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Los 134

Tryon (Thomas) The Way to Health, Long Life and Happiness: Or, A Discourse of Temperance, third edition, front free endpaper browned with near contemporary ink inscription, occasional light spotting or soiling, later half calf, upper cover detached, loss to spine, worn, [Wing T3202], 8vo, Printed and are to be Sold by most Booksellers, 1697. ⁂ Thomas Tryon (1634-1703), a hatter who founded a mystical movement known as "Tryonism" which promoted temperance, pacifism and vegetarianism, influencing Benjamin Franklin in his youth. This work with chapters on diet (the "Mischief of Variety of Meats and Drinks"), disease, women and marriage, raising children, and the advantages of a retired country life.

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Los 14

Cookery.- Ude (Louis Eustache) The French Cook..., ninth edition, lithographed portrait and 8 engraved plates, 4pp advertisements at end, ink signature to head of title, some light staining, modern half cloth, uncut, 1827 § Sturgeon (Launcelot) Essays, Moral, Philosophical, and Stomachical, on the Importance of Good-Living, first edition, wood-engraved frontispiece, lightly browned, bookplate of the chorister & organist Richard Oskatel Latham, contemporary half calf, rebacked preserving old spine, rubbed, 1822; and another on food and drink, 8vo et infra (3)⁂ Ude (c.1769-1846) was the most famous French chef in London of his day. Having cooked for Lord Sefton at Croxteth Park, Liverpool, for many years, and the Duke of York, he became chef at Crockford's dining club. When he retired his salary was £4000 a year (over £500,000 today).

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Los 140

[Mandeville (Bernard)] The Fable of the Bees: or, Private Vices, Publick Benefits. With an Essay on Charity and Charity-Schools, 2 vol., vol. 1 fifth edition, vol. 2 first edition, library stamps to front endpapers and title vol. 2, vol. 1 p.335 onwards with very small incision to fore-edge (blank margin, no loss), some light marginal damp-staining and spotting, modern calf-backed boards, for J. Tonson, 1728-9; An Enquiry into the Origin of Honour and the Usefulness of Christianity in War, first edition, woodcut device to title, head-piece and initial, title with ?ownership inscription (scored through with ink), bookplate, contemporary panelled calf, rebacked, for John Brotherton, 1732, 8vo (3)

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Los 142

Cervantès Saavedra (Miguel de) The History and Adventures of The Renowned Don Quixote..., 4 vol., third edition of the Smollett translation, engraved frontispiece and 27 plates, vol. 1 with contemporary ink ownership inscription to verso of frontispiece, occasional browning, later calf, spines gilt with morocco labels, lightly rubbed, Printed by T. Osborne, 1765 § Pope (Alexander) The Works, 6 vol., vol. 1 with engraved portrait frontispiece, contemporary ink ownership inscription to titles, contemporary calf, rebacked, covers with a few repairs, rubbed, endpapers renewed, Edinburgh, Printed by A. Donaldson, 1767 § Kipling (Rudyard) Barrack-Room Ballads and Other Verses, third edition, ink gift inscription to endpaper, contemporary half red morocco, gilt, by Hatchards, lightly rubbed, a few marks to covers, 1892, some light foxing, all but last with offsetting; and others, most leather bound, v.s. (c.135)

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Los 156

NO RESERVE [Charlton (Mary)] The Parisian; or, Genuine Anecdotes of Distinguished and Noble Characters, 2 vol., first edition, half-titles, light foxing, vol. 1 lacking L3&4, bookplate of James Adair, Ashby 1854 to vol. 2 endpaper, modern leather, labels to spines, [Blakey p.166], large 12mo, Minerva Press, 1794.⁂ Rare first novel by one of the leading lights of the Minerva Press. ESTC lists copies in the BL and University of Alberta only with Library Hub adding those in the National Library of Scotland, University of St Andrews, University of Strathclyde and Wellcome libraries.

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Los 157

Cumberland (Richard) Henry... by the Author of Arundel, 4 vol., vol. 1 & 2 first edition, vol.3 & 4 second edition, armorial bookplate of Sir John Eden to front pastedowns, contemporary calf, spines gilt with morocco labels, vol. 4 with minor chipping to spine ends, light rubbing to extremities, an attractive set, 8vo, for Charles Dilly, 1795.⁂ Though better-known as a dramatist, Cumberland published three novels. All are rare at auction in first edition.

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Los 158

Tyrwhitt (Thomas) The Canterbury Tales of Chaucer, 2 vol., second edition, engraved portrait frontispiece, vol. 1 bookplate, vol. 1 initial ff. with some light spotting, vol. 1 repairs to hinges, contemporary half calf, vol. 2 sympathetically rebacked to style, corners a little scuffed, Oxford, The Clarendon Press, 1798 § [Earle (John)] Microcosmography: or, a piece of the world discover'd in essays and character, woodcut ornaments, ink inscription front endpaper verso, paper label to pastedown, contemporary calf ,rebacked and recornered, by E. Say, 1732 § Smollett (Tobias) The Miscellaneous Works..., portrait frontispiece (spotted), booklabel, contemporary half green morocco, spine gilt with red morocco label, spine sunned, 1844 § Macaulay (Thomas) The History of England, 4 vol., mixed editions, vol. 1, 4 and 5 with half-titles, vol. 5 portrait frontispiece, vol. 2 small defect and paper repair to upper edge, scattered ff. with spotting, uniform twentieth century half calf, 1849-83; and c.60 others, mainly nineteenth and twentieth century, v.s. (c.65)

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Los 159

Britain.- Lysons (Rev. Daniel) An Historical Account of Those Parishes in the County of Middlesex which are not described in the Environs of London, engraved title vignette, 16 engraved plates (some folding, 1 torn), extra illustrated with a few small plates and leaflets bound in, book-label, title lightly toned and small damp-stain, some light off-setting and toning, library cloth, T. Cadell, Jun & W. Davies, 1800 § Winstone (Reece) 'Bristol' Series, 28 vol., a substantial run from 1962 to 1987, mixed editions but some firsts, black and white advertisements and illustrations, some related ephemera loosely inserted, original pictorial wrappers or boards, Bristol, 1962-87 § Lobley (J. Logan) Hampstead Hill, half-title, plain plates and illustrations, modern cloth, 1889; and 20 others Britain, v.s. (50)

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Los 163

Military.- [Pococke (Captain Thomas)] Journal of a Soldier of the Seventy-First, or Glasgow Regiment, Highland Light Infantry, From 1806 to 1815, first edition, some scattered foxing or light browning, bookplate to front pastedown, contemporary half calf, joints cracked, spine ends chipped corners bumped, Edinburgh, 1819 § [Donaldson (Joseph)] The War in the Peninsula, a continuation of the Recollections of the Eventful Life of a Soldier, half-title, newspaper clipping laid onto pastedown, engraved plan loosely inserted at rear, contemporary half calf, rubbed, 1825, 8vo (2)⁂ A scarce pair of military memoires. The second has a "vol.2" label to spine but appears to be complete.

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Los 164

NO RESERVE Slavery.- Class A. Correspondence with Foreign Powers, relative to the Slave Trade, presented to both Houses of Parliament, light marginal spotting to title, dis-bound, small folio, R. G. Clarke, 1823.⁂ Correspondence with key powers such as The Netherlands, Spain, Portugal, The United States, France, Sweden and Denmark, relating to treaties designed to combat the slave trade. Parliamentary papers prior to 1835, when they were made more generally available, are scarce.

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Los 165

Slavery.- State Papers, British and Spanish Claims; Relations between Great Britain and Portugal; and Correspondence respecting the Slave Trade, vol. XXVI, tape repairs at inner margin front endpaper and title, original cloth, spine gilt with black morocco label, some light surface soiling, folio, ex-libris Home Office, 1829.⁂ Covering correspondence with British Commissioners at Sierra Leone, The Havana, Rio de Janeiro and Surinam, as well as with foreign powers such as Spain, Brazil, Portugal, the Netherlands, France, Denmark and Sweden. Fascinating exchanges regarding British efforts to halt the slave trade from five years before slavery itself was abolished in the British Empire. Much detail about individual ships involved in the trade. Parliamentary papers prior to 1835, when they were made more generally available, are very scarce.

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Los 169

Hugo (Victor) The Hunchback of Notre-Dame...Translated expressly for this edition with a sketch of the life and writings of the author by Frederic Shoberl, first edition in English, initial 'Standard Novels No XXXII' title, engraved frontispiece and additional vignette title, final 'Opinions on this work' f., bifolium A4&5 loose, occasional spotting or light marking, modern plain calf, overall a very good copy, 8vo, Richard Bentley, 1833.⁂ Rare in commerce. Originally published as Notre-Dame de Paris, Paris, Charles Gosselin, 1831.

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Los 172

Periodical.- The Lady's Newspaper, 4 vol., vol. 3 with 2 hand-coloured etched plates, occasional "The Ladies Newspaper" red ink stamp, some light foxing, the odd short tear, original pictorial cloth, gilt, vol. 1 & 2 with spines working loose but holding, rubbed, spine ends chipped, joints splitting, 1847-48 § The Women's Supplement [to The Times], 3 vol. containing the first 15 issues, original pictorial wrappers bound in, original cloth, a little rubbed, 1920-21, illustrations, occasional light soiling; with 5 vol. of "The Girl's Own Paper and Woman's Magazine", covering 1924-27, folio & 4to (11) sold as periodicals not subject to return. ⁂ The Lady's Newspaper was one of the earliest produced for an exclusively female audience, running between January 1847 and June 1863, when it merged with The Queen & Court Chronicle. Here each of the four volumes covers six months of weekly publications.

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Los 174

NO RESERVE Pirates.- Reach (Angus B.) Leonard Lindsay: Or, The Story of a Buccaneer, 2 vol., first edition, vol. 1 with ink ownership inscription to endpaper, occasional light spotting or soiling, hinges cracked, later half calf over marbled boards, spines gilt, rubbed, covers with some light fading at extremities, 8vo, 1850.

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Los 175

[Gaskell (Elizabeth C.)] Ruth. A Novel, 3 vol., first edition, lacking advertisements, occasional spotting to margins and light corner creasing, light spotting to endpapers, contemporary blue half calf, spines gilt in compartments with morocco labels, light rubbing to extremities, [Sadleir 933], 8vo, Chapman and Hall, 1853.

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Los 177

Gaskell (Elizabeth C.) The Life of Charlotte Brontë, 2 vol., first edition, half-titles, frontispieces, vol. 1 plate, occasional light spotting and soiling, without advertisements, contemporary half calf, 8vo, 1857.

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Los 181

Sufism.- Shabestarī (Saʿd od-Dīn Maḥmūd) Gulshan I Raz: The Mystic Rose Garden, translated by E. H. Whinfield, text in English and Arabic, bookplate removed from front pastedown, original cloth, library marking to foot of spine, light rubbing to spine tips and corners, 4to, 1880.⁂ Seemingly the first English edition of this classic poem of Sufism. Rare.

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Los 186

NO RESERVE [Evans (Mary Ann)], "George Eliot". [The Works], 6 vol. only (of 7), mixed edition, half-titles, some with additional engraved titles, half calf, light rubbing to extremities, 1891 § Arnold (Matthew) Poetical Works, engraved portrait frontispiece, prize bookplate to pastedown, prize binding of contemporary vellum with coat-of-arms to covers, spine gilt, g.e., inner dentelles, London and New York, 1892 § Moore (Thomas) Memoirs of the Life of the Right Honourable Richard Brinsley Sheridan, 2 vol., second edition, engraved portrait frontispiece, light scattered spotting, contemporary calf with blind-stamped border, spines lightly rubbed, 1825; and c.65 others, mostly Victorian literature, antiquarian or leather-bound, v.s. (c.70)

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Los 190

Occult.- Lévi (Éliphas) The History of Magic, second edition, translated by Arthur Waite, portrait frontispiece, plates, lacking front free endpaper, scattered faint spotting, original decorative cloth, gilt, mottling to fore-edges, bumping to spine extremities, 1922 § "Raphael" [Smith (Robert Cross)] A Manual of Astrology, or the Book of the Stars, hand-coloured engraved frontispiece, additional engraved frontispiece, 1 engraved plates, illustrations, original cloth, printed yellow label to upper cover, small loss to spine extremities, bumping to corners, 1837 § Frazer (Sir James George) The Golden Bough, 12 vol., original cloth, fractional bumping to spine extremities, dust-jacket, light creasing to edges, 1980 § Jones (William) Finger-Ring Lore, illustrations, scattered faint spotting, cracked hinges, original pictorial cloth, gilt, slight bumping to corners and extremities, 1890; and others, occult, mysticism, myths & legends and, esoteric, v.s. (c.80)

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Los 192

Poetry.- Beddoes (Thomas Lovell) The Complete Works, 2 vol., limited edition, engraved illustrations, bookplate, original cloth-backed decorative boards, slight bumping to corners, The Fanfrolico Press, [1928] § Rossetti (William M.) Poems of Christina Rossetti, portrait frontispiece, silken endpapers, contemporary red morocco, gilt, inlaid black calf hearts, slight rubbing to corners and extremities, 1905 § Kisses and other Nonsense, occasional pencil underlining and marks, bookplate of Victoria Sackville-West, contemporary crushed-morocco, gilt, 1911 § Rossetti (William M.) The Collected Works of Dante Gabriel Rossetti, 2 vol., scattered faint spotting, bookplate, contemporary half-morocco, gilt, light spotting to boards, 1890; and others, poetry, v.s. (c.70)

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Los 193

NO RESERVE Shakespeare Head Press.- Trollope (Anthony) [The Works], 'The Shakespeare Head Trollope', 13 vol. only (of 14, lacking Autobiography), edited by Michael Sadleir, one of 525 copies, later green morocco-backed cloth with crimson spine labels, occasional light soiling marks, 8vo, Oxford, Shakespeare Head Press, 1929.

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Los 197

Pulp fiction.- Collins (Norman) The Bat that Flits, previous owner's ink inscription, original cloth, fractional bumping to spine extremities, dust-jacket, short tear to bottom edge, slight creasing to edges, The Crime Club, 1952 § Williams (Charles) Descent into Hell, original cloth, fractional bumping to spine extremities, dust-jacket, small loss to edges, flaps becoming detached, creasing and chipping to edges, 1949 § Eberhart (M. G.) The White Dress, original cloth, fractional bumping to spine head, dust-jacket, fractional creasing to edges, The Crime Club, 1947 § Gardner (Erle Stanley) The Case of the Negligent Nymph, scattered spotting, original cloth, fractional bumping to spine extremities, dust-jacket, light spotting, creasing to edges, The Thriller Book Club, 1957 § Alderson (Alexander) The Subtle Minotaur, scattered faint spotting, light browning, original cloth, slight bumping to corners and extremities, dust-jacket, small loss to spine foot, creasing and small chipping to edges, a little rubbed, The Thriller Book Club, n.d.; and others, similar, 8vo (41)

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Los 198

de Beer (E. S., editor) The Diary of John Evelyn, 6 vol., half-titles, portrait frontispiece, original cloth, slight bumping to spine extremities, dust-jackets, light spotting, slight creasing to edges, Oxford, 1955 § Bentley, Jr. (G. E., editor) William Blake's Writings, 2 vol., half-titles, illustrations, original cloth, slight bumping to spine extremities, dust-jackets, slight creasing to edges, Oxford, 1978 § Vinaver (Eugène) The Works of Thomas Malory, 3 vol., second edition, half-titles, original cloth, slight bumping to spine extremities, price-clipped dust-jackets, sunned spines, a little rubbed, slight creasing to edges, Oxford, 1967; and others similar, 8vo (41)

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Los 199

*** Please be aware the description of this lot has changed ***Tolkien (J.R.R.) The Lord of the Rings, 3 vol., comprising The Fellowship of the Ring, fourteenth impression, 1965; The Two Towers, eleventh impression, 1965; The Return of the King, eleventh impression, 1965, folding maps at end, original cloth, vol. 1 with small stain to upper cover, fractional bumping to corners and extremities, dust-jackets; The Silmarillion, first edition, folding map at end, original cloth, slight bumping to spine extremities, dust-jacket, slight creasing to top edge, 1977; Sir Gawain & the Green Knight, corrected edition, frontispiece, plates, original cloth, gilt, light spotting to spine, slight bumping to corners and extremities, Oxford, 1930; and others by Tolkien and Mervyn Peake, 8vo (13) 

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Los 206

Lovecraft (H. P.) The Case of Charles Dexter War, first edition, half-title, scattered spotting, front-free endpaper clipped at corner, faint abrasion marks to endpapers, scattered spotting, original cloth, fractional bumping to corners and spine extremities, dust-jacket with tears and parts detached, spotting, 1951 § Freeman-Mitford (A. B.) The Attache at Peking, first edition, presentation copy with blind-stamp to title, light spotting to endpapers, original decorative cloth, gilt, slight bumping to corners and extremities, 1900 § Marsh (Richard) The Beetle, frontispiece, scattered spotting, previous owner's pencil inscription, original pictorial cloth, slight bumping to corners and extremities, 1900; and others similar, 8vo (52)

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Los 207

Mantel (Hilary) Wolf Hall, first edition, signed by the author and dated 27 May 2009 on title, original boards, bumping to corners, dust-jacket, light creasing to head and foot, 2009; and two others, including the signed limited edition of The Mirror and the Light, 8vo (3)

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Los 209

Pasternak (Boris) Doctor Zhivago, translated by Max Hayward and Manya Harari, first English edition, original cloth, slight fading to spine and upper cover, dust-jacket, very slight toning to spine, spine ends and corners a little chipped, short split to head and foot of upper joint, light rubbing to extremities, an excellent example overall, 8vo, 1958.

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Los 210

NO RESERVE Salinger (J.D.) Raise High the Roof Beam, Carpenters and Seymour, an Introduction, first edition, second state with the dedication present and misspelling "Sey-more" to p.173, original cloth, very light fading to spine, light sunning to spine tips, dust-jacket, light fading to spine, light rubbing and creasing to spine tips and corners, short nick with creasing to head of upper panel, and excellent copy, 8vo, Boston, 1963.

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Los 211

Shaw (George Bernard) An Unsocial Socialist, first edition, first issue with "Author of The Confessions of Byron Cashel's Profession" to title and no appendix, a few scattered spots, hinges cracking but firm, original cloth, gilt, spine sunned, spine ends a little worn, 1887 § Nichols (Robert) Aurelia, autograph poem by the author tipped-in to front pastedown, ink ownership inscription front endpaper, original cloth with paper label to spine, spine ends a little bumped, 1920 § Wren (Percival Christopher) Good Gestes, signed presentation inscription from the author to bookplate at front pastedown, title lightly foxed, original cloth, dust-jacket, spine lightly sunned, toning to spine and folds, spine and fold ends rubbed, 1929 § Kundera (Milan) Směšné lásky [Laughable Loves], 3 vol., original cloth, dust-jackets, some light toning or surface soiling, extremities lightly rubbed with a couple of very small tears at upper edge, Prague, Ceskoslovensky Spisovatel Press, 1963-68; Thurber (James) Alarms and Diversions, first edition, ink gift inscription to front endpaper, illustrations, original cloth-backed boards, spine foot a little scuffed, dust-jacket, sine sunned, a few very small tears or chips, 1957; and c.100 others, first editions, including 13 signed by the author, 8vo (c.100)

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Los 212

Stoppard (Tom) Jumpers, with a card slip signed by the author loosely inserted, jacket with light toning, extremities lightly bumped and creased, 1972; Travesties, jacket with some very minor rubbing to extremities, 1975, first editions, original cloth, dust-jackets; and 7 others by or related to the same, 8vo (9)

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Los 213

Swift (Graham) Waterland, signed by the author on title, jacket with extremely light bumping to some extremities, 1983 § Ishiguro (Kazuo) An Artist of the Floating World, with title from a later edition signed by the author loosely inserted, jacket with very small closed tear to lower joint head, some very light creasing to upper edge, 1986 § Lessing (Doris) The Summer Before the Dark, signed by the author on title, ink ownership inscription front pastedown, jacket spine very lightly toned, 1973, first editions, original cloth, dust-jackets; and c.70 others, first editions, including 17 signed by the author, 8vo (c.70)

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Los 214

Traven (B.) The Death-Ship, first English edition, scattered spotting, ownership blind-stamps and light browning to endpapers, original cloth, spine slightly dulled, dust-jacket, light browning to spine and top edge of panels, short closed tear to foot of spine, slight creasing to spine ends, some light spotting and surface soiling, an excellent example overall, 8vo, 1934.⁂ Traven's breakthrough novel a scathing critique of bureaucracy and the loss of workers' rights, adapted into a 1959 film of the same name.

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Los 219

NO RESERVE Freeman (Barbara C.) 5 woodcut Calendars, woodcuts mounted on card, only 2 accompanied by original paper calendar, all but one signed by the artist in pencil, each with signed presentation inscription from the artist to verso in ink, 2 with abrasion marks where calendars removed, one print with short tear, affecting image but with no loss, a few light spots, woodcuts ranging between c.245 x 185mm. and c.265 x 200mm., 1932-40 (5)

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Los 221

Gorey (Edward) The Vinegar Works, first edition, together 3 vol. comprising The Gashleycrumb Tinies; The Insect God, and; The West Wing, illustrations, original pictorial boards, light sunning and spotting to spines, slight bumping to corners and extremities, housed in original pictorial slipcase, a little rubbed, slight chipping to corners and extremities, New York, 1963; The Gorey Alphabet, first English edition, illustrations, previous owner's ink inscription, author's compliments slip loosely inserted, faint spotting to endpapers and fore-edge, original pictorial cloth, lightly faded spine, slight bumping to corners and extremities, 1961; The Gilded Bat, first American edition, illustrations, original pictorial boards, fractional bumping to corners and spine extremities, dust-jacket, minor chipping to edges, faint spotting to verso, 1966; and 11 others by or illustrated by Gorey, v.s. (14)

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Los 222

Kelliegram binding.- Mitford (Mary Russell) Our Village, illustrations by Hugh Thomson, occasional light foxing, green crushed morocco gilt by Kelliegram with inlayed morocco design after Thomson to upper cover, spine darkened, neatly rebacked, retaining original backstrip, g.e., 8vo, 1893.

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Los 225

NO RESERVE Morris (William).- A Portfolio of photographs and research on William Morris designs, c.280pp. excluding blanks, majority with laid down black & white photograph and sheet of manuscript notes to verso, some with images cut from books or catalogues, a few other pieces of Morris related ephemera loosely inserted, many photographs or notes loose or working so, occasional light foxing or staining, loose in original cloth portfolio, lacking spine, worn, folio, [c.1970s].⁂ Thought to be compiled by Fiona Clark in preparation for the publication of her book "William Morris: Wallpapers and Chintzes" in the early 1970s. The notes accompanying the photographs include the title, material, dimensions and location of Morris' original designs, among additional information.

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Los 228

Upton (Florence K.) The Golliwog's Bicycle Club, some surface soiling to covers, 1896; The Golliwog at the Sea-side, ink ownership inscription pastedown, 1 page loose and frayed at fore-edge, 1898; The Golliwog in War, 1899, first editions, colour illustrations, hinges a little weak, original cloth-backed pictorial boards, some light creasing, rubbing to edges; and 4 other Golliwog stories, first editions, oblong 4to (7)

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Los 230

NO RESERVE Fashion.- 19 hand-coloured fashion plates from "Chic Parisien", trimmed, occasionally cropping image or imprint, a few very short marginal tears, twice just running into image but with no loss, 3 with small tape marks to margins, not affecting image, 1 with punch holes to inner margin, a little toned at extremities, the odd light crease but generally bright and crisp, each approx. 412 x 290mm., Paris & Vienna, Atelier Arnold Bachwitz, [c.1905]; with 9 other mounted fashion plates from a variety of periodicals, v.s. (28) ⁂ Atelier Bachwitz was founded in 1898 by Arnold Bachwitz in Vienna, and was quickly established as a pre-eminent publishing house working out of the Palais des Beaux Arts building, before expanding to Paris, London, Berlin, and New York. "Chic Parisien" was the atelier's most popular publication, running from 1898 to 1939.

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Los 231

Chagall (Marc).- (Mourlot (Fernand) and Charles Sorlier, Chagall Lithograph 1962-1968, original lithograph frontispiece and pictorial wrappers by Chagall, colour illustrations, original cloth, wrapper spine and edges with very light toning, Monte-Carlo, André Sauret, 1969; and 26 others art and art reference, v.s. (27)

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Los 238

Private Presses.- A collection of catalogues, prospectuses, exhibition pamphlets and ephemera relating to various Private Presses, featuring Nonesuch, Gregynog, Fleece, Golden Cockerel, Whittington and Parrot presses among others, occasional light spotting or soiling, v.s., [1925-c.2010] (c.100)⁂ Highlights include catalogues for the Nonesuch Press for 1923-25 and 1926-27, the "Nonesuch Press Christmas" for 1933, a 1933 prospectus for the Gregynog Press publication "The Revelation of Saint John The Divine", an exhibition pamphlet for the wood engravings of Robert Gibbings at the V&A in 1960, and an autograph card signed by Monica Poole, with loosely inserted "Rose" wood-engraving signed in pencil.

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Los 244

Gillray (James) Diana return'd from the Chace, satire on the Countess of Salisbury, etching with vibrant original hand-colouring, on wove paper without watermark, platemark 358 x 255 mm (14 1/8 x 10 in), sheet 370 x 263 mm (14 1/2 x 10 3/8 in), minor surface scuffs and light toning, unframed, published by Hannah Humphrey, 1802Literature: BM Satire 9908

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Los 258

Paine, Thomas.- Cruikshank (Isaac) Wha Wants Me, caricature portrait of Thomas Paine, full-length, standing, facing left, holding scroll "rights of man", surrounded by injustices and standing on labels, representing morals and justices, defending measures taken in revolutionary France and appealing to the English to overthrow their monarchy and organize a republic, etching, an excellent richly inked impression on laid paper without watermark, sheet 365 x 300 mm (14 1/4 x 11 3/4 in), minor repairs to small nicks and tears, some light toning and surface dirt, unframed, [BM Satires 8146], published by S.W. Fores, 1792; together with Mad Tom's First Political Essay on the Rights of Man, showing Tom Paine, Sheridan, and Whitbread as conspirators and incendiaries wear hooded cloaks and slouch hats, etching, on laid paper with text-based watermark, sheet 240 x 380 mm (9 1/2 x 15 in), some browning and surface dirt, unframed, [BM 8087], published by S.W. Fores, 1792 (2)

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Los 284

India.- East India Company.- Papers Presented to the House of Commons from the East India Company, concerning the late Nabob of the Carnatic, ink number to foot of title, small tape repair to upper cover, June 1802 § Papers Relating to East India Affairs: viz. Regulations passed by the Governments of Bengal, Fort St. George, and Bombay, in the Year 1814, leaves numbered in upper right corner in ink, light foxing towards end, Ordered by the House of Commons, March 1816 § Papers on the Subject of the Bengal Cyclone and Storm-Wave of the 31st October - 1st November 1876; and the Subsequent Cholera Epidemic, folding colour map as frontispiece, For Her Majesty's Stationery Office, 1877 § Statement Exhibiting the Moral and Material Progress and Condition of India during the Year 1894-95, a few minor chips to margins, Ordered by the House of Commons, June 1896, modern wrappers, all but last with printed label to upper cover, lightly rubbed; and other similar reports on India, folio, 19th - early 20th century (c.35)

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Los 287

India.- Sherwill (Captain W.S.) Selections from the Records of the Bengal Government...Report on the Rivers of Bengal [&] Papers of 1856, 1857 and 1858 on the Damoodah Embankments, contemporary ink ownership inscription to head of title, 3 folding maps (1 of which hand-coloured and on wax paper), 2 folding plates, illustrations, 2 maps with a few short tears, mostly along folds, with occasional slight loss, light foxing towards end, upper hinge cracked but holding, original cloth wrappers, printed paper label to upper cover, a little chipped with contemporary ink ownership inscription, rubbed and faded at extremities, 8vo, Calcutta, 1858.

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Los 29

NO RESERVE Anthropology.- Smith (Lt.-Col. Chas. Hamilton) The Natural History of the Human Species, first edition, engraved portrait, additional title with vignette of Native American, 7 plates of cranio-racial features and 27 partly hand-coloured plates of racial types by Lizars, tissue guards, some light marginal soiling, modern calf-backed marbled boards, Edinburgh, 1848 § Quatrefages de Bréau (J.-L.A. de) Rapport sur les Progrés de l'Anthropologie, only edition, foxing at beginning and end, ex-library copy with ink stamps to title, contemporary half morocco, rubbed, spine worn at head, Paris, 1867; and another on criminal anthropology in the Netherlands, 8vo (3)

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Thomson Roddick Auctioneers & Valuers
Los 104

FOLIO SOCIETY.  Alfred Russel Wallace, The Malay Archipelago, 2 vols. in slip case & 3 others, also in slip cases.  (5).Condition report:No previous owners inscriptions or stickers. Light wear to slip cases, but books clean and good condition. 

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Thomson Roddick Auctioneers & Valuers
Los 105

FOLIO SOCIETY.  9 various vols. in slip cases & A Folio Notebook.  (10).Condition report:No previous owners inscriptions or stickers. Light wear to slip cases, but books clean and good condition 

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Thomson Roddick Auctioneers & Valuers
Los 106

FOLIO SOCIETY.  9 various vols. in slip cases.Condition report:No previous owners inscriptions or stickers. Light wear to slip cases, but books clean and good condition. 

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Thomson Roddick Auctioneers & Valuers
Los 117

FOLIO SOCIETY.  8 vols. in slip cases incl. Kenneth Clark & Richard Fortey.Condition report: In Xanadu - Title and contents page very creased/crumpled.No previous owners inscriptions or stickers. Light wear to slip cases, but books clean and good condition except for 'In Xanadu'. 

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Thomson Roddick Auctioneers & Valuers
Los 26

DULAC EDMUND (Illus).  The Sleeping Beauty & Other Fairy Tales from the Old French Retold by A. T. Quiller-Couch. Tipped in col. plates. Quarto. Morocco type dec. cloth gilt, nice cond. Hodder & Stoughton, n.d. but c.1910.Condition report:Pl. 8. The Ruddy Faces. p.24. Small crease to bottom left corner.Pl. 11. There in a row hung the bodies of 7. p. 32. Small crease to bottom left corner.Pl. 13 The Unhappy Fatima Cried. p 38. Small crease to bottom left corner.Very slight rubbing to cloth boards and edges of spine, but gilding bright. Light foxing to first blank endpaper and inscribed 'With love & all good wishes Auntie Dick'. Split between endpaper and half title. Some slight yellowing to paper and sporadic light foxing throughout. All plates present as called for, three with very minor small creases as above. Back endpaper lightly foxed. generally good condition. 

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Thomson Roddick Auctioneers & Valuers
Los 27

ROSSETTI CHRISTINA.  Poems. Tipped in col. plates & other illus. & decs. by Florence Harrison. Quarto. Orig. pict. cream cloth gilt. t.e.g. (light soiling but a nice enough copy). Blackie & Son, n.d. but c.1910. Condition report:Bowed and slightly grimey boards but should clean. Wear to corners and edge of backboard. Browning to back of front pictorial endpaper, 5" split between endpaper and half title. Foxing to second pictorial endpaper, half title and title. Top edge gilt. Foxing to rough fore edge and some dust staining. Frontis pasted down.Colour plates:pl.2 Crease along top.pl.5 Crease along top.pl.8 Small tear to tissue guard.pl.21 Crease along top.pl.29 Crease along top.pl.34 Crease along top.All plates present as called for. Sporadic light foxing throughout, discoloured back endpaper and split between endpaper and back board, approx. 3".  

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McTear's
Los 10

* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),BLUE STILL LIFEwatercolour on paper, signed, titled label versoimage size 16.5cm x 16.5cm, overall size 33cm x 33cm Framed and under glass.Label verso: Roger Billcliffe, Glasgow.Note: 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.

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McTear's
Los 138

* CHARLES NEAL (BRITISH b. 1951),WOMAN GATHERING WOODoil on canvas, signed, titled versoimage size 51cm x 41cm, overall size 64cm x 54cm Framed.Note: Charles Neal is currently one of the leading landscape painters in England and has had many major exhibitions. His style blends realism and impressionism while focusing on light and shadow with stunning subtleties of colour. In 1994 his The Painted Garden Exhibition was opened by His Royal Highness the Prince of Wales at The Museum of Garden History in Lambeth, followed by “Coastline” in conjunction with the National Trust. Charles Neal has exhibited in London, New York and the Royal Society of British Artists and his work is represented in many private and corporate collections. Charles Neal is one of England’ s finest and most successful landscape painters. His works are sought after in increasing numbers for prestigious collections worldwide. As a trained engineer and artist, Neal utilises these two disciplines to produce a rare mix of developed skill and natural flair, making him an artist of choice for art collectors all over the world. Neal is committed to a plein air approach, blending the values of French Impressionism with the naturalistic traditions of English landscape painting. Expertly capturing and preserving fleeting effects of light, the physicality of the location with its unique atmosphere and sense of time and place, Charles Neal deftly crystallizes the essence of his chosen location in the painted image. Over the years his paintings have steadily increased in value. His paintings can be seen in Royal, private and commercial collections all over the world, and in recent years he has had two major public exhibitions under the patronage of HRH The Prince of Wales and HRH The Duke of Edinburgh. Neal has also had solo exhibitions with the National Trust, Royal Horticultural Society, Surrey Wildlife Trust, The Museum of Garden History in London, and The Docklands Museum London. His paintings have also been hung at the Royal Society of British Artists and, internationally, at exhibitions in New York, Palm Beach, Barcelona, Paris and Dubai. Charles Neal’s early painting period was initially influenced through frequent visits in his teenage years to the Amsterdam Rijksmuseum, Stedelijk and Van Gogh museums. In the 1980’s Neal began to paint professionally, working in association with Omell Galleries London and later joined Campbell’s of London and Astley House Fine Art. It was during this period that he became interested in the French Impressionists, in particular Claude Monet, Alfred Sisley and Camille Pissarro, for their lightness of touch, sense of celebration of nature and the daily round of life in general. Further, the ‘en plein air’ approach to painting was a logical move forward and at the same time had reference to Constable’s outdoor sketches. In 2003 Charles Neal joined Wally Findlay Galleries (New York and Palm Beach). Subsequently Neal has painted further thematic series of works that have been incorporated in gallery exhibitions or as special events linked to The National Trust, The Royal Horticultural Society, Surrey Wildlife Trust, The National Rowing Museum, Henley and the Docklands Museum London and The Blenheim Foundation.

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McTear's
Los 182

* JEAN FEENEY, EVENING, DERVAIG, MULLoil on canvas, signed, titled label versoimage size 41cm x 61cm, overall size 65cm x 85cm Framed.Artist's label verso.Note: Whilst Jean lives in the heart of highland Perthshire, some of her greatest artistic inspiration comes from a very different part of the Scottish landscape. On her first visit to the West Coast in 1990, she fell in love with the landscape, light and colour there, and these have been at the centre of her creative output ever since. Although Jean’s love of art stems from childhood, it wasn't until much later, after a back injury, that she became an active artist. Her subjects focus on the raw beauty of some of the remotest areas in Scotland and beyond, and she is well known in the art world for her energetic and sculptural use of paint. Her trademark is strong and bold colour combined with energy, light and atmosphere. She cites her main influences as the Scottish colourists, the German expressionists and, of course, Van Gogh for his love of yellow and use of thickly applied and textured paint. Jean’s work is ever more popular both here in the UK and abroad, and is represented in many private and corporate collections throughout the world.

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McTear's
Los 183

* ETHEL WALKER (SCOTTISH b. 1941),LOCH CRERANmixed media on paper, signedimage size 38cm x 53cm, overall size 66cm x 79cm Mounted, framed and under glass. Exhibition label verso: Glasgow Society of Women Artists Exhibition June 1991.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from The Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).

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McTear's
Los 54

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016),HIGH SEA FROM ISLAYwatercolour on paper, signed, titled label versoimage size 30cm x 42cm, overall size 56cm x 67cm Mounted, framed and under glass.Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

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McTear's
Los 68

* ETHEL WALKER (SCOTTISH b. 1941),ORANGE TULIPSmixed media on board, signed, titled and dated 1998 label verso image size 49cm x 49cm, overall size 70cm x 70cm Framed and under glass.Label verso: The Gatehouse Gallery, Glasgow.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).

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McTear's
Los 85

* HOWARD BUTTERWORTH (SCOTTISH b. 1945),LOCH KINORD, ROYAL DEESIDEoil on canvas, signedimage size 50cm x 75cm, overall size 65cm x 90cm Framed.Provenance: Kindly confirmed by The Butterworth Gallery "The loch is Loch Kinord on the Muir of Dinnet in the Cairngorms National Park. Interesting to see the difference in the native birch woods from then to now. Probably painted in the late 80s or early 90s." The typical gallery price for a Howard Butterworth of these dimensions is in excess of £8000.Note: Born in Rochdale in 1945, Howard Butterworth is a renowned Scottish artist who has lived and painted professionally in Northern Scotland since 1968. Howard captures the atmospheric light and colours of Scotland especially around Balmoral, Royal Deeside, Cairngorms National Park and the Scottish Highlands. Capturing the moods and seasons as only an Aberdeenshire based artist painting outdoors can, Butterworth paints 'en plein air' and he describes his style of painting as "emotional realism". He conveys the sense of being in a particular place at a particular moment in time and the experience and feeling of Nature's constantly changing colours and light. Howard Butterwprth paintings are held in private and corporate collections worldwide, particularly his paintings of Scotland including those of native birchwoods, Caledonian pine forests, heather covered moorland, snowcapped mountains and the lively waters and bridges of Royal Deeside. Howard Butterworth's patrons include private and corporate buyers with several paintings featuring in the Royal Collections of H.M. Queen Elizabeth II and Queen Elizabeth the Queen Mother who closely supported him over the years.

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McTear's
Los 9

* ETHEL WALKER (SCOTTISH b. 1941),ALSTROEMERIA AND IMARIoil on board, signed, titled versoimage size 54cm x 60cm, overall size 73cm x 79cm Framed and under glass.Comment: an outstanding and highly detailed Ethel Walker still life. Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from The Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).

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