* DRONMA (SCOTTISH b. 1947), ORANGE SUNSET oil on canvas, signedframed and under glassimage size 40cm x 40cm, overall size 60cm x 60cm Note: Dronma was born in Glasgow in 1947 and studied at Laurel Bank and then Glasgow School of Art, where she graduated in 1969. After her studies at Jordanhill College of Education, and a period of teaching she was appointed Art Director of Glasgow Arts Centre. Until April 2008 Drӧnma was a part time lecturer at Forth valley College. She now devotes her time fully to her painting, and a member of the Glasgow Society of Women Artists.(GSWA). Awarded Scottish Amicable Award 2007 at their 125th Anniversary Exhibition. Dronma's vibrant landscapes have gained her a fine reputation amongst discerning buyers of contemporary art, as a modern Scottish colourist. Her bold expressive style evokes the character inherent in Scotland's mountains and shores. Dronma has been a Tibetan Buddhist since 1976. Her landscapes may be wild and wind swept, but they also gleam with an inner light. Her work has been exhibited all over the United Kingdom, and in private collections world-wide.
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* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), BIG SKY oil on canvas, signedframedimage size 29cm x 29cm, overall size 47cm x 47cmNote: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.
* CHRIS BUSHE RSW (SCOTTISH b. 1958), AFTERNOON ARCHWAY, SANTORINI oil on canvas, signed, titled and dated 2003 verso unframed (as intended) overall size 244cm x 213cm Note: This lot is being offered without reserve. Provenance: Prvate collection, Edinburgh. Comment: an enormous and spectacular example of Chris Bushe's work and by some margin the largest of his paintings to be offered at any UK auction. Note: Born in Perthshire, Chris Bushe is one of Scotland’s greatest living landscape painters. Initially, he studied Archaeology and Ancient History at Edinburgh but from his earliest years, he has responded to his fascination with the landscape around rural Aberdeenshire. He was accepted at Gray’s School of Art in the 1980s and forged a career painting landscapes very much in his own style and at odds with the fashionable conceptualism of the day. His paintings have won him a plethora of awards at national exhibitions. His work can be found in the corporate collections of Murray International Metals, Premier Property Group, Aberdeen Hospitals Trust, Grampian Regional Council, Edinburgh Hospitals Trust, Scottish Life, the Royal Bank of Scotland, Scottish & Newcastle, Dundee City Council, Bulthaup, University of Stirling, Turnberry Hotel and Centrica. His many awards include the Morton Fraser Milligan, Russell Flint Trust, Glasgow Arts Club Fellowship, Scottish Arts Club Awards, the RSW Council Award, the RSW McManus Galleries Purchase Prize, the RSW Fotheringham Gallery Award and the RSW The Walter Scott Award. Most recently, Chris has had considerable success at The Discerning Eye winning both the Founder’s £2500 Purchase Prize in 2015 and ING £5,000 Purchase Prize in 2016. In Scotland, his principal gallery is the prestigious Open Eye Gallery (Edinburgh) where his most recent (widely praised) solo show was "Chasing Light" (4th - 25th June 2022). Delivery: Aardvark Art Services Ltd will typically collect and deliver an artwork of these dimensions (to all but the most remote UK mainland addresses) for approximately £120 although assistance might be required for unloading.
* ROBERT KELSEY DA MUniv PAI FRSA (SCOTTISH b. 1949), EARLY MORNING LIGHT, NEWTOWN CREEK oil on canvas, signed, titled versoframed and under glassimage size 61cm x 71cm, overall size 79cm x 89cm Note: Robert Kelsey is one of Scotland's most prominent landscape painters working today. Born in Glasgow in 1949, Robert studied painting at the Glasgow School of Art from 1966-70 under David Donaldson, James Robertson, and Alexander Goudie. Kelsey went on to teach art until 1995, at which point he left education to paint full time. Since then, Robert Kelsey has developed a reputation as one of Scotland's finest and in-demand painters, particularly for his stunning coastlines. Lot 48 "Portree Bay, Skye" by Robert Kelsey from the same private collection as "Yacht In The Sound of Iona" sold in The Scottish Contemporary Art Auction of 17th August 2023 sold for £2200 (hammer). Known collections include: Paisley Art Gallery, Lord Macfarlane of Bearsden, , Frances Shand Kydd, The Fleming Collection, Cairn Energy PLC, Credit Lyonnaise Bank, Turnberry Hotel, Taylor Woodrow, Lord Smith of Kelvin, His Grace, The Duke of Bedford, Anthony Shaffer, Highland Spring Water, Scottish Property Services, Arisaig Partners (Asia) Ltd, Enterprise Oil, Scottish Friendly Assurance.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), SUMMER TIME oil on canvas, signed, titled label versoframed image size 90cm x 185cm, overall si115cm x 206cm ze Artist's label versoNote: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), HEN HOUSE oil on canvas, signed, titled labels versomounted, framed and under glass image size 30cm x 36cm, overall size 46cm x 50cm Artist's label versoLabel verso: The Open Eye Gallery, EdinburghNote: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
* SHEILA MACLEOD ROBERTSON RSMA (BRITISH 1927 - 2020), THE HARBOURMASTER'S COTTAGE, PLOCKTON oil on board, signed, titled label versoframed image size 29cm x 39cm, overall size 41cm x 51cm Handwritten artist's label versoNote: Born to Scottish parents in London, Sheila Macleod Robertson was a noted painter in oils of marines, seascapes and coastal scenes. Trained at Watford and the Central School of Art & Design, London. She quickly developed a particular interest in the light and mood of sea, coast and landscape. Held many successful solo shows in London and Scotland, including at The McEwan Gallery. Elected member, Royal Society of Marine Artists 1969, also professional member, St Ives Society of Artists. To increase her knowledge of weather and sea conditions of the western seaboard she cruised as a crew member on an ocean yacht. Her work, produced mainly with a palette knife, was regularly exhibited at the RI, ROI & RSMA. When not sailing, she lived in Edinburgh before retiring to Hertfordshire.Condition is good overall, with no visible or known issues. Additional images have been uploaded to our website.
* DRONMA (SCOTTISH b. 1947), THE BOTHY, GLENCOE oil on canvas, signed, titled versoframedimage size 61cm x 61cm, overall size 74cm x 74cmNote: Dronma was born in Glasgow in 1947 and studied at Laurel Bank and then Glasgow School of Art, where she graduated in 1969. After her studies at Jordanhill College of Education, and a period of teaching she was appointed Art Director of Glasgow Arts Centre. Until April 2008 Drӧnma was a part time lecturer at Forth valley College. She now devotes her time fully to her painting, and a member of the Glasgow Society of Women Artists.(GSWA). Awarded Scottish Amicable Award 2007 at their 125th Anniversary Exhibition. Dronma's vibrant landscapes have gained her a fine reputation amongst discerning buyers of contemporary art, as a modern Scottish colourist. Her bold expressive style evokes the character inherent in Scotland's mountains and shores. Dronma has been a Tibetan Buddhist since 1976. Her landscapes may be wild and wind swept, but they also gleam with an inner light. Her work has been exhibited all over the United Kingdom, and in private collections world-wide.
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), STILL LIFE, POPPY & GREEN CHAIR watercolour on paper, signed, titled label verso framed and under glass image size 87cm x 105cm, overall size 104cm x 130cm Artist's label versoNote: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
ATTRIBUTED TO ALEXIS GRIMOU (circa 1680-1733) "Gentleman in black coat and white chemise", a portrait study, oil on canvas, bust length, unsigned, 82 cm x 65 cm (Provenance: Bonhams Sale 7th March 2012) 82 cm x 65 cm CONDITION REPORTS Over all look of the painting is quite dark though, in all probability the intention. Basic over all condition appears sound though with some marking to the surface of the paint which may be resolved with a light clean. There is some sign of craquelure top left of the sitter's face. Plaque to the frame inscribed "Hyacinthe Rigaud 1669-1743 - This may be the actual sitter". Frame with cracking to the extremities and some signs of loss and/or repair in several areas presumably which became necessary because of the cracking - see images for further detail. Under ultra-violet light there are several areas of damage and repair, particularly to the edging throughout and to the facial area and collar - see images for further detail. Verso the work has been re-lined - see images for further detail
AFTER R SIMKIN “The Worcestershire Regiment”, “The Gloucestershire Regiment”, “The Royal Sussex Regiment”, “The Royal Engineers”, “The Duke of Edinburgh's Wiltshire Regiment”, “The Oxfordshire Light Infantry”, “The Devonshire Regiment” and “The Highland Light Infantry” - a set of eight chromolithographs, 29.5 cm x 24 cm each, together with four further similar military chromolithographs by the same hand including “The South Wales Borderers” (x 2), “6th Dragoons” and “23rd or Royal Welch Fusiliers” (12)
RALPH WALLACE BURTON (1905-1983) “Landscape from top of Tocker Hill”, oil on board, signed, 27 cm x 34 cm CONDITION REPORTS Has general wear and tear conducive with age and use. In need of a light clean. Frame has some chips and knocks and is also in need of a clean. See images for further detail.
A collection of small treenware items to include a circular lignum vitae six place coaster set, bodkin case, needle case, barrel shaped box, pokerwork decorated spinning top, spectacle case, paper knife, ink pad, leather covered dice shaker, Indian peacock ink pot, darning mushroom, ebonised snuff box containing metal dominoes, ebonised and ochre lined circular box, rosewood handle with screwfix, turned treenware bayonet fixing for electric light fitting, painted cyclindrical box with domed lid, burr cedar rectangular box containing various bone counters and a burr maple cigarette box with Scottish blind hinge (damaged), a small rustic ladle and a beech bradawl
An Ernst Wahliss Alexandra Porcelain Works Turn "Vienna" coffee set comprising six coffee cans, two matching saucers, three smaller saucers, water jug and sugar bowl and cover together with a small quantity of various other china wares and a pair of plated sugar nips together with a framed and glazed oil on board study of Ascot Races, indistinctly initialled lower left 25 cm x 20 cm CONDITION REPORTS Ernst Wahliss pieces only - the lidded milk jug has hairline cracks running throughout. The three coffee cans with triangular decoration - two have significant hairline cracks/repairs and chips and the third has a large chip. The two matching saucers have some surface scratching. The three similar plain coffee cups have some small chips and roughness to the bottom edges. The three similar plain saucers - two are marked as Vienna, the other as KPM. All have light scratching, all pieces are in need of a good clean, have heavy wear and tear conducive with age and use - see images for more details
A collection of Chinese and Japanese porcelain including a prunus blossom blue and white ginger jar and cover (cover v. AF), a blue and gilt decorated circular footed bowl bearing seal mark to base, 14 cm diameter x 6.8 cm high, two famille rose tea bowls, two famille rose square saucers, three miniature ginger jars (one pink, one turquoise, one yellow ground), five Japanese bird decorated saucers, a set of three Chinese turquoise ground and floral decorated flower head design bowls on circular feet, 20 cm diameter and a similar matching smaller set, 10.5 cm diameter CONDITION REPORTS The blue and gilt decorated bowl has several hairline fractures running through the piece, the most noticeably running down from the rim approx. 7 cm, the others less than 1 cm each, together with several small chips to the rim. Some firing faults, in need of a good clean, general wear and tear to include some light surface scratching etc - see images for more information.Prunus decorated ginger jar - the top is badly damaged and re-glued. The set of three ginger jars - there are some losses to the enamel decoration.The pair of square dishes - one has been broken and badly re-glued. One of the tea bowls has been badly restored to a large area, the other has discolouration and chips throughout.The set of three small bowls - two have signicant hairline fractures and some chips and the other has some chips to the rim. The three similar larger bowls - two have hairline fractures, all three have some chipping and losses to the decoration.All items are filthy and in need of a good clean. General wear and tear conducive with age and not being looked after - see images for examples
A set of four Flamart baluster goblet shaped candle holders on circular feet 24.5 cm high x 18 cm diameter, a set of four unnamed smoked glass goblet type candleholders 24.5 cm high, a a pair of clear glass candle holders on circular feet, 33 cm high, a pair of moulded glass four light three branch table candelabra in the Victorian style, 50 cm high, a modern Art Deco style dressing table scent bottle, 15.5 cm high, an amber glass trefoil bowl with dimple decoration and a frosted and green fern glass candle holder of cylindrical form 12.3 cm high x 10 cm diameter
Essex House Press. A Mornynge Remembraunce, compyled by the Reverent Fader in God, Johan Fysher Bishop of Rochester, Essex House Press, 1906, frontispiece by C. R. Ashbee, printed in red and black, original vellum, slight toning to spine, 8vo, presentation inscription at front 'Nina from Maur, August 1921', limited edition,67/125, together with The Hymn of Bardaisan, rendered into English by F. Crawford Burkitt, Essex House Press, 1899. woodcut initial, printed in red and black, unopened, original boards, spine a little toned, small indentations to rear cover, 8vo, limited edition of 300, plus The Picture of Kebes the Theban, Essex House Press, 1906, printed in red and black, bookplate of Thomas Edward and Catharine Hodgkin, original boards, 8vo, limited edition of 50, this copy presented to M(r) Enthoven, together with Ashbee (C.R., editor). The Manual of the Guild and School of Handicraft: being a guide to county councils and technical teachers, London: Cassell & Company, 1892, title with woodcut device of the Guild, 16 pp. publisher’s catalogue at rear, light spotting to half-title, with an 8pp. printed Guild booklet extract loosely inserted at front, containing a Preface by G. F. Watts, introduction and course of lectures (pages numbered 9-[16]), and a 3pp. printed order form for the Guild's volume of Transactions loosely inserted at rear, uncut and untrimmed, original printed pale brown wrappers, in very good condition, 8vo, plus 4 others including A Bibliography of the Essex House Press... from the year 1898 to 1904, Essex House Press, 1904, Report on the Work of the Campden School of Arts and Crafts 1903-04, Essex House Press, 1904 anf Reprint of an Article in 'Handicraft' by Mr. Frederic Allen Whiting, Secretary of the Arts and Crafts Society of Boston, Massachusetts... Essex House Press, 1904, all ex-libris of John AveryQTY: (8)NOTE:A Mornynge Remembraunce is inscribed by the Arts and Crafts etcher F. L. Griggs (1876-1938) to his wife Nina Griggs.The Manual of the Guild and School of Handicraft provenance: John Avery, F.C.A., Woodford Green, Essex, with his printed label to inside front cover of the first volume, and to final leaf of the three printed booklets.Tomkinson 66, 3 & 71 respectively for the first three Essex House Press titles.
Clare (John). The Shepherd's Calendar; with Village Stories, and Other Poems, 1st edition, London: John Taylor, 1827, engraved frontispiece by Edward Finden after P. Dewint, neat gift inscription in brown ink to front blank dated 1838, preliminaries spotted, contemporary half calf gilt, rubbed with some light wear (small portion of title label lacking), 12moQTY: (1)
Yeats (W. B.) Stories of Red Hanrahan and the Secret Rose, 1st edition, London: Macmillan and Co., 1927, 2 colour plates and monochrome illustrations by Norah McGuiness, a little light spotting to title and endpapers, original red variant pictorial cloth, dust jacket, slight toning to spine, 8voQTY: (1)NOTE:Wade 157. Also issued in dark blue cloth.
AR * Wood (Lawson, 1878-1957). A Good Sprinter, 1908, watercolour, depicting a caveman running away from a green dinosaur, signed and dated lower right, some light toning, 34 x 25 cm mount aperture, remnants of artist's label with title, artist name, address and title, in brown ink, and title, artist's name and address written in pencil to verso, framed and glazed (54.5 x 45 cm)QTY: (1)NOTE:Lawson Wood was a talented illustrator and cartoonist. He gained great popularity with his humorous illustrations of animals, including dinosaurs and monkeys. Lawson's first prehistoric characters were published in his Prehistoric Proverbs, 1907, a series of 12 drawings published by Collier & Co.
Yeats (W. B.) Two Plays for Dancers, 1st edition, Churchtown, Dundrum: The Cuala Press, 1919, title with woodcut device, printed in red and black, some toning to endpapers, original linen-backed boards, some toning to spine and board margins, 8vo, one of 400 copies printed, together with Further Letters of John Butler Yeats, selected by Lemnnox Robinson, 1st edition, Cuala Press, 1920, title with woodcut device, slight toning to endpapers, original linen-backed boards, spine toned, a few light stains to covers, 8vo, one of 400 copies printed, plus Words for Music Perhaps and Other Poems, 1st edition, Cuala Press, 1923, woodcut device in red, a little light spotting and toning, Brackenbury bookplate (from the library of Hugh Walpole), original linen-backed boards, spine label torn with loss, 8vo, 450 copies printed, plus A Packet for Ezra Pound, 1st edition, Cuala Press, 1929 QTY: (4)NOTE:Wade 123; 168 & 163 respectively for first, third and fourth titles.
* French playing cards. Spanish national pattern, Angouleme, Bordeaux: Jean Latache, 1816, 46 (of 48, without 6 & 7 of swords) stencil coloured woodcut playing cards (Spanish suits) with pintas, ace of coins with imitation Real Fabrica de Madrid notation, and with date, R.H. on 4 of coins, maker's name on 2 & cavelier of swords, dusty, some toning and rubbing, occasional light soiling, versos blue diamonds and dots, each card 89 x 55 mm, together with Catalan pattern, Perpignan: Dessoris, circa 1840, 38 (of 48, without cavelier, king & 4 of coins, cavelier, 6 & 7 of cups, cavelier, ace & 8 of swords, 7 of clubs) stencil coloured woodcut playing cards (Spanish suits), pintas and indices, ace of coins and all courts with maker's details, few minor marks, jack of coins with small surface loss to blank area, versos blue dots, each card 93 x 60 mm, 21 cards from each pack mounted with photo corners onto 2 display boards (42 x 59.5 cm and similar), encapsulated in clear plastic (none examined out of boards), the remainder in plastic bagsQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.First item: Cartorama 51 #90 for a slightly earlier version. According to Cartorama, the Latache family were known for unsuccessful attempts at tax fraud, and they produced many packs for export. Second item: British Musem 1896,0501.842 (Schreiber, Spanish 40).
Shakespeare Head Press. Ernest Gimson. His Life & Work, Stratford-upon-Avon: Shakespeare Head Press, 1924, 60 collotype plates, wood-engravings, errata slip, some toning to endpapers, light spotting to fore-edges, original cloth-backed boards, 4toQTY: (1)NOTE:Limited edition, 495/550 copies.
Milne (A. A.). The Sunny Side, 1st edition, London: Methuen, 1921, preliminaries lightly spotted, original green cloth, dust jacket, a few light marks, 8vo, together with:Michael and Mary, A Play, 1st edition, London: Chatto & Windus, 1930, original grey cloth, paper title label to spine, dust jacket, lightly rubbed, 8vo, plusTwo People, 1st edition, London: Methuen, 1931, original grey cloth gilt, dust jacket, a few small losses to spine, a few marks, 8vo, withRackham (Arthur, illustrator). Henrick Ibsen's Peer Gynt, 1st edition, London: George G. Harrap, 1936, 12 colour plates, black and white illustrations, original dark red pictorial cloth gilt, dust jacket, extremities chipped with some small loss, 4to, with a carton other 20th-century worksQTY: (a carton)
Fleece Press. The Wood Engravings of Ethelbert White, by Hilary Chapman, Fleece Press, 1992, illustrations, original wrappers, two mounted wood-engravings, loose as issued, all contained in original solander box, 4to, limited edition of 200, together with Tom Chadwick and the Grosvenor School of Modern Art, by Julian Francis, Fleece Press, 2012, 16 original monochrome prints, colour illustrations, loose prospectus, original cloth-backed patterned boards, slipcase, 4to, limited edition of 210 special copies, plus Pen, Paper & a Box of Paints. Albert Rutherston, illustrator and designer for the stage, by Ian Rogerson, Fleece Press, 2015, colour illustrations, original cloth-backed boards, folio, limited edition of 250, with 7 other Fleece Press publications, including Mr Derrick Harris 1919-1960, by Simon Brett, 1998, limited edition of 280, Moods and Tenses. The Portraits and Characters of Peter Reddick, by Ian Rogerson, 1999, limited edition of 220, Barnet Freedman. The Graphic Art, by Ian Rogerson, 2006, limited edition of 500, and Tone, Texture, Light and Shade. A Barnett Freedman Picture Album, 2011, limited edition of 250QTY: (10)
* French playing cards. Scenic aces deck, Paris: B.P. Grimaud, circa 1870, a complete deck of 52 chromolithographed playing cards (French suits), with much use of gold, no indices, double-ended Germanic courts, JC with maker's details, each ace with two Parisian scenes, dusty, some minor marks, 5S with small flaw/mark at upper edge, rounded gilt corners, versos plain blue, each card 90 x 57 mm, with original two-part box (defective), together with: Belgian pattern, Paris: B.P. Grimaud, circa 1870, a complete deck of 52 chromolithographed playing cards (French suits), with much use of gold, no indices, double-ended courts, JC with maker's details, toned and dusty, some light spotting, QC with tiny surface abrasion to bodice, square corners, versos plain pink, each card 86 x 56 mm, plus: French standard pattern, unknown maker, circa 1910, a complete piquet deck of 32 colour lithographed playing cards (French suits), with unusual no-revoke indices to diamonds and spades, double-ended named courts, French tax stamp to AC, darkened and dust-soiled, JH with vertical crease, rounded corners, silvered edges (rubbed), versos red & black tartan, each card 83 x 54 mm, in black leather box with flap (lacking tab end), with 23 other French decks, comprising: 3 French standard pattern by unknown makers, between circa 1855-1880, showing the development of indices (52 complete, 51/52 without 6D, 50/52 without Q & KC); 12 further packs by Grimaud, most later 20th century (complete decks), one pack circa 1890, Pattern no.24 (XP5A) for export to Turkey, 48/52 (without 5C, 4 & 7D, 3S), with original wrapper; and 8 mid to late 20th century decks, including 3 by Dusserre, 2 by Heron, 1 Dorchy (without jokers), 1 Cartel & Farcy (reduced piquet deck of 32/52), and 1 unknown (but probably Willeb), conditions not checked, a quantity of cards from each deck corner mounted onto 26 display boards, 2 encapsulated in clear plastic (none examined out of display boards), the remainder in plastic bags, the boards 54.5 x 40 cm and similarQTY: (26)NOTE:Provenance: Collection of Dudley Ollis.
* French playing cards. Jeu de Cartes Abécédaire, Pierre Boboeuf: Paris, 1840, the complete Piquet deck of 32 chromolithographed playing cards (French suits), designed by Ferdinand Séré, depicting the letters of the alphabet: A-Z plus vowels a-u and oe, each with miniature playing card at top, and ornate decorations with miniature illuminated-style illustrations in red, green & gold, the illustrations representing the appropriate letter, gold borders, edges rubbed, corners lightly worn, some very light spotting and toning (8 of clubs more so), few very minor marks, versos plain white, each card 86 x 58 mm, 20 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder in a plastic bag, the board 54 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Bibliothèque Nationale de France, ark:/12148/btv1b10539489x; Cartorama 82, #67; Cary, FRA 251; Verame, Sublimes Cartes á Jouer, illustrated p.110.
Robinson (William Heath, illustrator). Shakespeare's Comedy of A Midsummer-Night's Dream, London: Constable & Co., 1914, 12 tipped-in colour plates, monochrome illustrations, short closed marginal tear to p. 113, scattered light spotting, original green pictorial cloth gilt, a little rubbed at spine ends, 4to, together with A Song of the English, by Rudyard Kipling, London: Hodder & Stoughton, [1909], 30 tipped-in colour plates, a few light spots, front hinge a little tender, original pictorial cloth gilt, spine a little faded, 4toQTY: (2)
Bates (H. E.). The Two Sisters, 1st edition, London: Jonathan Cape, 1926, endpapers a little toned, original cloth, dust jacket, slight toning to spine, one or two small nicks, 8vo, together with Lehmann (Rosamond). A Note in Music, 1st edition, London: Chatto & Windus, 1930, light spotting front and rear, presentation inscription and manuscript note 'I do hope you enjoyed it' at foot of last page, original cloth, price-clipped dust jacket, spine a little faded, small stains to rear panel, 8vo, plus Williamson (Henry). The Lone Swallows and other essays of boyhood and youth, 1st illustrated edition, London: G. P. Putnam's Sons, 1933, illustrations by C. F. Tunnicliffe, light spotting to endpapers, contemporary presentation inscription to front pastedown, original cloth, a few light marks, dust jacket, spine a little rubbed and toned, 8vo, with others including The Bowmen and other Legends of the War, by Arthur Machen, 1915, Gold Coast Customs, by Edith Sitwell, 1929, Brief Candles, by Aldous Huxley, 1930 and others by Henry Williamson, T. H. White, Arthur Machen, Bruce Chatwin, Angus Wilson, Denton Welch, Peter Ackroyd et alQTY: (approximately 220)
Johns (W. E.). Biggles Sees It Through, 1st edition, London: Oxford University Press, 1941, colour frontispiece, 6 black and white illustrations, contemporary lengthy gift inscription and small mounted paper clipping to front free endpaper, occasional light spotting, original publisher's pictorial orange cloth, dust jacket (text in brown to rear flap with 'found' on the first line of the front flap), a few small archival paper reinforcements to folds, rubbed with small loss to foot of spine, 8voQTY: (1)
Newbery (E., printer). The Toy-Shop; or, Sentimental Preceptor containing some choice trifles, for the instruction and amusement of every little miss and master, London: E Newbery, circa 1787, frontispiece and other black & white illustrations throughout, ownership inscription to verso of frontispiece 'Margaret Meux 1880' in brown ink, juvenile marks in pencil to lower margin of rear pastedown, including dedication page after title-page, small loss to lower E8 just touching text, advertisements to final seven pages, original dutch floral boards, some light wear, some loss of spine at foot, 16moQTY: (1)NOTE:Gumuchian 5611 and Roscoe J357, (2). R. J. could be Richard Johnson, anonymous author of Juvenile Rambles - Roscoe.
Lubbock (J. G.) Love for the Earth, London: Bertram Rota, 1990, 11 hand-coloured copper plates, including 5 double-page, 2 plates (one coloured and signed) loosely inserted, top edge gilt, original morocco-backed cloth gilt, slipcase, 4to, limited signed edition 85/95, together with Stone (Reynolds, illustrator). Boxwood, illustrated in verse by Sylvia Townsend Warner, London: Monotype Corporation, 1957, 16 wood-engravings, a few light spots, original cloth gilt, 8vo, limited edition of 500, plus Warner (Sylvia Townsend). Elinor Barley, Cresset Press, 1930, 5 drypoint plates by I. R. Hodgkins, original parchment-backed marbled boards, acetate wrapper, slipcase (rubbed), small folio, limited signed edition 110/350, with others including In Shakespeare's Company, Poems by Elizabeth Jennings, Celandine Press, 1985 (limited edition 16/250), The Sailor's Return, by David Garnett, 1925 (limited signed edition 15/160), Joan Hassall Engravings and Drawings, by David Chambers, Pinner Private Libraries Association, 1985 (limited edition of 2500), Thomas Hardy's Under the Greenwood Tree or Mellstock Quire, illustrated by Clare Leighton, 1940 and other illustrated books, Golden Cockerel reference etc QTY: (18)
Kelmscott Press. Mackail (John William). Biblia Innocentium: being the Story of God's Chosen People before the Coming of Our Lord Jesus Christ upon Earth, written anew for children, Hammersmith: Kelmscott Press, 1892, wood-engraved border and initials designed by William Morris, bookplate of Katherine Elizabeth Lewis to front pastedown, some leaves uncut, a few light spots, fore and bottom edge untrimmed, original vellum with silk ties, yapp edges, title in gilt to spine, a few small spots to upper cover, 8voQTY: (1)NOTE:Peterson A9.One of 200 copies on flower paper. The work 'was to have been illustrated with approximately two hundred wood-engravings designed by Burne-Jones' (Peterson), however he only completed 25 designs, and so the book was published without illustrations entirely.
![[Dodgson, Charles Lutwidge], 'Lewis Carroll'. Alice's Adventures in Wonderland, 10th thousand, London: Macmillan and Co., 186](https://cdn.globalauctionplatform.com/c7e0fe7d-cc7e-430f-bede-b14e0119bce5/18d0ed5f-0cfd-44c5-b7f3-b19300eb6fda/468x382.jpg)
[Dodgson, Charles Lutwidge], 'Lewis Carroll'. Alice's Adventures in Wonderland, 10th thousand, London: Macmillan and Co., 1867, frontispiece and illustrations by John Tenniel, occasional light spotting, previous owner inscription to half-title, bookplate to front endpaper, front hinge a little tender, all edges gilt, original red cloth gilt, rebacked with title in manuscript on label pasted to spine, slight fading and a few small stains, 8vo, together with The Prisoner of Zenda, by Anthony Hope, 1st edition, 3rd state [1894], contained in half calf solander box (spine faded), 8voQTY: (2)
Stevenson (Robert Louis). Strange Case of Dr Jekyll and Mr Hyde, 1st UK edition, London: Longmans, Green, and Co., 1886, slight toning to textblock, advertisements leaf at rear for the second edition of A Child's Garden of Verses, original wrappers, last number of date at foot of upper wrapper corrected by the publisher in ink (i.e. the '5' changed to '6'), rear wrapper with small repaired tear, front wrapper with light creases and small chips at foot of outer margin, bound in contemporary half, joints a little rubbed, 8vo QTY: (1)NOTE:Originally intended to be released for the Christmas 1885 market, but due to a glut of titles on the market at the time the publishers decided to hold off until January 1886, hence the manuscript correction. Published four days after the first US edition, but preceding the first UK hardback edition.
Hemingway (Ernest). A Farwell to Arms, 1st UK edition, London: Jonathan Cape, 1929, 1st issue with 'seriosu' uncorrected on p. 66, small abrasions and light toning to front endpaper, bookplate, original cloth (spine faded), dust jacket, a few tears and losses to spine, verso reinforced, 8vo, together with Maugham (William Somerset). Cakes and Ale, 1st edition, London: William Heinemann, 1930, some spotting and light toning, original cloth (spine a little faded), dust jacket, spine toned, a little rubbed with small nicks at head of spine, 8vo, plus O' Connor (Flannery). Wise Blood, 1st UK edition, London: Neville Spearman, 1955, endpapers toned, previous owner inscription, original cloth, dust jacket, some toning to rear panel and flaps, 8vo, with 4 others: The Victim, by Saul Bellow, 1st UK edition, 1948, A Study of Arthur Rimbaud, by Henry Miller, 1st UK edition, 1956, A Town Like Alice, by Nevil Shute, 1st edition, 1950, and A Singular Man, by J. P. Donleavy, 1st UK edition, 1964 QTY: (7)
Upton (Florence). The Golliwogg's Christmas, 1st edition, London: Longmans, Green, & Co, 1907, full-page colour illustrations, ownership stamp to front free endpaper, lightly offset, original cloth-backed pictorial paper-covered boards, rubbed and lighlty marked, oblong 4to, together with:The Golliwogg's Desert Island, 1st edition, London: Longmans, Green, & Co, 1906, full-page colour illustrations, neat near-contemporary pencilled ownership inscription to front free endpaper, occasional light dust-soiling, original cloth-backed pictorial paper-covered boards, head of backstrip torn and partly loose, marked with some staining, oblong 4toQTY: (2)
Gibbings (Robert). A True Tale of Love in Tonga, later edition, London: J. M. Dent, 1954, 23 monochrome engravings, inscribed with an original artwork by the author to the title front endpaper, original cloth in price-clipped dust jacket, rear cover spotted, small tear to the head of the front cover & spine, slim 8vo, together with:Coppard (A. E. & Robert Gibbings), Rummy That Noble Game, 1st edition, Bershire: The Golden Cockerel Press, 1932, monochrome engravings, signed & inscribed by Robert Gibbings 'To R. B. G from R. J. G Nov 1932' to the front endpaper, some light spotting & toning, original cloth in dust jacket, spine toned & rubbed with some minor loss, slim 8vo, un-numbered limited edition of 1000 copies, plusSigurjónsson (Jóhann), Loftur, a play, Reading: University of Reading, 1939, printed by Robert Gibbings at the University of Reading, monochrome wood engravings by S. Maberly Smith, some light spotting & toning, original red quarter morocco, boards & spine lightly rubbed, slim 8vo, and other works by or illustrated by Robert Gibbings with 8 signed by Robert Gibbings to 'Robert' or 'R. G' or 'R. B. G.', including The Wood-Engravings of Robert Gibbings, 1949, Over The Reefs,1948, Till I End My Song, 1957, Sweet Cork of Thee, 1951, 8vo, includes a hand written letter by Robert Gibbings dated 7.7.36 on headed notepaper & in envelope QTY: (13)
Johns (W. E.). Biggles Flies East, London: Oxford University Press, 1937, colour frontispiece, 4 black and white illustrations, ownership inscription to front free endpaper, original pictorial blue cloth, dust jacket, extremities lightly rubbed, 8vo, together with:Biggles Defies The Swastika, London: Oxford University Press, 1941, colour frontispiece, 6 black and white illustrations, a few light spots, original red pictorial cloth, dust jacket, spine extremities rubbed, 8vo, withBiggles in the Baltic, London: Oxford University Press, 1941, colour frontispiece, 6 black and white illustrations, original brown pictorial cloth, dust jacket, small loss to head of spine touching title, further small loss at foot of spine, 8vo, with 2 other early reprints in dust jackets, Biggles Flies North (1941) and The Biggles Omnibus (1939)QTY: (5)
* American playing cards. The Forbidden City: Pekin & Chinese Views, Los Angeles: Grimes-Stassforth Stationary Co., 1901, the complete deck of 52 playing cards (French suits), plus joker (title card) and 'Prominent Views' card, each with captioned oval image from a photograph, including scenes of the Boxer Rebellion, palaces, temples, an 'opium joint', 'women prisoners' etc., 2 of diamonds with oval New Zealand tax stamp, 10 & 9S with small corner crease, 9S also with short edge tear, rounded corners, gilt edges, versos (heightened with gold) two dragon pennants on a blue peacock feathers background, with original two-part orange-brown box, outer slipcase with title and imprint in gold lettering, fragment of tax stamp, and an 8D card adhered to rear panel, each card 88 x 63 mm, together with Mediaeval playing cards, New York: New York Consolidated Card Co., 1897, 52 colour printed playing cards (French suits, without joker), double-ended courts in mediaeval costume, AS with maker's name, generally soiled, rubbed in places, edges stained with some light wear, 3C stained, rounded corners, double-ended versos with a card player in mediaeval costume (printed in colours and gold), each card 88 x 62 mm, original box (embossed outer sleeve only), with another 18 decks (including one duplicate), all but one 2nd half of 20th century, including: a standard 'Aladdin' deck, The National Card Co., circa 1885; Kennedy Kards, Humor House Inc., 1963; Trip or Trap deck, Stancraft Products, 1970; Stag Party pack, unknown maker, 1953; Sex to Sexty Stud Poker pack, unknown maker, circa 1970, and others, not checked for completeness, but believed complete, a quantity of cards from each deck mounted with photo corners onto 18 display boards (54.5 x 41 cm & similar), the remainder in plastic bags, many with original boxQTY: (20)NOTE:First two items: Hochman W37 & NY55 respectively. Hochman describes the Mediaeval deck as 'probably the most unusual, and most beautiful deck ever created by NYCC'.The other packs present are: High cards/Marijuana Deck, Odyssey, 1976; Politicards, drawn by Keith Nichols, 1980; Politicards, 1971 (two packs); Sutherland-Brown semi-transformation, 1977; American Drummer, 1975; Black American Heroes pack, by A.G. Muller, 1977; Texas playing cards, E & S Co., 1966; Queen High Equality deck, 1971; Soul Cards, 1973; Declaration of Independence pack, 1977; Opera playing cards (for the Met), 1980; TWA Stardust pack (Lockheed 1649-1957), circa 1970.
Nielsen (Kay, illustrator). A l'Est du Soleil et a l'Ouest de la Lune. Contes Anciens du Nord, recueillis par Edmond Pilon, Paris: H. Piazza, [1919], 24 mounted colour plates, light marginal toning, top edge gilt, original wrappers bound in contemporary green half morocco, joints and edges a little rubbed, 4toQTY: (1)NOTE:Limited edition 121/1500.
* American Civil War playing cards. Union Cards, New York: American Card Co., 1862, the complete deck of 52 playing cards, lithographed in blue and red, the suits are eagles and shields (blue), stars and American flags (red), courts (same in each suit) represent a colonel (kings), goddess of liberty (queens) and a major (jacks), ace of eagles has maker's details, most card faces have some light offsetting from the versos, few minor marks, 5 flags finger-soiled, ace & 6 stars creased, square corners, versos ornate blue design incorporating Union flags and shield, each card 90 x 63 mm, plus original box with lift-off lid, toned and somewhat soiled, 12 cards mounted with photo corners onto a display board (54.5 x 40cm), encapsulated in clear plastic (not examined out of board), the remainder in a plastic bagQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Fournier, North America 35; Hargrave, pp.343-344; Hochman W5; Willshire, Varia 247.These cards, designed by Benjamin W. Hitchcock, were produced during the American Civil War and clearly were intended for sale in the Union states. Willshire rather amusingly describes them as 'of very vulgar character'. In 1863 the American Card Company produced another pack of these cards, but in that later pack the court cards have no background.
* Keen (Henry, 1899-1935). Ferdinand Mad, pen and black ink on card, signed and titled to lower edge, Green & Stone label to frame verso, blank margins mount stained, very light spotting, window mounted, sheet size 49 x 37 cm (19 1/4 x 14 1/2 ins), framed and glazed (63 x 53 cm)QTY: (1)NOTE:Original illustration for John Webster's The Duchess of Malfi published by Bodley Head in 1930.Illustrator and lithographer, Henry Keen worked in the decadent tradition of illustration established by Aubrey Beardsley. He produced illustrations for several editions of classic works for the Bodley Head, including Oscar Wilde's Picture of Dorian Gray and John Webster's The White Devil and The Duchess of Malfi, before his untimely death from tuberculosis.
Bannerman (Helen). The Story of Little Black Sambo, 1st edition, London: Grant Richards, 1899, 27 full-page colour illustrations after the author printed by Edmund Evans, contemporary gift inscription 'Margaret Ellerton, from the man' in black ink to front free endpaper, occasional light spotting, a few illustrations with crease mark to top right-hand corner, illustration of the Tiger stained to image, stitching to gutter of publisher's imprint leaf perished, original light green striped cloth, 16moQTY: (1)
Christie (Agatha). Murder on the Orient Express, 1st edition, London: W. Collins Sons & Co. for the Crime Club Ltd, 1934, advertisement leaf bound at rear, small pale damp stain to title and half-title verso, red stain at foot of front endpaper, a little minor spotting, original green variant cloth, lettered in black, spine a little faded with light mark, covers slightly bowed, 8voQTY: (1)NOTE:Rare green cloth variant, usually bound in the orange cloth.
* French playing cards. Nouveau Jeu de Mariage ou la Dot, Paris: Bourrut-Lemerie (or Le Merie, Bourrut?), 1815, the complete piquet deck of 32 hand-coloured engraved playing cards (French suits), each with a full-length portrait of a character at the wedding, captioned beneath, miniature playing card (hand-coloured single-figure Paris pattern type courts) to upper left, 16 of the cards are numbered and additionally captioned 'Importun' (meaning 'irksome intruder'), lightweight cards made from two layers only, some upper layers poorly adhered (with slight bubbling), some minor marks, occasional light finger-soiling, 9H with old repaired surface tear, 10H with vertical crease (causing slight surface cracking), square corners, versos with blue trellis pattern, each card 97 x 61 mm, with original two-part wood and card box (covering rubbed with wear, especially to lower part), lift-off lid with hand-coloured pictorial title label, inside lid with manufacturer's advertisement, listing various other games including Jeu des Cris de Paris and Jeu des Drapeaux et Batailles, 21 cards mounted with photo corners onto a display board (39.5 x 54.5 cm), encapsulated in clear plastic (not examined out of board), the remainder in the box inside a plastic bagQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.BNF identifier: ark:/12148/btv1b105091941. Although our pack has the box, which the BNF example (dated to 1815) lacks, our pack is without the instruction card which their deck includes.
Rackham (Arthur, illustrated). The Vicar of Wakefield by Oliver Goldsmith, signed limited edition, Philadelphia: David McKay, 1929, signed by the artist to limitation page, 12 colour plates, pictorial endpapers, top edge gilt, remainder untrimmed, original publisher's vellum gilt, a few light marks, 4toQTY: (1)NOTE:Limited edition, 129/200 copies of the American issue.
Sackville-West (Vita). Knole and the Sackvilles, 1st edition, London: William Heinemann, 1922, portrait frontispiece, some offsetting and toning to endpapers, contemporary ownership inscription, original boards, light vertical creases to upper cover, dust jacket by William Nicholson, a few small tears and chips to folds and edges, some toning to spine and rear panel, 8vo, together with Vita. The Life of V. Sackville-West, by Victoria Glendinning, 1983, signed by the authorQTY: (2)
Doyle (Richard). In Fairy-Land. A Series of Pictures from Elf-World, with a Poem by William Allingham, 1st edition, London: Longmans, Green, Reader & Dyer, 1870, 16 colour-printed plates, some light spotting, blank leaf before half-title with small section excised at head, all edges gilt, original green cloth gilt, small stain and faded patch to upper cover, spine a little rubbed with small tears at ends, some edge wear, folio QTY: (1)
* French (?) playing cards. Erotic deck, unknown maker, circa 1820, a complete piquet deck of 32 uncoloured engraved playing cards (French suits), each card illustrates two or more figures in explicitly depicted sexual scenes, miniature playing card to upper left (single-figure Paris pattern type courts), some light toning and minor marks or spots, 7D with few stronger brown spots, AC with brown stain to right blank area, square corners, plain white versos, each card 77 x 49 mm, all cards mounted with photo corners onto a display board (40 x 54.5 cm), encapsulated in clear plastic (not examined out of board)QTY: (1)NOTE:Provenance: Collection of Dudley Ollis.The only other example of this finely engraved erotic pack we have found was sold at auction by Millon (5 Nov 2011, lot 75). In that case, each card had a caption in French and Spanish to the upper right. Our pack appears to be more finely engraved and so perhaps published earlier.
Clare (John). The Village Minstrel, 2 volumes, 1st edition, London: Taylor and Hessey; Stamford: E Drury, 1821, engraved portrait frontispiece by E. Scriven after W. Hilton to volume 1, half-titles and advertisements discarded, contemporary full calf gilt, some light wear and marks, 12moQTY: (2)NOTE:Tinker 637.
* French playing cards. Revolutionary version of Auvergne pattern, Angouleme: Pierre Laboureur, circa 1804, a complete deck of 52 stencil coloured wood engraved playing cards (French suits), single figure courts with all fleur-de-Lys and crowns replaced, JC with maker's ink stamp, eagle watermark, lightly dusty, occasional light toning to pip cards, 4S with surface loss to one corner (affecting pip sign), square corners, versos plain white, each card 81 x 55 mm, 16 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.See BNF Identifier: ark:/12148/btv1b105360738 for an example dated to 1792 with several almost identical courts, made by Jaque Besse in Angouleme. D'Allemagne lists Pierre Laboureur as being active in Angouleme between 1753-1804.
Cocteau (Jean). Le Secret Professionnel, 1st edition, Paris: Librairie Stock, 1922, portrait by Picasso to title verso, some toning and a few light spots, original printed wrappers bound in contemporary marbled boards, morocco label to spine, a little rubbed at ends, 12mo QTY: (1)NOTE:Presentation copy, inscribed to half title 'Souvenir très amical de votre admirateur, Jean Cocteau, 9 Sep. 1922'
Woolf (Virginia). A Room of One's Own, 1st edition, London: Hogarth Press, 1929, light offsetting from flaps to endpapers, contemporary ink inscription at front "A cure for the fever of Dr Stella Churchill, 8.XI.29", original cloth, spine ends slightly rubbed, dust jacket designed by Vanessa Bell, lacking two-thirds of spine, remainder laid down, tears and marginal losses along folds, tape repairs to flaps and verso, light toning to rear panel, 8vo QTY: (1)NOTE:Kirkpatrick A12b.
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