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Koller Auktionen AG
Los 3602

BASEL.-Vue de Basle, prise du rempart près de la port de St. Jean. Um 1840.Altkolorierte Aquatintaradierung.Unterhalb der Darstellung mittig gestochen betitelt, rechts bezeichnet: à Basle Chez Birmann & Fils.Blattgrösse: 25,6 x 35 cm.Die Darstellung wenig verblasst und mit leichtem Lichtrand. Insgesamt in guter Erhaltung. BASEL.-Vue de Basle, prise du rempart près de la port de St. Jean. Circa 1840.Aquatint etching with original colour.Engraved title below the image centre, inscribed to the right: à Basle Chez Birmann & Fils.Sheet size : 25.6 x 35 cm.The image slightly faded and with slight light staining. Overall in good condition.

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Koller Auktionen AG
Los 3619

ANONYM, UM 1830/40Folge von sieben Entwürfen für Wandgestaltungen oder Bühnenbilder.Aquarellierte Umrissradierungen auf Bütten.Jeweils ca. 30,5 x 36,5 cm.Provenienz:- mit Blindprägestempel 'BR' im Kranz, nicht bei Lugt.Alle Blätter mit Rand um die Plattenkanten. Mit leichten Gebrauchsspuren, teils gleichmässig leicht gebräunt bzw. etwas vergilbt. Ein Blatt stärker stockfleckig, die anderen nicht oder nur wenig stockfleckig. In den Farben frisch und insgesamt überwiegend in guter Erhaltung. ANONYMOUS, CIRCA 1830/40Series of seven designs for wall designs or stage sets.Watercoloured outline etchings on laid paper.Each approx. 30.5 x 36.5 cm.Provenance: - with blind stamp 'BR' in wreath, not in Lugt.All sheets with margins around the platemarks. With light traces of wear, partly with even light browning or somewhat yellowed. One sheet with heavier foxing, the others with no or only slight foxing. Overall in good condition with fresh colours.

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Koller Auktionen AG
Los 3631

ALBRECHT DÜRER(1471 Nürnberg 1528)Veronika zwischen den Heiligen Peter und Paul. Blatt 23 der Folge: Kleine Passion.Holzschnitt auf Bütten mit Wz. Mittlerer Reichsapfel (fragmentiert), Meder 56.Im Druckstock monogrammiert und datiert: AD 1510.12,7 x 9,8 cm. Gerahmt.Meder 147 ohne Text, a (von c, Nimbus des Paulus rechts unterbrochen, unter Veronika eine schiefe weisse Schramme). - Gleichmässiger, überwiegend fein zeichnender Druck. Umlaufend mit der Einfassungslinie, teils mit feinem Rändchen um diese. Am unteren Rand mit kleinem Wurmlöchlein und Dünnstelle im Papier, darunter die Einfassungslinie und einzelne kleine Linien mit schwarzer Feder verstärkt. Das Papier gleichmässig leicht vergilbt und etwas gewellt. Verso leichte Klebespuren und wenige Reste alter Montierungen. Dort mit brauner Feder alte Annotation: J 3. - Insgesamt in guter Erhaltung. ALBRECHT DÜRER(1471 Nuremberg 1528)Saint Veronica between Saint Peter and Saint Paul. Sheet 23 from the series: The Small Passion.Woodcut on laid paper with watermark medium Imperial Orb (fragmented), Meder 56.Monogrammed and dated in the block: AD 1510.12.7 x 9.8 cm. Framed.Meder 147 without text, a (of c, nimbus of Paul interrupted on the right, a skewed white mark under Veronica). - Even impression, predominantly with fine detail. With the framing line all around, partly with thread margins. With small wormhole and thin area in the paper at the lower edge, below which the framing line and some small lines reinforced with black pen. The paper evenly slightly yellowed and slightly wavy. The reverse with light adhesive residue and some traces of previous mounting, and with old annotation in brown pen: J3. - Overall in good condition.

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Koller Auktionen AG
Los 3632

ALBRECHT DÜRER(1479 Nürnberg 1528)Mariens Tempelgang. Um 1503. Blatt 6 der Folge: Marienleben.Holzschnitt auf Bütten mit Wz. Kleines Stadttor, (Meder 266, um 1570/80).Unten links im Druckstock monogrammiert: AD.29,8 x 21,1 cm.Schoch/Mende/Scherbaum 171; Meder 193 ohne Text, e (von h). - Tiefschwarzer, kräftiger Druck mit der Einfassungslinie und überwiegend mit feinem Rändchen um diese. Einzelne dezente Flecken. Die oberen Ecken mit leichten Restaurierungen. Verso mit alten Kleberesten und mit wenigen Resten alter Montierung. Insgesamt in guter Erhaltung. ALBRECHT DÜRER(1479 Nuremberg 1528)The Presentation of the Virgin at the Temple. Circa 1503. Plate 6 from the series: The Life of the VirginWoodcut on laid paper with watermark small city gate, (Meder 266, c. 1570/80).Monogrammed in the block lower left: AD.29.8 x 21.1 cm.Schoch/Mende/Scherbaum 171; Meder 193 without text, e (of h). - deep-black, strong impression with the framing line and predominantly with thread margins. Individual discreet small spots. The upper corners with light restorations. The reverse with old adhesive residue and some traces of previous mounting. Overall in good condition.

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Koller Auktionen AG
Los 3638

GIOVANNI BATTISTA PIRANESI(Mogliano Veneto 1720 - 1778 Rom)Veduta dell'Arco di Settimo Severo, 1772.Radierung.47,3 x 71,2 cm. Gerahmt.Hind 99 I (von III, vor den Nummern). - Tiefschwarzer, kräftiger und gleichmässiger Druck. Die linke Seite mit kleinem Rand, die anderen Seiten mit Rand um die Plattenkante. Einzelner Riss im oberen Rand links. Überwiegend in den Rändern dezent stockfleckig und mit leichten Gebrauchsspuren. Am oberen Rand rechts mit schwacher Notation in Bleistift. Insgesamt in guter Erhaltung. GIOVANNI BATTISTA PIRANESI(Mogliano Veneto 1720 - 1778 Rome)Veduta dell'Arco di Settimo Severo, 1772.Etching.47.3 x 71.2 cm. Framed.Hind 99 I (of III, before the numbers). - Deep-black, strong and even impression. The left side with small margin, the other sides with margin around the platemark. Individual tear in upper margin left. With discreet foxing and light traces of wear predominantly in the margins. The upper margin left with faint notation in pencil. Overall in good condition.

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Koller Auktionen AG
Los 3640

JAMES ENSOR(1860 Ostende 1949)La Cathédral, 1886.Radierung auf festem Japanpapier.Oben rechts in der Platte gestochen signiert und datiert: Ensor 1886. Unterhalb der Darstellung rechts mit Bleistift signiert: James Ensor.24,5 x 19 cm (Blattgrösse: 31,5 x 22,5 cm).Elesh 107; Taevernier 105 (zweite Platte). - Schöner, kräftiger, kontrastreicher und klarer Druck mit Rändern. Die Darstellung mit leichtem Lichtrand, die Ränder gleichmässig etwas gebräunt. Vereinzelte dezenten Knickspuren im Papier und leichten Gebrauchsspuren. Insgesamt in guter Erhaltung.Provenienz:- Kornfeld & Klipstein, Bern. Dort vom Vorbesitzer mit der Provenienz "Sammlung Reinhardt Winterthur" erworben.- Privatbesitz Schweiz. JAMES ENSOR(1860 Ostende 1949)La Cathédral, 1886.Etching on firm Japan paper.Engraved signed and dated in the plate upper right: Ensor 1886. Signed in pencil below the image right: James Ensor.24.5 x 19 cm (sheet size: 31.5 x 22.5 cm).Elesh 107; Taevernier 105 (second plate). - Fine, strong and clear impression with rich contrast and with margins. The image slightly light stained, the margins somewhat evenly browned. Individual discreet crease marks in the paper and with light traces of wear. Overall in good condition. Provenance: - Kornfeld & Klipstein, Bern. Acquired from previous owner with the provenance "Sammlung Reinhardt Winterthur".- Swiss private collection.

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Unique Auctions
Los 1129

2 framed and glazed quality prints The Battle of Waterloo and The Charge of the Light Brigade

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Unique Auctions
Los 133

A large quantity of various sized light bulbs on 2 shelves plus strip lights, collect only

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Unique Auctions
Los 2255

An early 20th century gas wall light with opaque glass shade.

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Unique Auctions
Los 314

Teal coloured bedding, 2 King size duvet sets with 2 pillowcases each plus Thermal lined pencil pleat curtains 66" x 72" (168cm x 183cm) and a teal ceiling light

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Unique Auctions
Los 4

2 John Emerson ltd ed prints signed by artist, no 76/250 and 90/250 Harbour & beach scene, 55cm x 45cm, and A Ltd ed Willis print no 340/850 'Evening Light St. Ives', 57cm x 50cm

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Los 401

A 1950's light oak chest of drawers 48cm x 106cm x height 95cm

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Unique Auctions
Los 435

A round light oak kitchen table on centre column with 4 chairs diameter 100cm x height 74cm

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Bonhams
Los 17

MAX ERNST (1891-1976)Comète signed and dated 'Max Ernst 51' (lower right); signed, inscribed and dated 'Comète, 1951, Ernst' (on the reverse)oil on canvas61.2 x 101.5cm (24 1/8 x 39 15/16in).Painted in 1951Footnotes:The authenticity of this work has kindly been confirmed by Dr. Jürgen Pech.ProvenanceMax Ernst Collection.Dorothea Tanning Collection, US (by descent from the above).Thence by descent to the present owner.LiteratureW. Spies, S. & G. Metken, Max Ernst Œuvre-Katalog, Vol. V, Werke 1939-1953, Cologne, 1987, no. 2884 (illustrated p. 298; with incorrect cataloguing).'I never lose touch with the world around me' - Max ErnstThe present work Comète refers to Ernst's interest in astrology, which can be traced back through his early oeuvre. Imagery of the cosmos with the earth, sun, moon and the sky can be seen in examples as early as 1909, such as Landschaft mit Sonne. Ever since the subject has remained important throughout his career. 'When you walk through the woods keeping your eyes fixed on the ground, you will doubtless discover many wonderful, miraculous things. But when you suddenly look upwards into the sky, you are overcome by the revelation of another, equally miraculous world. Over the past century the significance of suns, moons, constellations, nebulae, galaxies and all of outer space beyond the terrestrial zone has increasingly entered human consciousness, as it has taken root in my own work and will very probably remain there' (Max Ernst quoted in W. Spies (ed.), Max Ernst: A Retrospective, Munich, 1991 p. 10).Comète was painted in 1951 during Ernst's last years living in exile. Ernst fled to America in 1941 to escape a second arrest by the Gestapo and settled in New York with other European emigré artists such as André Breton, Amadée Ozenfant, Yves Tanguy and Fernand Léger. After a short marriage to Peggy Guggenheim, he met Dorothea Tanning with whom he would stay for the rest of his life. After a few years the couple decided to escape New York and settled in the desert of Arizona in 1945. Ernst's new surroundings were transformative for his art as the starry nights in the Sedona desert took him to otherworldly imagery. During the interbellum years Ernst's fantastical pictures had mainly focused on images of brutality and destruction. His visual lexicon propagated a degree of ominousness and discomfort that can be seen in the work Orobas from 1942, where the viewer is presented with a daunting landscape in decay. However, after the Second World War, the artistic landscape had changed. On a visit to Paris in 1950 Ernst noticed that everyone was focused on post-war American art: 'I came back to France at a time when...the terribles simplificateurs were busy praising only abstract art and condemning Surrealist art, especially if it was at all figurative, as too literary, so that it appeared to be irretrievably discredited' (Max Ernst quoted in W. Spies (ed.), Max Ernst Retrospective, exh. cat., Ostfildern, 2013, p. 279). Ernst's outlook changed and he began to adopt theories from American artists who had a more formal approach to painting.In the present work Ernst embraced abstraction to a certain degree, by treating the canvas as a flat surface onto which he created a playful, almost childlike, image of the cosmos. Ernst flattened the image by constructing the composition through fluid colour arrangements. The glowing sphere of the comet dominates the centre and appears to have facial features, each element composed of small dabs of paint which are enhanced with black outlines. The swirling atmosphere is moving in a counter-clockwise direction, starting with swift brush strokes executed in dark blue and burgundy tones around the comet. The flowing strokes gradually move outwards and change into divisionist touches of fiery red, hot orange and green which echo the speed of light. The foreground is executed in a symphony of dark blue and green hues, that stand in stark contrast to the brightly coloured whirling cosmos, like the sun and the moon. Ernst's choice of bright colours in Comète is not a coincidence as his palette changed during the post-war years. Muted greys, greens and blues were substituted by more vibrant and uplifting hues, resembling the mesmerising colours of the Sedonian landscape. His new surroundings not only allowed Ernst to reconsider his colour scheme, but he also felt a new sense of optimism to return home during this period. Just the year before Comète was executed, Ernst visited France for the first time since 1941 and was able to witness Europe's recovery with his own eyes. It was not until 1953 when Ernst and Tanning were able to return to France for good, that Ernst continued to work on a series of cosmological paintings in his revived palette.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Los 5

LEONORA CARRINGTON (1917-2011)Operation Wednesday signed and dated 'Leonora Carrington March 1969' (lower left) and extensively inscribed (to the foreground); signed, inscribed and dated 'Operation Wednesday, Dr. Fernando Ortiz Monasterio., Leonora Carrington, March 1969.' (on the reverse)oil and tempera on board61.1 x 45.1cm (24 1/16 x 17 3/4in).Painted in March 1969Footnotes:The authenticity of this work has kindly been confirmed by Dr. Salomon Grimberg. This work will be included in the forthcoming Leonora Carrington catalogue raisonné of paintings, currently being prepared by Dr. Grimberg.Please note that this work has been requested for an upcoming Leonora Carrington exhibition at the Arken Museum of Modern Art, Copenhagen, 17 September 2022 – 15 January 2023, later travelling to the Fundación MAPFRE, Madrid, 8 February – 14 May 2023.ProvenanceDr. Fernando Ortiz Monasterio Collection, Mexico City (acquired directly from the artist).Thence by descent from the above; their sale, Sotheby's, New York, 28 May 2013, lot 29.Private collection, US (acquired at the above sale).ExhibitedDublin, Irish Museum of Modern Art, Leonora Carrington, The Celtic Surrealist, 18 September 2013 – 26 January 2014 (later travelled to San Francisco).Liverpool, Tate, Leonora Carrington, Transgressing Discipline, 6 March – 31 May 2015.San Francisco, Gallery Wendi Norris, Threads of Memory, One Thousand Ways of Saying Goodbye, 21 October – 15 November 2017.Mexico City, Museo de Arte Moderno, Leonora Carrington Magical Tales, 21 April – 23 September 2018, no. 68 (later travelled to Monterrey).New York, Gallery Wendi Norris, Leonora Carrington, The Story of the Last Egg, 23 May - 29 June 2019.The painting Operation Wednesday (1969) by Surrealist artist and writer Leonora Carrington (1917-2011), is a work that presents a wonderful fusion of Christian, Mayan, and esoteric symbolism. It also marks a critical decade in Carrington's career when her art increasingly took on a socio-political message, demonstrating a firm allegiance to her adopted homeland, Mexico, where she had lived since 1943. The title is deceptively simple and its caption, written on the work in Spanish, reveals more: 'no olvides Tlatelolco.. les tres culturas,,, no tenernos tumba... campo military número 1' (Don't forget Tlatelolco... the three cultures...we don't fear the grave... military camp number 1).' These words make clear that Carrington's painting pays homage to the student movement or Movimiento Estudiantil, led by the students and staff of the Universidad Nacional Autonoma de Mexico (UNAM), which began on July 22, 1968. She commemorates those killed and injured in the massacre in Plaza de las Tres Culturas (Plaza of the Three Cultures) in Mexico City on Wednesday October 2, 1968, and those rounded up, detained and tortured in Military Camp One. On October 2, 1968, ten thousand students gathered in the Plaza in Tlatelolco to begin a peaceful protest march through the city only to find themselves surrounded by Federal troops, many in tanks, who opened fire as night fell. They were protesting against the nation's one party government under Gustavo Díaz Ordaz and the lack of political freedom; he in turn was determined to quash months of student protests, especially in the lead up to the opening of the Olympic Games, scheduled for 12 October. Some 200-400 protestors, innocent bystanders, children (the precise number has never been firmly established) were killed, an estimated two thousand students rounded up, imprisoned, beaten and tortured. In her book documenting this massacre, Elena Poniatowska writes of October 2, 1968: 'There are many. They come down Melchor Ocampo, the Reforma, Juárez, Cinco de Mayo, laughing, students walking arm in arm in the demonstration [...] carefree boys and girls who do not know that tomorrow and the day after, their dead bodies will be lying swollen in the rain.'1Carrington's own sons, Gabriel and Pablo, were involved in the student protests and had been printing anti-government propaganda leaflets and posters on the mimeograph belonging to their father, the Hungarian photographer Emerico 'Chiki' Weisz (1911-2007), in their family home. Carrington asked Gabriel to introduce her to his student circle in the aftermath of the massacre and together they planned a silent protest by marching through the city centre, all dressed in black. However, soon she and her family were in danger of arrest too: one morning they received a phone call warning them that the writer Elena Garro had denounced Carrington and Gabriel to the police; they quickly arranged to leave the country, flying to New Orleans, where they stayed until Chiki advised them it was safe to return.2In addition to commemorating the student protestors, Carrington's painting pays homage to those who supported and saved some of the wounded students, notably Dr Fernando Ortiz Monasterio (1923-2012), to whom the painting is dedicated. Monasterio's 'operation' was radically different to Díaz Ordaz's oppressive regime, of course. He is presented as a medical and humanitarian shaman. He dominates the composition in his tall slender form as the healer at a time of military terror, or an intermediary between a violent moment in history and a better future. Fernando Ortiz Monasterio was a surgeon and teacher who specialized in cranio-facial surgery, assisting many children born with facial abnormalities or suffering tumours. He worked for the Ministry of Health in Mexico and was affiliated with the Graduate Division of UNAM as well as the Hospital General Gea Gonzalez, in the Tlalpan district. Monasterio was known for his interest in music, literature, anthropology and sociology, and for his determination to understanding how and why so many Mexican children were born with cranial deformations.3Carrington's choice of medium for this work also pays homage to the humanism and skill of the doctor. She uses egg tempera, a technique which involves an emulsion of pigment and a water soluble binder – here the binder is egg yolk. Whilst a difficult process, prone to dry flaking, tempera had great symbolic significance in bringing art and science, the feminine (symbolised by the egg) and the masculine (the technical skill), together. Tempera and temperament share a common Latin root - temperare, to mix - and both involve the binding of things whether humors and tempers or pigments. In being associated with the feminine, her choice of tempera technique also serves as a striking counterpoint to the mechanical violence of the massacre. Tempera speaks to an old, life-giving process through the alchemical symbolism of the egg and by extension may be read as a means to challenge an emphatically modern, masculinist, political regime. Tempera was a popular medium in Surrealist circles, especially for women painters, and once Carrington moved to Mexico in 1943 it became a staple technique in her studio there. One friend described her studio as a 'narrow little room in old Mexico, the most dream-saturated place I know here'.4Carrington's recourse to diverse cultural symbols ensures the viewer is intrigued by her use of dramatic colour and detail alike and searches out the stories behind them. We find English and Spanish text in the foreground, some of it in mirror writing; a palette dominated by bands of white and black - the doctor and his assistant are in white which symbolises light, and the androgynous patient they assist is dressed in a black cloak, the colo... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Los 101

[Derodon (David)] The funeral of the Mass: or, The Mass dead and buried, without hope of resurrection. Translated out of French, [translated by S.A.], first edition in English, lacking initial blank, F2 outer margin cut away, with loss of a few letters, without loss of sense, C8r later light purple pencil note at foot, some spotting and staining, lightly browned, contemporary sheep, spine repaired with loss, but holding firm, [Wing D1121], small 8vo, Printed by Andrew Clark, and are to be sold by Randal Taylor at the sign of the Crown in Little Britain, 1673.⁂ A rare copy at auction of the first English edition of this work by the French Calvinist theologian, philosopher, and correspondent of Galileo and Descartes.

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Los 103

Cox (H.) Lisarda; or, the Travels of Love and Jealousy. A Novel. In Two Parts, 2 parts in 1 vol., first edition, title rather stained and soiled with extremities chipped, just affecting imprint, B7 lower corner torn away affecting a few letters of text, G7 & 8 with loss to margins, touching some text but without significant loss, closely shaved at head and foot, creasing and light browning throughout, disbound, small 8vo, [Wing C6701aA], for Joseph Night, 1690.⁂ First edition of this rare early romantic novel. ESTC lists 3 copies only, all in America and we can trace no copy at auction.

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Los 113

Broadside.- Dreadful Shipwreck. A heart-rending account of the dreadful sufferings of the Crew and Passengers of the Orlando, c.380 x 250mm., printed in double-column, large woodcut to head depicting the wreck with wreckers looking on from clifftops and making off with goods washed ashore, parents and child drowning at sea and the sole survivor being discovered on a rock by a local gentleman, some light creasing but an excellent example generally, J. Catnach, [c.1820].⁂ Seemingly unrecorded account of a the wrecking of the Orlando which went down with 28 of its 29 passengers sailing from Ostend to London.

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Los 116

Broadsides.- Coldbath Fields Riot.- Authentic account (An) of the riotous meeting near Gray's Inn Road, with full particulars of the sad murder of Robert Culley, a policeman, and the stabbing of Serj. Brookes, Smeeton, [1833]; An authentic account of the proceedings of the coroner's inquest on the body of Robert Culley, a policeman, with the very important verdict of the honest jury, Smeeton, [1833]; An authentic account of the proceedings... to which is added (by permission) an authentic copy of that affecting letter, form one of the sufferers in the conflict, as presented to the inquest and a correct list of the names, residences and trades of the inflexible jurymen, Smeeton, [1833], each c.375x250mm., printed in double-column, light creasing to extremities (3)⁂ A excellent group of rare broadsides covering an important early encounter between the Metropolitan Police and a socialist political rally. Library Hub records two copies of first and none of the other two. Together these document the aftermath of the so-called Coldbath Fields Riot that took place following a public meeting of the National Union of the Working Classes at Coldbath Fields in Clerkenwell. Police intervention ended up turning the meeting into a general melee and in the ensuing violence 3 policemen were stabbed, 1 fatally. At the subsequent inquest the jury heard that the number of police vastly outnumbered those gathered and had not issued a call to disperse. The jury returned the verdict of lawful homicide. The final broadside advertises a subscription for a series of medals to be minted for the men of the jury "as a testimonial of their firmness and integrity".

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Los 117

Broadside.- Attempted Murder of a Wife by her Husband, Near Banbury, Oxfordshire, c.370 x 244mm., printed in triple-column, woodcut illustration to head depicting husband in the process of stabbing his wife, repaired horizontal tear and some light creasing and staining, Reading, Jones,[1849].⁂ Seemingly unrecorded account of a murder in Oxfordshire. James Layton had been allegedly beset by money troubles and had begun to entertain paranoid delusions of his wife conspiring against him. He shot and stabbed her while they were out walking near Banbury but was captured by some passers by. His wife later died of her injuries and the subsequent trial culminated in a verdict of not guilty on the ground of insanity.

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Los 127

Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 6 vol., vol.1 second edition, vol.2-6 first editions, engraved portrait frontispiece, 3 folding maps, errata leaves in vol.2 and 3, vol.1 4F2 with short tear, lacking half-titles, vol.3 line 18 with misprint "Honorious" and p.177 correctly numbered, very occasional foxing or light browning, contemporary tree calf, spines gilt with red and green morocco labels, cracked upper joint (vol. 1 only), 4to, 1776-88.⁂ Magnificent set of this "masterpiece of historical penetration and literary style" (PMM).

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Los 13

Winds & Earthquakes.- Padovani (Fabrizio) Tractatus duo alter de ventis alter perbrevis de terraemotu, woodcut printer's device to title, 39 engraved maps and illustrations, of which 5 full-page, woodcut decorative initials, with the star leaf B3 (pp. 17/18) after B4, some spotting or foxing, light browning, occasional staining, contemporary carta rustica, stained, [Riccardi I (ii) 230: 'Bella edizione'; Shirley 232 (world map)], 4to (312 x 217mm.), Bologna, Giovanni Battista Bellagamba, 1601.⁂ A wide-margined copy of the first and only edition of this handsomely illustrated work. It is predominantly concerned with the nature of winds, and has a short section on earthquakes at the end. The latter is included as it was believed that earthquakes were caused by subterranean winds. Here Padovani envisages an early warning system for these events. The maps include The Americas, and a world map (Carta Marina) is in the style of Giacomo Gastaldi for the Italian edition of Ptolemy's Geography of 1548.

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Los 135

America.- Native Americans.- [Apess (William)] Hymn. The Indian's Prayer, first separate edition, broadside, 223 x 135mm., little light spotting, in an excellent state of preservation, [Boston], Shepley & Wright, Printers, Congress Street, [c.1835].⁂ Rare. Apess (or Apes) was a mixed race (part Pequod) ordained Methodist minister and activist. His A Son of the Forest: The Experience of William Apess, A Native of the Forest, Comprising a Notice of the Pequot Tribe of Indians, 1829, is one of the first autobiographies by a Native American writer. He helped organise the Mashpee Revolt of 1833-1834, which attempted to regain civil rights for the Native American people.

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Los 138

American Civil War.- Dawson (Capt. Francis) Reminiscences of Confederate Service, 1861-1865, one of 100 copies, some light finger-soiling, original blue cloth stamped in red, spine browned, some fading and mottling to covers, endpapers renewed, 8vo, Charleston, S.C., The News and Courier Book Press, 1882.⁂ Rare account of service in the American Civil War, we can trace only one other copy at auction. Dawson was born Austin John Reeks in England. A playwright and romantic, he joined a Confederate ship sailing from Southampton and enlisted with the Southern army upon arrival in America, adopting the nom de guerre of Dawson. He served with distinction, was injured three times and rose to the rank of captain. After the war he became a journalist and a prominent figure in Charleston politics.

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Los 14

Military.- Melzo (Lodovico) Regole Militari ... sopra il Governo e Servitio della Cavalleria, first edition, additional engraved title, small marginal loss neatly restored, trimmed to plate mark, 16 engraved illustrations on 15 double-page plates (of which, 5 folding), engraved head-pieces and initials, occasional light browning, occasional very faint marginal damp-staining, bookplates and occasional blind-stamps, eighteenth-century tree calf, gilt, slight rubbing to corners and extremities, light fading to spine, folio, Antwerp, Giachimo Trognæsio, 1611.⁂ A treatise on the conduct and service of cavalry by the Lieutenant-General of the Spanish cavalry in the Low Countries at the truce of 1609.Provenance. Bookplate of George Lane Parker (1724-1791) and of the Earl of Macclesfield, Shirburn Castle, 1860.

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Los 143

Women.- Hays (Mary) Female Biography; or, Memoirs of Illustrious and Celebrated Women, of all Ages and Countries, 6 vol., first edition, 2ff. of advertisements at end of vol.6, occasional spotting or light staining, lightly browned, contemporary tree calf, gilt, lacking all but 3 spine labels (one loosely inserted), spines chipped and scuffed, rubbed, 12mo, Printed for Richard Phillips, 1803.⁂ A solid set of this biographical work by this novelist and friend of Mary Wollstonecraft. It is often found in poor condition. Most of her subjects are historical figures, but one also finds a number of writers, including Mary Astell, Aphra Behn, Juliana Berners, Hester Chapone, Elizabeth Haywood, Catherine Macaulay and Frances Sheridan.

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Los 152

Froude (James Anthony) A collection of 28 titles in 56 vol., first or early editions, some plates and illustrations, the odd spot but very clean generally, handsome crushed red half morocco, gilt, by Zaehsdorf, spines gilt in compartments, very light fading to spines, else fine, t.e.g., 8vo, 1847-95.⁂ A handsome and near-comprehensive set of works by Froude. A complete list of titles is available upon request.

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Los 155

Eliot (George) Middlemarch: A Study of Provincial Life, 4 vol., first edition in book form, half-titles, occasional light corner-creasing, some light marginal marking or occasional foxing, pencil ownership inscription, hinges splitting or weak, vol.4 first 2 gatherings working loose, original blue cloth stamped in black and gilt, shelf-leaning, spine ends and corners bumped and frayed, vol. 1 splitting to lower joint, mottling and some marking to spines and covers, rubbing to extremities, [Sadleir 815; Wolff 2059], 8vo, 1871-72.⁂ First edition in original cloth of Eliot's most famous work, often hailed as one of the greatest novels in the English language.

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Los 156

Nightingale (Florence).- Seeley (Sir John Robert) Ecce homo : a survey of the life and work of Jesus Christ, with a gift inscription from Florence Nightingale, some spotting and light staining, original cloth, spine gilt, head of spine worn, upper joint starting, rubbed, 1878 § Cotton (Elizabeth R.) Our Coffee-Room, with a gift inscription from Florence Nightingale, half-title, frontispiece, 4pp. advertisements at end, some spotting, original cloth, gilt, rubbed, 1877, 8vo (2)⁂ Two volumes offered as gifts by the founder of modern nursing and reformer. The inscriptions read as follows: I. 'Offered to Mrs. Lowe, with Florence Nightingale's Kind regards, Nov 18/78' II: 'Mrs Lowe. with FN's kind regards, 14/11/78'.

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Los 157

Stevenson (Robert Louis) Treasure Island, first edition, half-title, map frontispiece, 8pp. advertisements dated 12.83, very light toning to margins, some scattered foxing, lacking rear endpaper, original blue cloth, slight shelf-lean, spine darkened, spine ends and corners bumped and chipped, marking to covers, extremities rubbed, 8vo, 1883.⁂ With the following early issue points (though with later advertisements): "dead man's chest" on p.2 and p.7 not capitalised; "rain" for "vain" in last line p.40; "a" not presen, p.63, line 6; "7" is missing from pagination on p.127; full-stop is missing after "opportunity" p.178, line 20; "worse" for "worst" p.197, line 3.

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Los 166

Chandler (Raymond) Farewell, my Lovely, first edition, light spotting to endpapers and edges, A Note on the Type f. adhesion tearing to foot from removal of label, original cloth, some light bumping and fraying to tips of spine and corners dust-jacket, light fading to spine, spine ends and corners chipped affecting imprint at foot of spine, some adhesion tearing and marking to spine, light staining to lower panel, light rubbing to extremities, 8vo, New York, 1940.⁂ Chandler's second novel and the first to be adapted for film.

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Los 168

Christie (Agatha) The Murder on the Links, first edition, 8pp. advertisements, the odd marginal spot or light mark, light browning to endpapers, front endpaper with bookplate to verso and ink ownership inscription dated 21.8.23 to recto, original cloth, with line design in black, very light fading to spine, light rubbing and bumping to spine ends and corners, small minor splitting to lower joint but holding firm, some light cockling and surface soiling to covers, light rubbing to extremities, a very good copy, 8vo, 1923.⁂ Christie's third novel and the second to feature Poirot. A scarce title in good, unrestored state.

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Los 169

Christie (Agatha) Poirot Investigates, first edition, 14pp. advertisements, neat ink ownership inscription to head of half-title, light browning to endpapers, morocco book label of Florence and Edward Kaye to pastedown, original orange cloth lined and lettered in blue, slight darkening to spine, minor bumping to spine ends and corners, some light surface soiling, but a bright and excellent copy overall, 8vo, 1924.⁂ An superb example of Christie's first short story collection.

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Los 17

Broadside.- Backgammon.- Wonderlik Verkeer-Spel, 430 x 310mm., text in double-column, large engraved illustration to head depicting Cromwell playing backgammon against a figure representing Holland watched by France, Spain, Denmark, Scotland, Ireland and Portugal, with Fairfax represented as a bloodhound and jesters cavorting and fighting in the background, maps of Holland and Britain to the corners, folding creases, some light creasing to extremities, light surface soiling, [Holland], [1652].⁂ A rare satire on the first Anglo-Dutch war.

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Los 170

Christie (Agatha) The Secret of Chimneys, first edition, 2pp. advertisements, foxing to initial and final few ff., ink ownership inscription and bookplate to front free endpaper, original cloth, light fading to spine, spine ends and corners a little bumped with short splits to head and foot of spine, some light surface soiling, a very good copy, 8vo, 1925.

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Los 171

Christie (Agatha) The Murder of Roger Ackroyd, first edition, some light scattered spotting or foxing, bookplate to pastedown, original blue cloth lettered and lined in orange, very light sunning and small mark to spine, light rubbing and bumping to tips of spine and corners, dust-jacket, upper panel and half of spine supplied in excellent facsimile, retouching and repairs to spine, lower panel and flaps, preserved in custom morocco-backed drop-back box, 8vo, 1926.⁂ A presentable and affordable example of one of the rarest of Christie dust-jackets. The Murder of Roger Ackroyd is both a key Christie title and an important landmark in the history of detective fiction. A Haycraft-Queen Cornerstone with an entertaining and controversial twist.

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Los 172

Christie (Agatha) The Mysterious Mr Quin, first edition, some scattered spotting to fore-edge, first and last few pp., neat ink ownership inscription and some light browning to endpapers, original cloth, minor rubbing and bumping to spine ends and corners, else fine, dust-jacket priced at 7/6, light sunning to spine, light sunning to spine, spine ends and corners a little chipped, some neat restoration to lower panel, light creasing to head and foot, in effect an excellent example of a rare and delicate dust-jacket, preserved in custom morocco-backed drop-back box, 8vo, 1930.⁂ We can trace only a handful of copies in the dust-jacket at auction. Agatha Christie's third collection of short stories, featuring the semi-supernatural figure Mr Harley Quin.

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Los 173

Christie (Agatha) Lord Edgware Dies, first edition, 4pp. advertisements, foxing, original cloth, patches of fading to spine, light discolouration to upper cover, dust-jacket, priced at 7/6 on spine, light sunning to spine, spine ends and corners chipped, affecting imprint at foot of spine, short closed tear to head of upper panel, a few very short nicks and tears to head and foot with some creasing, light surface soiling to lower panel, but overall a good, unsophisticated copy of a rare jacket, preserved in custom morocco-backed drop-back box, 8vo, 1933.⁂ Only two copies in the dust-jacket traced at auction in the last 40 years. A good, early Poirot title with a photo-portrait of the actor Charles Laughton as Poirot on the lower panel taken from a stage adaptation of The Murder of Roger Ackroyd.

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Los 174

Christie (Agatha) Hercule Poirot's Christmas, first edition, signed by the author on endpaper, 3pp. advertisements, a few small patches of soiling to text, original cloth, tips of spine sunned, first state dust-jacket priced at 7/6, light darkening to spine, spine ends and corners chipped, short closed tear running from upper panel top corner, chip and some creasing to head of lower panel, but a bright and very good example overall, 1939.⁂ Rare signed, we can trace only one other copy at auction. This copy with "were" on p. 162 corrected to "was", allegedly in Christie's hand.

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Los 177

Housman (A. E.) A Shropshire Lad, first edition, American issue [one of 150 copies], title printed in red and black, usual light browning to text margins, ink ownership inscription, light browning to endpapers, original parchment-backed boards, with paper label to spine (variant B) browned and with small chip to head, spine and margins of boards browned, small patched of water-staining, corners a little bumped, rubbed, preserved in custom morocco-backed drop-back box, [Carter, Sparrow & White 2], 8vo, New York, 1897.⁂ Housman's most popular poetry collection in the more scarce American issue. 500 sets of sheet were printed, with 350 for the UK and 150 given a cancel title and issued in the US.

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Los 178

Le Carré (John).- Knight (Maxwell) Animals and Ourselves, first edition, cut signature of Le Carré to title, photographic plates, illustrations by John Le Carré (as David Cornwall), original boards, dust-jacket, very light browning and small splash mark to spine, spine ends and corners a little chipped, some light creasing to head and foot, an excellent example overall, 8vo, 1962.⁂ Scarce. Maxwell Knight (1900-68), as well as being an acclaimed naturalist and broadcaster, worked as a spymaster at MI5 and was reputedly the inspiration for Ian Fleming's 'M' as well as for Le Carré's Jack Brotherhood in A Perfect Spy. Published the year after A Call for the Dead, the present works is one of the earliest appearances in print for Le Carré and an especially unusual display of his talents as an illustrator.

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Los 18

Mortier (Pierre, publisher) Histoire du Vieux et du Nouveau Testament, 2 vol., half-titles, engraved frontispieces, title vignettes, 5 double-page maps and 214 plates after Elgers, Goerée, Hoet and others, Egypt map bound in upside down, first 5 ff. of vol.1 repaired at lower inner corner, just touching one letter and a small part of a border (supplied), occasional light browning, a few short tears without loss, some spotting and staining, mostly light, contemporary mottled calf, richly gilt spines in compartments and with double red morocco labels, spine ends and corners worn, rubbed, folio, Amsterdam, Pierre Mortier, 1700.

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Los 180

Le Carré (John) [The Karla Trilogy], 3 vol., comprising Tinker Tailor Soldier Spy, cut signature of Alec Guinness to title, jacket with very light sunning to spine, light rubbing to head and foot, very short closed tear to foot of lower joint, 1974; The Honourable Schoolboy, signed note from the author regarding a possible first issue of this work with blank endpapers "I don't think this is true. Or if it is the 'true first' never came my way" loosely inserted, jacket with very light rubbing and creasing to head and foot, very short closed tear to 1 corner, 1977; Smiley's People, jacket with very light toning to lower panel, some light rubbing tips of spine and corners, 1980, first editions, signed by the author on titles, original boards, dust-jackets, near-fine copies, 8vo.⁂ A superb signed set of Le Carré's classic spy trilogy.

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Los 181

Le Carré (John) A Perfect Spy, first edition, signed by the author "John Le Carré also known as David Cornwell" on title, Autograph Letter signed by the author loosely inserted, original cloth-backed boards, dust-jacket, very light sunning to spine, light creasing to head, a near-fine copy, 8vo, 1986.⁂ Le Carré's semi-autobiographical novel regarded by many as his greatest. Philip Roth called A Perfect Spy "the best English novel since the war".

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Los 182

Powell (Anthony) Agents and Patients, first edition, signed presentation inscription from the author "For Constant and Florence [Lambert], with the author's love, January 8th 1936, Et Ego in Arcadia Vixi" to endpaper, some scattered foxing, original cloth, spine faded, some light spotting to spine and cover, light bumping to spine ends and corners, dust-jacket, slight darkening to spine, spine ends and corners chipped, light surface soiling to panels, a few very short closed tears with accompanying creasing to head, but a very good example of a scarce jacket, preserved in custom drop-back box, 8vo, Duckworth, 1936.⁂ An excellent presentation copy of this early Powell novel. Constant Lambert (1905-51), composer, conductor and author, was a close friend of Powell's and the model for the character Hugh Lambert in Powell's A Dance to the Music of Time.

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Los 185

Steinbeck (John) and Edward F. Ricketts. Sea of Cortez. A Leisurely Journal of Travel and Research, uncorrected proof copy, light toning to endpapers, original plain brown wrappers with yellow printed label to upper cover, label with short tear to foot, very light creasing to spine and corners, short tears to head and foot of joints, some light finger-soiling but an excellent example generally, 8vo, New York, 1941.⁂ Rare proof of Steinbeck's only collaboration, issued here without the illustrations or scientific appendix.

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Los 186

Steinbeck (John) and Edward F. Ricketts. Sea of Cortez: A Leisurely Journal of Travel and Research, first edition, signed inscription from Ricketts "I am hoping that who buys this will enjoy it as much as we did in the writing" on half-title, plates, map endpapers, neat ink ownership inscription to endpaper, upper hinge cracked but holding firm, light browning to endpapers, original cloth, light rubbing and fraying to tips of spine and corners, dust-jacket, price-clipped, chipping a few short tears and creasing to head and foot, tape repairs to verso, extremities rubbed and creased, 8vo, New York, 1941.⁂ Steinbeck's most important work of non-fiction, detailing a marine-collection expedition he undertook with his co-author Ricketts. Ricketts died 7 years after publication and copies signed by him are consequently scarce. Steinbeck was heavily influenced by the expedition and by Ricketts himself and would use him as the basis for several characters in his works.

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Los 187

Ricketts (Edward F.).- Miller (Henry) and Michael Fraenkel. Hamlet, vol. 2 only (of 2), first edition, signed presentation inscription from the author to Ed Ricketts "minister plenipotentiary of the sub-aqueous depths. Henry Miller, Hollywood 6/26/41" to endpaper, some light marking to margins, additional provenance inscriptions "Carried in Robert Price's barrack bag to Hawaii aboard an army transport. Much read and studied. Hawaii - 1942" and "Carried in Don Emblen's moist hand aboard the USS PC-580. Much read and studied. Monterey, 1943" to half-title, original wrappers, lacking upper cover, browning and creasing to spine and lower cover, preserved in custom drop-back box, small 4to, New York, 1941.⁂ An excellent presentation inscription from Miller to a key figure of 1940s American literature with a good continued provenance. For more on Ed Ricketts, see lot XXXX. Don Emblen was a poet and friend of Rickett's.

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Los 188

Waugh (Evelyn) Scoop, first edition, issue with raised indistinct '8' in publication date but 'a' to last line of p.88', bookplate of Frederick Baldwin Adams Jnr. to pastedown, first issue dust-jacket with "Daily Beast" masthead, light fading to spine, spine ends and corners chipped and creased with faint remains of tape-staining, a few small chips or short tears to head and foot, light surface soiling to lower panel, rubbing to extremities, but a very good copy overall, 8vo, 1938.⁂ Waugh's classic satire on Fleet Street journalism, born in part out of a trip he made to Abyssinia in 1935 on behalf of the Daily Mail. This copy with the scarce first issue dust-jacket, changed after Lord Beaverbrook famously threatened to sue due to the likeness to the Daily Express masthead.

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Los 19

United Provinces.- Le Clerc (Jean) Geschiedenissen der Vereenigde Nederlanden, 3 vol., first Dutch edition, half-title in vol.1, engraved frontispieces, titles in red and black with engraved vignette, large folding engraved map and 109 plates (52 double-page and/or folding views and plans mounted on stubs, one large, and 57 portraits after Picart and others), a few portraits loose in vol.2, light water-staining at end of vol.1 affecting some portraits, contemporary calf, spines gilt, rubbed, lacking labels, lower cover of vol.1 stained and worn at edge, folio, Amsterdam, Zacharias Chatelain, 1730.⁂ Comprehensive history of the United Provinces from the Dutch Revolt to 1715.

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Los 191

[Dodgson (Charles Lutwidge)], "Lewis Carroll". The Nursery "Alice", first edition, third issue with "People's edition. Price two shillings" to head of title and with Alice's profile visible on p.34, text printed in brown, colour frontispiece and illustrations after Tenniel, 2pp. advertisements, some light marginal soiling, foxing to half-title, yellow-orange endpapers, front free endpaper with ink gift inscription dated 1891 and with closed tear and some chipping, original cloth-backed pictorial boards, slight shelf-lean, some light browning and staining, corners bumped, rubbing and scratching to covers, light wear to extremities, [Williams-Madan-Green-Crutch 215], 4to, 1889.

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Los 194

Roscoe (William) The Butterfly's Ball, 8 engraved plates, Printed for J. Harris, 1808; bound with [Dorset (Catherine Ann)] The Peacock "At Home", 6 engraved plates, 1808; B. (W.) The Elephant's Ball, and Grand Fete Champetre, ?second edition, 8 engraved plates, 1808; [Dorset (Catherine Ann)] The Lion's Masquerade, [second edition], 6 engraved plates, most folding, [Gumuchian 2239], Printed for J. Harris and B. Tabart, 1808; The Council of Dogs, first edition, 8 engraved plates, [Moon 166], 1808; The Horse's Levee, or the Court of Pegasus, ?first edition, 8 engraved plates, [Moon 384], 1808; The Rose's Breakfast, first edition, 8 engraved plates, [Moon 727], 1808; Flora's Gala, first edition, 6 engraved plates, [Moon 291], 1808; The Feast of the Fishes; or the Whale's Invitation to his Brethren of the Deep, hand-coloured engraved frontispiece, 1808; The Lobster's Voyage to the Brazils, first edition, 8 engraved plates, [Moon 504], for J. Harris and B.Crosby and Co., 1808, together 10 works in 1 vol., unless mentioned with imprint "Printed for J. Harris", some light offsetting and foxing, occasional slight trimming slightly affecting pagination or signatures, but generally in excellent condition, contemporary roan-backed boards, gilt, rubbed, 16mo ⁂ A superb sammelband of juvenile poetry published by John Harris, all complete, several first editions, and rarely found together.

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Los 195

Ackermann (Rudolph, publisher) A History of the University of Oxford, its Colleges, Halls, and Public Buildings, 2 vol., first edition, half-titles, list of subscribers, engraved portrait of Lord Grenville and 81 hand-coloured plates comprising 64 aquatint views by Bluck, Stadler, Hill & others after Pugin, Mackenzie, Westall & others and 17 stipple-engraved plates of academic costumes, without the 33 portraits of founders as often, plate 50 in first state but plates 1, 15, 39, 74, 78, 84 & 94 all in second state, plates bright and clean but offset, portrait in vol.1 with light water-staining to upper margin, stain to a few upper inner margins of a few plates and leaves of vol.2, Foyle copy with gilt-stamped red roan Beeleigh Abbey label to front pastedown of vol.2 (removed in vol.1), later brown morocco, gilt, spines ruled in gilt, inner gilt dentelles, slightly rubbed at joints and edges, one or two minor small scratches, [Abbey, Scenery 280; Tooley 5], 4to, 1814 [plates water-marked 1812].

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Los 202

Original illustrations.- Layard (Arthur, editor & artist).- Marvellous Adventures (The) of Sir John Maundevile Kt. being his Voyage and Travel..., extended to 2 vol., plates and illustrations by Arthur Layard, extra-illustrated with 121 of the original illustrations for the work (of 128) including 23 of the full-page plates, pen & ink over pencil on fine wove paper, one or two with blue crayon shading, all printed text leaves, plates and drawings tipped into large blank leaves with drawings facing the printed versions, with pictorial gilt cloth upper cover and spine mounted at end and additional original design for spine, printed leaves a little browned and light offset, bound in contemporary half green morocco, by Rivière & Son, spines gilt, t.e.g., others uncut, spines a little faded, joints a little rubbed and tender, spine ends neatly repaired, large folio, 1895.⁂ Unique copy of the artist's masterpiece illustrating the eastern travels by the probably fictitious Sir John Mandeville. The work first appeared in French during the 14th century and became very popular. Layard's illustrations perfectly capture the exotic and fantastical nature of the work, seen to their best in the larger original drawings. Provenance: Cecil Sebag-Montefiore (1873-1923) bought Layard's drawings direct from the publisher and hung them in the wood-panelled smoking room of his house. Rivière & Son were commissioned to bind them in with the leaves of the book in about 1913.

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Los 204

Trades.- [Figures of Fun; or, Comical Pictures, and Droll Verses, for Little Girls and Boys], 2 parts in 1 vol., lacking titles, 16 hand-coloured engraved plates of anthropomorphised street sellers with accompanying facing verse, some light offsetting, [1833] bound with Bailey (F.W.N) The New Tale of a Tub: an Adventure in Verse, fourth edition, 7 plates after Aubry, 1850 and Smith (Albert) Beauty and the Beast, Eighteenpenny edition, 12 plates by Alfred Crowquill, [1844] and Burns (Robert) An Address to the Deil, first Landseer edition, title, frontispiece and 6 plates, 1830 and Hunt (Leigh) Captain Sword & Captain Pen: a Poem, first edition, 1835, together 5 works in 1 vol., some light spotting and finger-soiling, ink name to pastedown, contemporary half calf, some splitting and wear to spine, rubbed, 8vo.⁂ A charming group of works, the best of which comprises an superb set of illustrations of tradespeople, their bodies constituted from their wares. We can trace only 1 complete copy of the first mentioned at auction.

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Los 207

Whistler (Rex) "?" [Long-haired child with drum leaning on a balustrade], pen and brown and black inks, pencil and watercolour, on wove paper laid onto paper support, the support inscribed and attributed to Whistler in Sassoon's hand, sheet 240 x 160 mm (9 1/2 x 5 7/8 in), under glass, mounted on support, lower edge irregularly trimmed, minor surface dirt and light browning, framed, [probably circa 1930-1950 or slightly later]Provenance: Siegfried Sassoon (1886-1967)Sotheby's, London, English Literature and History, including Books and Manuscripts from The Library of Siegfried Sassoon, 18th July 1991 [Part lot]

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Los 208

Whistler (Rex).- Swift (Jonathan) Gulliver's Travels, number 48 of 195 copies on hand-made paper from an edition limited to 205, title-vignettes, 12 engraved plates, 5 maps, 4 head- and 4 tail-pieces by Rex Whistler, the 12 plates hand-coloured under the artist's supervision, light offsetting, light spotting to endpapers, original half viridian niger with vellum boards, by Wood, t.e.g., others uncut, spines faded, some marking and staining to covers, some scuffing to extremities, [Whistler & Fuller 426], large 4to, Cresset Press, 1930⁂ Whistler's magnum opus of illustration . Apparently inspired by Richard Bentley's Designs for Six Poems by Mr T.Gray of 1753 he drew the illustrations within elaborate rococo frames, each one different, many reflecting his love of Baroque architecture. He spent months on the detailed pen and ink drawings; according to his brother Laurence he sat up all night drawing one wheatsheaf.

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