS Ashmole 1504", or the Tudor Pattern Book, the originals are held in the Bodleian Library at the University of Oxford.Printed on high white matt cardstock of 139 gm/sm .Bodleian Library at the University of Oxford.This series of Hugh Evelyn prints was published in 1972 and comprises some of the images in MS Ashmole 1504, known today as the Tudor Pattern Book which is held in the Bodleian Library at the University of Oxford. The images, drawn between 1520 and 1530, were finished in gouache and watercolour, with pen and ink, on vellum. Names of species are written in early English directly above each drawing, in large textura (narrow, angular letters with a strong vertical emphasis) in pen and black ink; the initial letter of each species name is written in Lombardic style, in pen and red ink. .A similar manuscript, a variant twin, was purchased for Paul Mellon by his fellow Yale alumnus, Laurence Claiborne Witten II at Sotheby's in June 1961. It had lain at Helmingham Hall, near Stowmarket in Suffolk, England (seat of the Tollemache family) for 400 years.Known as the Helmingham Herbal and Bestiary, it is today held at the Yale (University) Centre for British Art in New Haven Connecticut, USA, founded by Mellon. Both manuscripts may be by the same hand as they have many similarities in form and style. The main difference manuscripts is that the Pattern Book shows 2 species on each page, with various paraphernalia in miniature beneath, whilst the Helmingham comprises 4 images on each page but without the miniature images beneath. It seems that images from two famous contemporary works have been reproduced in the Pattern Book: "St Eustace" (c. 1501), an engraving by Albrecht Dürer [1471-1528] held by the Royal Collection, London and "Adam and Eve" (1526), a painting by Lucas Cranach The Elder (1472-1553) held by the Courtauld Institute of Art in London. But no such reproductions appear in the earlier Helmingham manuscript.The images shown in our collection of prints comprise plants, ostensibly native to England. Henry Black, assistant keeper of Public Records in 1845, considered this was the Book of Patterns of an illuminator of manuscripts. The late W.O. Hassall, himself librarian at the Bodleian (Western Manuscripts) and to the Earl of Leicester at Holkham, agreed, whilst questioning if it might be a private textbook for a child. He thought the style of the pictures (and of the English) suggests some influence from the Low Countries.Nicolas Barker, a British historian of printing and books and lately head of Conservation at the British library, has more recently studied both manuscripts. He speculates that the Yale images are older than the Tudor Pattern Book by about 20 years. He also suggests that both manuscripts may have existed together at Helmingham and were possibly used by Lionel Tollemache as pattern books when he began renovation at the start of the sixteenth century. The house was then called Creke Hall. He surmises that they may have been used as educational primers for the Tollemache children, endorsing the opinion of Hassall.Elias Ashmole (1617-92) was an English antiquary, politician, officer of arms, astrologer, and student of alchemy. He supported the royalist side during the English Civil War. At the restoration of Charles II, he was rewarded with several lucrative offices. Through a carefully planned (if unhappy) marriage, Ashmole came into the wealth he needed to pursue his twin ambitions: the study of alchemy and the acquisition of things. He acquired collections from (1) Simon Forman (1552-1611), an astrologist, occultist and herbalist active during the reigns of Elizabeth I and James I, who left his collection to his protégé Richard Napier, whose son sold it to Ashmole; and (2) William Lilly (1602-1681) an astrologer who supported the Parliamentarians during the Commonwealth. He had also acquired (fairly or otherwise) the collections of John Tradescants Senior and Junior (gardeners to Robert Cecil and Charles I respectively). Their employers had sent their gardeners off around the world to find plants and other 'curiosities'. Ashmole's gifted his collection to Oxford University and the Tradescant "curiosities" (which had been part of a private museum called "The Ark" in Lambeth, London) formed the basis to the founding of the Ashmolean Museum in Oxford, the first public museum in Britain. Ashmole's manuscripts (and those of Anthony Wood (1632-1695) an antiquary at Oxford and Sir William Dugdale another antiquary and a herald who also became Ashmole's father-in-law) were moved to the Bodleian Library in 1860.Provenance: From the collection of Frederic Gale Ruffner, Jr., the founder of Gale Research, Detroit.