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78472 Los(e)/Seite
![Original etching ''Cock up Cock up'' by Henry Wilkinson 35/75 depicting a dog hunting a pheasant [47x58cm]](https://cdn.globalauctionplatform.com/70b6caf8-1ef8-4fbc-92cc-afa500c23caa/b5c42fb3-d671-4822-b9b6-afa900dcb3d9/468x382.jpg)
![Etching ''Church at Ronda'' by William Douglas Mcleod [43x58cm]](https://cdn.globalauctionplatform.com/70b6caf8-1ef8-4fbc-92cc-afa500c23caa/e5cce874-212c-42d8-8a93-afa7015c679b/468x382.jpg)
![NO RESERVE Lewis (Wyndham) The Roaring Queen, numbered 8 of 100 copies signed by G.A. Lewis [Mrs Wyndham Lewis], Walter Allen](https://cdn.globalauctionplatform.com/8b5917c8-6f65-4910-befc-af9e01004842/7c10a56a-8eb2-41ee-86c6-af9e0113236b/468x382.jpg)
Los 299
NO RESERVE Lewis (Wyndham) The Roaring Queen, numbered 8 of 100 copies signed by G.A. Lewis [Mrs Wyndham Lewis], Walter Allen and Michael Ayrton with a frontispiece etching by Ayrton, this also numbered 8 and signed by him, original boards, slip-case, 8vo, 1973.⁂ The Roaring Queen was originally written in 1936, but not published until 1973.
Los 448
Three Very Large Unusual Stone Set White Metal Rings, all inset with large, round cornelians, the huge, hand made, unmarked, white metal settings and shanks have filigree style decoration or etching, with shoulders set with cornelian and lapis blue stones; approx. sizes Q, Q/R and R (with wide shanks)
Los 3060
George Cruikshank (1792 - 1878), hand-coloured engraving - Old Bumblehead the 18th trying on the Napoleon Boots, or Preparing for the Spanish Campaign, published February 17th 1823, in glazed frame, 24cm x 33 cm together with a Tegg`s Caricatures No.283. `Boney Bothered or an Unexpected Meeting`, hand coloured etching, published by Thomas Tegg, July 9th 1808, 33cm x 22cm (damage & tear to top right section), both framed (2)
Los 104
* Philips (Jan Caspar). Vuurwerk, by gelegentheid van de Plechtige en Heerlyke Inhalinge van Syne Doorluchtige Hoogheid den Heere Prince van Oranje en Nassauw..., ende Haare Koningkle: Hoogheid den Croon Princesse van Groot Britt..., binnen Leeuwardn: 11 May 1734 afgestoken, Leeuwarden: Timon van Dessel, fine early 18th century copper engraving by Jan Caspar Philips after Rienk Keyert, some minor marks and sl. creases, plate size 40.5 x 48 cm (16 x 19 ins), black and gilt frame, glazed (60 x 67 cm), together with Allard (Abraham). Vrede-Vreugd Spigel, vereewigende de Zinnebeelde en Wapens, aan't State Generaals Vuur Werk (Sejour de la Paix consideré dans les Emblemes, Armoires &c: appliqués au Feu d'Artifice des Etats Generaux), & Vereewinging der Vrede Zinnebeelden, Wapens enz aan't Hollands Vuurwerk te zamegesteld door a. allard (Miroir Emblematiq de la Paix, ou sont les Tableaux, Images, Devises &c appliqués au Feu d'Artifice d'Hollande dessiné par A. Allard, Amsterdam: A. Allard, [1713], etching, a very good impression, plate size 39 x 45.5 cm (15.25 x 18 ins), black and gilt frame, glazedQTY: (2 )NOTE:
Los 119
* Strang (William, 1859-1921). Dr. Hans Richter, 1912, etching on pale cream wove paper, printed with plate tone, the final state (of 4), signed lower right, additionally marked in pencil by David Strang 'Final State (of 4) D.S.', plate size 40 cm x 27.7 cm (15.7 x 10.9 ins), sheet size 45.2 x 30.7 cm (17.8 x 12 ins), framed and glazedQTY: (1)
Los 127
* Wilkinson (Henry, 1921 - 2011). Dry Point Etching of a Shooting Scene, uncoloured etching of a man loading a shotgun with a terrier and a Springer Spaniel seated at his feet, signed by the artist in pencil below the image to the lower right, annotated "Artist's Proof" to the lower left, 195 x 150 mm, mounted, framed and glazed, together with Wilkinson (Norman, 1878 - 1931). Landfall, etching, signed in pencil below the image by the artist to the lower right, 210 x 305 mm, mounted, framed and glazedQTY: (2)
Los 279
Hardy (Thomas). Far From The Madding Crowd, London: Osgood, McIlvaine and Co., 1895, etching frontispiece, map of Wessex to the rear, some toning & light wear, later endpapers, rebound retaining original gilt decorated green cloth boards & spine, spine slightly rubbed, 8vo, plus other works by Thomas Hardy, together with:Harris (Stanley), Old Coaching Days, London: Richard Bentley & Son, 1882, 12 illustrations by John Sturgess, some light spotting & toning, original illustrated brown cloth, spine slightly rubbed to head & foot, 8vo, plus other miscellaneous literature, including publications from the New Naturalist series, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (3 shelves)
Los 66
* Bauer (Marius 1867-1932). In Stamboul, etching, signed in pencil 'MB' lower right, numbered 43, image size 38.4 x 49.5 cm (15 1/8 x 19 1/2 ins), framed and glazed (50.6 x 63.4 cm), together with Israels (Jozef 1824-1911). The Fisherman, drypoint etching, published by Arnold and Cripp, Paris, signed in pencil to lower left, printed caption: Publiè par Arnold et Cripp, 8, rue St Georges à Paris, to lower margin, Printsellers Association blindstamp, image size 38 x 26.5 cm (15 x 10 1/2 ins), framed and glazed (65 x 49.5 cm)QTY: (2)
Los 257
STANLEY ROY BADMIN (BRITISH 1906-1989) 'THE STROUD CANAL', an etching depicting a figure opening a lock gate to allow a barge to pass through, initialled and dated '31 to the plate, signed and titled in pencil to lower margin, approximate size 14cm x 19cm including visible margins, mounted framed and glazed (Condition Report: the etching is in very good condition, small chips to the frame corners) (Artist resale rights apply)
Los 47
Porque EsconderlosCirca 1799. Third edition before beveling to the plate, aquatint and etching on cream wove paper, with full marginsPlate size: 8 1/2 x 5 7/8 in. (21.6 x 14.9cm)Sheet size: 12 3/4 x 9 7/16 in. (32.4 x 24cm)[Delteil 67, Harris 65]In a Robert Kulicke frame.El Amor y la Muerte from 'Los Caprichos' (Plate 10)Circa 1799. Third edition before beveling to the plate, aquatint and etching on cream wove paper, with full marginsPlate size: 8 3/8 x 5 15/16 in. (21.3 x 15.1cm)Sheet size: 12 3/8 x 8 3/16 in. (31.4 x 20.8cm)[Delteil 47, Harris 45]In a Robert Kulicke frame.Buen Viage from 'Los Caprichos' (Plate 64)1799. Third edition before beveling to the plate, aquatint and etching on cream wove paperPlate size: 8 1/2 x 5 7/8 in. (21.6 x 14.9cm)Sheet size: 12 3/4 x 9 7/16 in. (32.4 x 24cm)[Delteil 101, Harris 99]In a Robert Kulicke frame. Quien lo Creyera! from 'Los Caprichos' (Plate 62)1799. Third edition before beveling to the plate, aquatint and etching on cream wove paperPlate size: 8 1/16 x 5 15/16 in. (20.5 x 15.1cm)Sheet size: 11 15/16 x 7 7/8 in. (30.3 x 20cm)[Delteil 99, Harris 97]In a Robert Kulicke frame.(4)Qty: (4)ProvenancePrivate Collection, Philadelphia, Pennsylvania.Frames: 15 x 12 1/2 x 3/4 in. (4)To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.
Los 773
A 19th century print "London from Greenwich, 28x43cm, framed and glazed; an etching of a London church framed and glazed; a reproduction print of London; 2 vintage maps of London; 2 monochrome prints "Putney Bridge" & "Dunvegan Castle", all framed and glazed; 3 19th century prints of children; a miniature print of a young sailor all framed and glazed
Los 867
A Light Infantry Officer's Sword, by W Jones of London, with etching along the blade, single edged, single fullered, 82cm long blade, complete with scabbard Condition Report:looks to be victorian, tip slightly blunt, cutting edge slightly blunt, blade appears straight, some minor discolouration to the blade, needs a clean, grip slightly worn, all still tightly fitting, otherwise, generally good conditon, no obvious signs of significant damage or repair
Los 14
Bleak House, By Charles Dickens, in the original monthly parts as issued, complete with the original 20 parts bound in 19, in blue wrappers, with illustrations by H. K. Browne, London: Bradbury & Evans, Bouverie Street, first edition, first issue. The bottom of the front wrapper of No. I reads “Agents: J. Menzies, Edinburgh; Murray And Son, Glasgow; J. M’Glashan, Dublin” and “Notice is hereby given that the Author of ‘Bleak House’ reserves to himself the right of publishing a Translation in France”, and the notice about publishing rights is in heavier type than the line about the agents; this is altered in No. V and subsequent numbers to read “The Author of this work notifies that it is his intention to reserve the right of translating it.” There are 40 plates altogether and all the plates are present, including the Dark Plates, and the parts are housed in a custom slipcase. The book was Dickens’ ninth novel and was published in monthly installments that ran from March 1852 through September 1853. The last installment had two parts - No. 19 and 20 - bound as one and cost 2 shillings, instead of the usual 1 shilling for each of the parts. The outer slipcase measures 9 1/2 x 6 1/2 in. wide and has “Bleak House, Charles Dickens, 1852 - 3, Original Parts” in gilt lettering on the spine, and the blue wrappers are 8vo. and measure 8 7/8 x 5 5/8 in. wide. There are two substantive innovations in this novel: Dickens used short titles instead of long ones, and he changed the wrappers from green to blue. All the plates, slips, and ads which are called for are present to make this a first edition, first issue. There are forty plates altogether, and No. IX has the white slip which reads “An accident having happened to the Plate, it has been necessary to cancel one of the Illustrations to the present Number. It will be supplied in the next Monthly part.” The accident happened because the illustrator made a mistake by introducing Grandmother Smallweed into the etching, instead of the fair “Judy”, and the plate was cancelled, then corrected and issued in the next number, so No. IX only has one plate and No. X has three plates, as called for. (See Hatton and Cleaver page 291.) The following also need to be present, according to Eckel, and they are here: Nos. XI and XIII have the mauve slips concerning “Handley Cross”; No. XV has an eight-page slip about the “Village Pastor”; Nos. XIX and XX have the announcement of the publication of the “The Newcomes” on a yellow slip of paper, and all the parts have the Bleak House Advertiser present at the beginning of each part. According to Hatton and Cleaver, two other ads called for are present here too: the scarce “Grace Aguilar’s Works” ad in Nos. XIII and XVI and the “New Geographical Educational Works” ad in No. XIV. (The Grace Aguilar ad in No. XVI has only 2 of the 8 pages it’s supposed to have, and that is the only lacking in all the parts.) The Dark Plates were the result of “machine-tinting” the steel engravings, which gave an effect of mezzo-tinting. The steel was first closely ruled with fine lines and then the design was etched over the ruling; after that, the plates were burnished and the sense of light and shadow was heightened. The Dark Plates here also have clear lines on the captions, instead of fuzzy or smudged lines, and these clear lines indicate earlier plates and printings. (See Eckel page 73, when Eckel speaks about the captions for the plates in Dombey and Son - this makes a critical difference in understanding whether you have an early printing or a later printing of a Dickens work.) There are other indications of an early printing here too. No. I has uncut pages in the ad for Norton’s Camomile Pills in the rear; page 2 in the front ads of No. IV and VII are not paginated, as well as page 4 of the front ads in No. XVII; the “10” on page 10 of the front ads in No. XI and XIV has bold I’s; the slip for Household Words in No. X is inserted upside down, and a slip for Thomas Anderson & Son is inserted before the Bleak House Advertiser in No. XVII and this error is not mentioned in Hatton and Cleaver at all; and there are five lines of errata at the back of XIX - XX. There are tissue guards in between many of the plates, owners’ names at the top of four wrappers (Nos. VIII, IX, XIII, and XVIII) and light browning or foxing on some plates; some wrappers have numbers circled in pencil on the first page of the front ads (we don’t know why), one plate is loose (in No. XVI) and one plate has a one inch tear in the bottom margin (No. XIV). There is light wear on the heel of a few wrappers and some folds or light wear at the edges of a few wrappers, but the front of the wrappers are generally very clean and have no soiling. There is also a slight seam separation at the top of the outer slipcase, but it does not detract from the binding, and it is difficult to find a complete first edition set with all the points of issue called for, and overall this is a very attractive set of the first issue for Bleak House. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and A Bibliography of the Periodical Works of Charles Dickens: Bibliographical, Analytical & Statistical, by Thomas Hatton and Arthur Cleaver 1933 for identifying first editions and first issues in the periodicals of Dickens.
Los 41
Hans of Iceland. London: J. Robins And Co. Ivy Lane, Paternoster Row 1825, with four original black-and-white plates by George Cruikshank. The author is unnamed, but it was written by Victor Hugo, and this is the first English edition of Hugo’s book. Hugo wrote it in French in 1821 under the title Han d’Islande, and It was Hugo’s first novel. It was published in French in 1823, then published in English in 1825, with the four etchings by Cruikshank. Victor-Marie Hugo (1802 - 1885) was a French Romantic writer and politician. During a literary career that spanned more than sixty years, he wrote in a variety of genres and forms, and is considered to be one of the greatest French writers of all time. The story has all the ingredients of a gothic novel: dreadful murders by the hand of a human monster, a young hero in love with the destitute heroine, royal court intrigues and a rebellious uprising, all set in dungeons, dark towers, and the untamed nature of Norway, back when it was part of Denmark. The book is 7 7/8 x 5 in. wide, in an exquisite maroon binding by Riviere. The spine has six gilt- ruled compartments, a gilt title, gilt devices, and “1825” in gilt at the bottom of the spine. There are gilt-ruled rectangular borders with fleur-de-lis designs at the corners, the binding is done in morocco, the endpapers are a stately blue, with the bookplate of Frank L. Hadley; we don’t know who he was, but there are oil wells on the bookplate, and we believe he was a man of means. The book is 225 pages long, with a leaf before the half-title that lists New Works, Illustrated by George Cruikshank, followed by the half title and a wonderful frontis by Cruikshank titled “Some say this Monster was a witch, Some say it was a devil”, then the title page and a notice complimenting Cruikshank for his “four very ingenious and spirited etchings”, and all four etchings by Cruikshank are present. The imprint of J. Robins follows the last page of text, and there are two pages of ads for works published by J. Robins at the rear, and the top edge is gilt. The binding is tight and secure and the text and etchings are very clean, except for the last plate, which has some light browning in the top left corner that doesn’t affect the etching; there only two titles of the first French edition that we could find online, and those are very expensive, and there are only three listings for this title in English, and they don’t have the same quality as this first English edition.
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78472 Los(e)/Seite