Sonnerat (Pierre, 1745-1814), Striped Bass, pen and brown ink, watercolour, on thick laid paper, with indistinct text-based watermark, with brown ink and wash ruled border, signed lower left, inscribed 'aspro' upper left, 180 x 255 mm. (7 1/8 x 10 in), light browning with faint burn marks from mount, [probably circa 1770-1780] Provenance: Private collection, UK. ⁂ Pierre Sonnerat was a French naturalist and explorer and made several voyages to southeast Asia, India, and China from 1774-1781. He published several books on his travels, including 'Voyage à la Nouvelle-Guinée' (1776) and 'Voyage aux Indes orientales et à la Chine, fait depuis 1774 jusqu'à 1781' (1782). We have been unable to trace any other record, or another comparative example, of an original drawing or watercolour by his hand.
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Potter (Beatrix) The Tale of Tom Kitten, first edition, first, second or third printing, colour frontispiece, plain title vignette and 26 colour plates, ink gift inscription to half-title dated Sept. 6th '07, pictorial endpapers, contemporary pencil inscription to front free endpaper, original light brown boards with mounted colour illustration, spine sunned and with chip to head, still an excellent copy, [Linder p.427; Quinby 13], 16mo, Warne, 1907. ⁂ The first three printings are all identical, however the pencil inscription, dated September 6th, 1907, indicates that this is likely from the first. Part of the inspiration for Tom Kitten came from the drawings Potter had produced whilst writing The Story of Miss Moppet (see lot 26). The setting was closely based on the farmhouse and gardens at Hill Top, even including Potter's personal furnishings in the illustrations. Tom Kitten remains one of the author's most enduring creations although she regarded it at the time as only a qualified success: "I am much pleased with Tom Kitten. Some of the pictures are very bad, but the book as a whole is passable, and the ducks help it out."
India.- 'Ubaidallah b. Mas'ûd b. Tâj al-sharî'ah b. Sadr al-sharî'ah, known as Sadr al-shar'iah (d. A.H. 747 or 745) Section part of 'Sharh al-wiqayah', which includes sections on domestic law, an abridged form of his grandfather Burhân al-sharî'ah's running commentary on the Hidâyah, portions of text being followed by portions of commentary, separated by red markers, manuscript, c. 140pp., notes throughout in the wide margins of the text, some further miscellaneous notes in another hand on first 3pp. and last 2pp., a few paper defects, some light worming just touching text, extensively browned, contemporary calf, rubbed, edges and spine repaired, India, late 18th - early 19th centuries; and 2 others similar, 4to & folio (3). ⁂ The Haddâyah is the great compendium dealing with Islamic law and life, and abridgements and commentaries have been in use for many centuries in Islamic schools. These parts includes sections on domestic law, purity, hiring, pricing, selling, lending and borrowing.
Potter (Beatrix) The Roly-Poly Pudding, first edition, second printing without "All Rights Reserved" to foot of title, signed by the author on half-title, colour frontispiece, pictorial title, 17 full-page colour illustrations and numerous plain illustrations in text, pictorial endpapers, original red cloth with mounted colour illustration , gilt lettering, light fading to spine, minor rubbing to spine tips and corners, a near-fine copy otherwise, 1908. ⁂ Scarce signed. Potter's promised sequel to The Tale of Tom Kitten, the illustrations were closely based upon the interior of the Hill Top farmhouse and the tale itself was inspired by a rat infestation she encountered upon first moving into the house.
Potter (Beatrix) The Tale of Samuel Whiskers. Or, The Roly-Poly Pudding, first edition thus, first issue with undated title and small advertisement to front free endpaper verso, colour frontispiece, plain and full-page colour illustrations, faint ink gift inscription dated 26.XII.26 and bookseller's stamp to front free endpaper, original light red boards with mounted colour illustration, light sunning to spine and covers, short splits to foot of joints, still a very good copy overall, [Linder p.427; cf. Quinby 15], 16mo, [1926]. ⁂ Frederick Warne & Co. republished The Roly-Poly Pudding in 1926 with the new title and in the smaller format in order to make it uniform with the rest of the series.
Potter (Beatrix) The Tale of Samuel Whiskers. Or, The Roly-Poly Pudding, first edition thus, second issue with undated title and without small advertisement to front free endpaper verso, colour frontispiece, plain and full-page colour illustrations, faint adhesion mark and pencil name to front free endpaper, original light red boards with mounted colour illustration, very light sunning to spine, minor rubbing, an excellent example, [Linder p.427; cf. Quinby 15], 16mo, [1926].
Bacon (Sir Francis) Of the Advancement and Proficience of Learning or the Partitions of Sciences IX Bookes, first edition in English of the expanded edition, first issue (with colophon dated 1639), fine engraved portrait frontispiece and pictorial title, both by William Marshall, woodcut head-pieces and decorative initials, light water-staining to upper margin of preliminaries, D3 short tear at foot just within text, with minor loss, but without loss of sense of text, a few small ink stains, mostly marginal, occasional spotting, contemporary polished calf, gilt, covers with central arms of King Charles I, housed in a 20th century calf-backed cloth drop-back box, gilt, upper joint split, but holding firm, [Gibson 141a; STC 1167; Madan, I, p.217], folio, Oxford, Leon Lichfield, Printer to the University, for Rob: Young, & Ed. Forrest, 1640 [colophon dated 1639].
Taylor (John) All The Workes..., first collected edition, presentation copy with "Ex Dono Authoris" to foot of engraved additional title, woodcut illustrations, initials, head- and tail-pieces, repaired tears to a few ff., some affecting text but with little loss, a few ff. with strengthened margins, engraved bookplate of the Inglis family cut to margins and laid down on front pastedown, attractive 19th century straight-grain red morocco, blind-stamped, spine a little faded, light rubbing to extremities, g.e., [Pforzheimer 1006; STC 23725], folio, printed by J.B. for James Boler; at the signe of the Marigold in Pauls Churchyard, 1630. ⁂ Taylor wrote and published his works without the support of patrons and so dedicated his works "To the most high, most mighty, and most ancient producer, seducer and abuser of mankind, the world."
17th century stage directions.- Jonson (Ben) The Workes..., vol.1 only (of 3), 2 parts in 1 vol., engraved architectural title and portrait frontispiece, woodcut initials and head-pieces, loss to lower corner of title affecting image, a few ff. with closed tears, occasional soiling and light spotting, C4 with small portion of loss to text due to hot wax, occasional ink marginalia and notes to front free endpaper in an early hand, ink name to head of engraved title, bookplates to pastedown, later speckled calf, gilt, [Greg 1073; STC 14753], folio, Richard Bishop, 1640. ⁂ The first edition to be published with the portrait. This copy seems to have been used as a working copy for an early performance of Epicoene, or The Silent Woman, there are numerous notes to the margin in an early hand regarding stage directions regarding character movement and props. Provenance: William Powell, Nanteos, Aberystwyth (ink inscription to title and bookplates).
![Angling.- S[mith] (J[ohn]) The True Art of Angling, first edition, woodcut frontispiece in good facsimile, woodcut illustrati](https://cdn.globalauctionplatform.com/dfd0ae87-7b72-44bd-9d38-a72a00a83cab/93e58281-3de3-4ab1-dede-ad8156190d3d/468x382.jpg)
Angling.- S[mith] (J[ohn]) The True Art of Angling, first edition, woodcut frontispiece in good facsimile, woodcut illustrations, hole in C2 with some loss of text, part of E2 repaired with words on c.8 lines recto and verso in facsimile, some light water-staining, some ink scribbling and a few ink spots near end, 19th century calf, gilt, joints cracking, spine ends chipped, [Westwood & Satchell p.181], 16mo, for George Conyers...and John Sprint, 1696. ⁂ A true angling rarity, only one complete copy (the Sir Jocelyn Steevens copy, Bonham's 2006, ) in recent auction history. Despite the faults, this copy has a distinguished provenance - with the bookplate of Thomas Westwood (plus another unidentified oval red morocco label) to front pastedown.
Potter (Beatrix) Ginger & Pickles, first edition, first or second printing with date on title, colour frontispiece and 9 colour plates, plain title vignette and illustrations in text, light finger-soiling to margins, upper hinge starting but holding firm, original green boards with mounted colour illustration, mounted illustration with creasing to upper corner, light rubbing to joints, minor bumping to spine ends and corners, a little darkened and with some light marking, still a very good copy overall, [Linder p.428; Quinby 17], small 4to, 1909. ⁂ Based upon the comings and goings of the village shop in Sawrey, Ginger & Pickles gave Beatrix Potter a chance to include many of her most loved characters. The dedicatee, Mr John Taylor, was the village blacksmith and had long desired to appear in one of Potter's works; Potter kindly obliged and he features here as Mr John the Dormouse. Sadly John Taylor did not live to see the published book.
Britain in India & Central Asia.- Burnes (Alexander) Travels into Bokhara; being the Account of a Journey from India to Cabool, Tartary, and Persia..., 3 vol., first edition, half-titles, engraved portrait and 7 engraved or lithographed plates, one double-page, light spotting and marginal staining to some plates, otherwise a good clean copy, contemporary calf, spines gilt with green and red roan labels, a little rubbed, 8vo, 1834. ⁂ Alexander Burnes was a Scottish explorer and important figure in the Great Game. Britain wanted control of Afghanistan to act as a buffer against the Russians to India. On the pretext of delivering a gift of horses from William IV to the Sikh ruler Maharajah Ranjit Singh Burnes travelled up the River Indus and beyond, over the Hindu Kush to Bokhara, surveying as he went and observing Russian presence in the area in preparation of a British advance into Central Asia. His book became a best-seller and led to his knighthood in 1838.
Britain in India & Central Asia.- Burnes (Lt.-Col. Sir Alexander) Cabool: being a Personal Narrative of a Journey to, and Residence in that City in the years 1836, 7, and 8, first edition, engraved portrait, 11 plates, most lithographed, 2 folding, 7 tinted, erratum leaf and 8pp. publisher's catalogue at end, some light foxing, original green cloth, rubbed and lightly damp-stained, recased, 8vo, 1842. ⁂ In 1836 Burnes was sent on a political mission to Dost Mohammed in Kabul and as a result advised the British to support Dost Mohammed's claim to the throne. The British instead reinstated the puppet ruler Shah Shuja which angered Dost Mohammed and caused him to turn to the Russians. Burnes returned to Kabul as political agent in 1839 and was murdered there by an Afghan mob in 1841, leading to the disastrous First Afghan War.
Britain in India & Central Asia.- Eyre (Lt. Vincent) Prison Sketches, comprising Portraits of the Cabul Prisoners, and other subjects, first edition, 23 finely hand-coloured tinted lithographed portraits and plates only (of 32), lithographed by Lowes Dickinson after Eyre and others, most c.170 x 110mm., one folding (c.105 x 360mm.), all mounted on card, most captioned in ink at foot of mount, some light soiling or staining to mounts, loose as issued in original cloth-backed board portfolio, gilt-stamped roan label to upper cover, rubbed and stained, with original printed 8vo wrappers loosely inserted (frayed at edges), [Not in Abbey], oblong 4to, [c.1843]. ⁂ Record of part of the debacle of the First Afghan War of 1839-42. Following the murder of Alexander Burnes in 1841 the British force was besieged in Kabul. They were eventually allowed to evacuate and began the retreat back towards India. On the way the Afghans demanded the surrender of the married officers and their families as hostages and they spent nine months in captivity in various forts, the experience being recorded by both Eyre and Lady Sale in diaries (see following lot & lot 395), before being rescued by General Sir George Pollock. The rest of the retreating column of 16,500 including women and children was destroyed in the mountains by the harsh winter and attacks from local tribesmen. Of the contingent only one British soldier, Dr. William Brydon, and a few sepoys managed to reach Jalalabad. The portfolio was issued separately but was intended to be bound up with either Eyre's or Lady's Sale's journal of the ordeal. It consists of mainly portraits of key figures in Afghan dress including the late Sir Alexander Burnes, Shah Shuja, Major Pottinger, Akbar Khan (son of Dost Mohammed, who had demanded the hostages) and Mrs. Eyre, in addition to three views of the caves and giant Buddha at Bamiyan (now destroyed). This deluxe version, hand-coloured and issued on card, varies as to the number of plates.
Potter (Beatrix) The Tale of the Flopsy Bunnies, first edition, first or second printing with notice board lettering on p.14, deluxe issue, colour frontispiece, plain title vignette and 26 colour plates, pictorial endpapers, surface abrasion to pp. 64 & 65 not affecting image, original maroon cloth with mounted colour illustration, lettering and decorations in gilt, very light rubbing to joints, minor rubbing and bumping to spine tips and corners, an excellent copy, [Linder p.426; not in Quinby], 16mo, 1909 [but 1910].
Britain in India & Central Asia.- Eyre (Lt. Vincent) Portraits of the Cabul Prisoners, lithographed throughout with title and 32 portraits and plates by Lowes Dickinson after Eyre and others, some on india paper and mounted, others tinted, one folding, with contemporary manuscript list of plates tipped in at beginning, some light foxing, folding plate torn and repaired, later half roan, worn, spine torn and chipped at head, [1843]; The Military Operations at Cabul, fifth edition, folding lithographed plan (slightly frayed at outer edge), 4pp. publisher's catalogue at end, original pictorial cloth, gilt, rubbed, 1843, 8vo (2)
Algeria.- Salamanca (Antonio, 1479-1562) Algeri, bird's-eye plan/view of the fortified town and harbour of Algiers, with ships and battle formations, and includes parts of Spain, Italy, the Levant, as well as the islands of Corsica and Sardinia, engraving, on laid paper with watermark of an indistinct device within a circle, a richly inked impression, circa 1541, 305 x 440 mm. (12 x 17 1/4 in), trimmed just within the platemark, with the loss of the upper and lower margins restored with later paper additions, light spotting and browning, minor surface dirt, unframed.
![Potter (Beatrix) The Tale of Peter Rabbit, first edition, first issue, [one of 250 copies], colour frontispiece and 41 full-p](https://cdn.globalauctionplatform.com/dfd0ae87-7b72-44bd-9d38-a72a00a83cab/45832e75-a141-4ed6-810a-087f93964eec/468x382.jpg)
Potter (Beatrix) The Tale of Peter Rabbit, first edition, first issue, [one of 250 copies], colour frontispiece and 41 full-page plain illustrations by the author, occasional very minor spotting, light foxing to endpapers, original printed boards with illustrations to upper cover and flat spine, spine darkened and a little creased, light chipping to spine ends, light toning to cover margins, upper cover with minor [?rabbit] nibbling to lower corner and with very small surface flaw, small ink stain to lover cover, still a very good copy, preserved in custom morocco box, [Linder 420 & cf. pp.94-96; Quinby 1], 16mo, [privately printed for the Author by Strangeways & Sons, December 1901]. ⁂ The first edition of one of the most important and enduring children's books of the 20th century, the present work launched the hugely successful Peter Rabbit series, as well as a wide range of popular associated merchandise. The Tale of Peter Rabbit was first conceived of in a picture letter sent to Noel Moore on 4 September 1893. In 1900, inspired in part by the success of Helen Bannerman's The Story of Little Black Sambo, Potter decided to develop the story into a small book with accompanying pictures. Potter had firm ideas on how the book should appear in print and in particular that it should be accompanied by plain line drawings as opposed to more expensive colour ones "because she thinks littler rabbits cannot afford to spend 6 shillings on one book, and would never buy it." Therefore when letters came back from publishers rejecting her work, with many asking for the addition of colour illustrations and alterations to the story, Potter was disinclined to follow their advice. She was however determined to press ahead with publication, at her own expense if needed, and so, in early September 1901, she withdrew her savings from the bank and paid a visit to Strangeways & Sons to commission the first 250 copies of her "bunny book".
Potter (Beatrix) The Tale of Mrs. Tittlemouse, first edition, first or second printing with date on title, colour frontispiece, plain title vignette and 26 colour plates, pictorial endpapers, original blue boards with mounted colour illustration, spine a little sunned, a fine copy otherwise, printed glacine dust-jacket, archival tape repair to spine and head and foot of panels, usual light toning to margins, [Linder p.429; Quinby 18], 16mo, 1910. ⁂ The Tale of Mrs. Tittlemouse is unique in the Peter Rabbit series in its extensive depiction of insect life, their lifelike depictions demonstrate Potter's close familiarity with insect anatomy from many of the microscope studies she made in the 1890s. Due to the increased demands of caring for her ageing parents as well as running Hill Top, Potter only published one book in 1910 and marked the start of the decline in her output for Warne.
China.- Anglo-Chinese School (probably circa 1800-1840) An album of 14 studies depicting silkworms and other moths, illustrating various stages in the life cycle of the silkworm, including the egg, larva, pupa and adult phases, many shown alongside exotic flora, watercolour, pen and ink, on thin Chinese laid paper, many heightened with white, neatly tipped at corners onto album leaves, each watercolour c. 360 x 310 mm. (14 1/4 x 12 1/4 in), some minor handling creases, small nicks and tears, light browning and surface dirt, bound in silk cloth limp boards, small label pasted on front cover with French text that reads: 'No.18/ Vers à Soie', [probably Guangzhou, circa 1800-1840] Literature: cf. Mark Jones et al., Souvenir from Canton: Chinese export paintings from the Victoria and Albert Museum, exh. cat., 2003, see pp. 270-273 The 14 exceptionally fine watercolours in the present album have all been executed on fine hand made Chinese paper, with the watercolours, and the album leaves that they are laid onto, showing the distinct 'brush marks' typically found in Chinese paper produced in the early half of the 19th century. As Peter Bower has noted in other similar papers of this period, they were usually 'made from bamboo fibre or less commonly rice straw. After pressing to remove water, the damp sheets were brushed onto a smooth drying surface with a coarse fibre brush (sometimes goats hair). This drying surface might [have been] wooden boards or a smooth wall. The brush invariably left brush marks in the surface of the soft paper'.[1] The V&A holds six (if not several more not catalogued nor illustrated) somewhat smaller examples of sheets that are closely related to the watercolours in the present album, four are in reverse with slight differences, and all are executed on a very similar Chinese paper. These related works appear to have been produced by the same studio, if not the same artist, both of whom would most likely have come from the artistic export centre of Guangzhou (traditionally romanised as Canton).[2] Like the Chinese artists that John Reeves employed to produce the watercolours that he collected in China between 1812-1831 (now held in the Lindley Library and the National History Museum), the artist who painted the 14 watercolours in this album was not a specialist scientist, or necessarily even instructed by a scientist. Yet, the way the moth specimens have been illustrated was unique to Europe. The Chinese artist commissioned would probably have received specific guidance to ensure that the pictures captured only the essential details of each specimen, nevertheless it is no surprise that some of the works are possibly handled with a degree of artistic license or scientific error. [1] Crispian Riley-Smith Fine Arts Ltd., available at: http://www.riley-smith.com/crispian/drawings/info.php?dwg=1037 [accessed 03/02/2017] [2] See V&A museum nos. D.1306-1889 through to D.1315-1889; also see Mark Jones et al, 2003 exhibition catalogue, op. cit. "... these pale, almost transparent creatures, which would presently give their lives for the fine thread they were spinning, she saw as her true loyal followers. To her they seemed the ideal subjects, diligent in service, ready to die, capable of multiplying vastly within a short span of time, and fixed on their one sole preordained aim, wholly unlike human beings, on whom there was basically no relying" (from the legend of Cixi (T'zu-hsi) in W.G. Sebald's, The Rings of Saturn, The Harvill Press, 1998, p. 151).
Anglo-Chinese School (circa 1850-1880) Four Imperial portraits, each sat upon a throne, and portrayed with an attendant, gouache on pith paper, three oval c. 320 x 210 mm. (12 1/2 x 8 1/4 in), one 315 x 205 mm. (12 1/4 x 8 1/8 in), under glass, several cracks and splits to sheets, light surface dirt and browning, (4)
Europe.- De La Mottraye (Aubrey) Travels Through Europe, Asia, and into Part of Africa ..., 2 vol. only (of 3), 4 engraved double-page maps and 44 engraved plates, some double-page or folding, large tear to fold of one plate, several repairs to plate folds and edges, occasional pencil annotations, light spotting, bookplate of John Nicholl, contemporary calf, rebacked with original spines laid down, gilt, corners a little worn, folio, 1723. ⁂ Several of the plates for this edition were engraved by William Hogarth.
Polar.- Lyon (Capt. George Francis) [A bound collection of proof plates fromrom William Edward Parry's 'Journal of a Second Voyage for the discovery of a North-West Passage'], 48 proof plates comprising 23 working proof impressions with duplicate lettered states of 25 of the plates, damp-staining mostly to margins, light surface soiling, upper hinge split, contemporary half calf with calf label to upper cover, upper joint splitting at head, rubbed and worn, oblong folio, [1824]; sold not subject to return. ⁂ Includes images of Inuit hunting and home life.
Polar.- Pitt (Moses), A Map of the North-Pole and the parts Adjoining, with vignette view of Inuit's spear fishing and a European whaling expedition, with inset map of Nova Zembla, engraved map with hand-colouring, on laid paper, 460 x 590 mm. (18 1/8 x 23 1/4 in), central vertical fold, light even browning, surface dirt, handling creases, 1680
Rome.- Nieulandt (Willem van, the younger) Variae Antiquitates Romanae, etched throughout with pictorial title and 25 plates, images c.100 x 155mm., light browning, mostly to margins,later half calf, red roan label to spine, rubbed, upper joint split, spine ends chipped, oblong 4to, [Amsterdam], C.I.Visscher, 1618.
Scotland.- Mackenzie (Murdoch) Orcades: or a Geographic and Hydrographic Survey of the Orkney and Lewis Islands..., first edition, list of subscribers, 8 double-page or folding engraved maps by Emanuel Bowen, the first with partial hand-colouring in yellow, some minor marking and light soiling, a few tears to edges repaired, modern half calf with gilt-stamped calf label on upper cover, large folio, for the Author, 1750. ⁂ Detailed hydrographic survey, the most accurate until that time, which resulted in Mackenzie's appointment as an Admiralty surveyor and his 2 volume Maritime Survey of Ireland and the West of Great Britain, published in 1776.
Potter (Beatrix) The Tale of Timmy Tiptoes, first edition, first or second printing with date to title, colour frontispiece, plain title vignette and 26 colour plates, pictorial endpapers, ink inscription to front endpaper dated Christmas 1911, original dark green boards with mounted colour illustration, minor bumping to spine ends and corners, light rubbing, otherwise near-fine overall, later issue printed glacine dust-jacket, one inch portion of loss to foot of spine, usual light toning, still very good overall, preserved in custom morocco-backed, drop-back box, [Linder p.429; Quinby 20], 16mo, 1911. ⁂ The later tale was seemingly written with the American market in mind, featuring as it does only creatures native to North America. Potter likely relied largely on stuffed models or sketches taken from visits to the zoo. This jacket was likely issued in or around 1916 as the front flap mentions the new publication of A Fierce Bad Rabbit and The Story of Miss Moppet in book form.
World.- Hall (Sidney) A New General Atlas..., 53 hand-coloured double-page engraved maps mounted on stubs, with Addenda/Erratum slip to Index, title browned and frayed at upper edge, maps with occasional light foxing but generally clean, creasing to Index leaves at end especially final leaf, contemporary half calf, worn, lacking upper cover, lower cover & spine detached, Longman, Brown, Green, and Longmans, [?1849] § Black's General Atlas, 61 engraved maps by Hall, Hughes & others, all but 2 hand-coloured, 15 double-page (7 with 2 maps joined together and mounted on stubs), some browing or soiling, water-staining to lower outer corner but not affecting maps, contemporary half morocco, a little worn and stained, Edinburgh, A. & C.Black, 1851, folio; sold not subject to return (2) ⁂ The first is with the map of Australia showing only Western Australia, New South Wales, Australia Felix, and South Australia; Van Diemen's Land divided into 19 Police districts (counties); the United States with "Northwest Territory", "Indian Territory", New Mexico and Texas at the western edge; British North America with "Upper California", Oregon and Alaska as "Russian Territory".
Alberti (Leon Battista) The Architecture of..., 4 vol. in 1, initial approbation leaf, engraved frontispiece, titles and parallel text in English and Italian, list of subscribers, 101 engraved plates, some folding and/or double-page, occasional spotting and light browning, contemporary calf, rebacked, rubbed, corners worn, bookplates of Henry Duke of Kent (1713) and Thomas Philip, Earl de Grey of Wrest Park (great-great-grandson of the former), later ownership signatures of William Wade Cordingley and Charles Buchanan to front pastedown, [Fowler 11; Harris 12; Berlin Kat. 2554], folio, by Thomas Edlin, 1726. ⁂ Subscribers to the edition included a large number of masons, plasterers, builders and carpenters as well as Nicholas Hawkesmore [sic], Sir John Vanbrugh, Sir Christopher Wren (although deceased when the work was finally issued), Leoni's patron Thomas Scawen and Lord Burlington who both ordered two copies including one, each, on large paper.Please note: This should read 3 vol. and supplement bound in 1 vol., not 4 vol. in 1
Baron Cuvier.- MacGillivray (William) The Edinburgh Journal of Natural History, [issued with The Animal Kingdom of the Baron Cuvier], 7 vol., 130 hand-coloured engraved plates, one with a small tear, occasional light spotting, cracked hinge to vol. A., broken hinges to vol. F., original cloth-backed drab printed boards, rubbed and bumped, worn spines, folio, 1835-40. ⁂ Rare in original 7 parts.
Potter (Beatrix) The Tale of Timmy Tiptoes, first edition, first or second printing, deluxe issue, colour frontispiece, plain title vignette and 26 colour colour plates, pictorial endpapers, bookplate to pastedown, original red cloth with mounted colour illustration, decorations and lettering in gilt, spine slightly darkened, light rubbing to spine tips and corners, a bright and excellent copy, g.e., [Linder p.429; not in Quinby], 16mo, 1911.
Potter (Beatrix) The Tale of Mr. Tod, first edition, first or second printing with date on title, colour frontispiece and 14 colour plates, plain title vignette and illustrations in text, ink gift inscription dated Xmas 1912 and blind-stamp to front free endpaper, spotting to endpapers, original grey boards with mounted colour illustration, light discolouration to spine and lower cover, still an excellent copy, [Linder p.429; Quinby 21], 16mo, 1912. ⁂ The first title in the short-lived "New Series" of books suggested by Warne. This series was marked by pen and ink drawings in the text and by the thicker, more elaborate bindings. Potter objected to the change and the series reverted to the earlier format after Pigling Bland.
Byron, 4th Baron Byron, (William, 1669-1736) Tree struck by lightning, watercolour over graphite, inscribed and dated '1718' lower left, on laid paper with partial watermark of fleur-de-lis, sheet inset onto early, possibly contemporary, paper mount with gold heightening, 200 x 265 mm. (7 7/8 x 10 1/2 in), light spotting and minor browning Provenance: Prue Heathcote-Williams (label on reverse); Gifted to Sir John Clement Witt by his wife (inscription on reverse of frame with collector's stamp [L.2228b]); Thence by descent ⁂ A very similar drawing by the artist William Byron is held in the Yale Center for British Art, Paul Mellon Collection, and is on a matching mount to the present work (see acc. no.: B2001.2.697). The artwork of William Byron rarely appears on the market and there is little known about the artist; yet another watercolour by Byron is held in the British Museum (see acc. no.: 1881,0611.134), and an enlightening description of Byron can be found in Kim Sloan's 'A Noble Art: Amateur Artists and Drawing Masters c.1600-1800', 2000, no. 55.
Seymour (James, 1702-1752) A postilion on horseback carrying a coiled post horn, pen and brown ink, on laid paper with watermark of [?]royal coat of arms, numbered '109' in pencil verso, 175 x 230 mm. (6 3/4 x 9 in), the corners trimmed, light spotting and minor browning, exposure lines visible under mount, horizontal and vertical folds Provenance: Possibly Warwick Castle (as part of an album of 197 drawings), with Spink's, London (who dispersed the album); Anonymous sale; Sir John Clement Witt [L.2228b]; Thence by descent Exhibited: Possibly, Spink's, London, An Exhibition of Drawings by James Seymour, November 1936, unknown number ⁂ For a comparative work, probably from the same album, see: Sotheby's, 'Galleria Portatile'- The Ralph Holland Collection', 5th July 2013, lot 375. Saleroom notice: We are grateful to Richard Wills for kindly confirming that the present drawing will be included in his catalogue raisonné on Seymour; he has also suggested that the drawing may be a possible study for a painting of a huntsman, circa 1740 (Private collection, UK), and that the drawing was exhibited in the William Drummond Exhibition in Covent Garden "The Ingenious Mr Seymour", June 8th - July 22nd, 1978, no. 19, as on loan from a Private Collection.
Gilpin (Sawrey, 1733-1807) Two swans, one sitting upon eggs, in a river landscape, pen and brown ink, point of the brush and brown ink, watercolour, ruled black chalk border, numbered '309' lower right corner, on paper with watermark of the letters 'GR' surmounted by a crown, 195 x 320 mm. (7 3/4 x 12 1/2 in), under glass, corners with folding marks, light spotting and browning, [circa 1790] Provenance: Sir John Clement Witt [L.2228b]; Thence by descent Literature: Brownell, Morris R., William Gilpin's 'Unfinished Business': The Thames Tour (1764), The Walpole Society, 1993/94, vol. LVII, p. 78, note 61, illus. no. 45 ⁂ The Yale Center for British Art, Paul Mellon Collection, hold two watercolours by Gilpin that appear to have a similar numbering system to the present work, presumably from an album or collection of works intended to have been engraved (see: acc. nos. B1975.4.1208 and B1975.4.1210). Morris Brownell's article in The Walpole Society journal, op. cit., where the present work is illustrated, suggests that it depicts a 'nesting female on an osier isle protected by her threatening mate', and relates the scene to a humorous anecdote on swan behaviour from William Gilpin's 1764 Thames Tour.
Ward (James, 1769-1859) Study of swan landing from flight, graphite on cream wove paper, signed with initials in ligature lower right, 155 x 185 mm. (6 1/8 x 7 1/4 in), under glass, tipped onto paper support, minor surface dirt and light browning Provenance: Sir John Clement Witt [L.2228b]; Thence by descent
Burgess (Henry William, c. 1792-1844), Two sketchbooks with Romantic landscapes and tree studies, containing 21 leaves with graphite studies, 14 in the first sketchbook, 7 in the latter, two drawings signed and dated, each leaf c. 265 x 375 mm. (10 1/2 x 14 3/4 in), light spotting and surface dirt, with some browning, in original wrappers, with manuscript pen and ink numbering 'No. 1', and 'No. 4', on the upper covers, respectively, oblong 4to, worn, [circa 1822-1830], (2). ⁂ The present two sketchbooks illustrate Burgess's vigorous graphic style, with some similarity to the more loosely executed watercolours of William Payne, but also show the influence of both Constable and Gainsborough.
Potter (Beatrix) The Tale of Pigling Bland, first edition, first or second printing with date on title, colour frontispiece and 14 colour plates, plain title vignette and illustrations in text, pictorial endpapers, very occasional spots to text, original green boards with mounted colour illustration, some light rubbing and small mark to lower cover, otherwise a fine copy, first issue printed glacine dust-jacket loosely inserted, sadly broken and lacking upper panel, [Linder p.429; Quinby 22], 16mo, 1913. ⁂ A scarce work in the dust-jacket in any condition. The last work published by Beatrix Potter before her marriage to William Heelis and her move to Castle Cottage. The onset of the war coupled with Potter's illness and failing eyesight meant that she would not publish another work until 1917.
Blake (William, 1757-1827) "With Dreams upon my bed thou scarest me & affrightest me with Visions", plate 11 from Illustrations of the Book of Job, engraving on cream wove paper, without watermark, an excellent impression with wide margins, inscribed 'Proof' lower right, plate mark 215 x 170 mm. (8 1/2 x 6 3/4 in), sheet 380 x 260 mm. (15 x 10 1/4 in), some surface dirt and light spotting, various pencil inscriptions by a later hand, small repaired tear in lower margin, unframed, published by the artist for John Linnell, circa 1825 Literature: Bindman, David, The Complete Graphic Works of William Blake, 1978, no. 636
Blake (William, 1757-1827) "Then the Lord answered Job out of the Whirlwind", plate 13 from Illustrations of the Book of Job, engraving on cream wove paper, without watermark, an excellent impression with wide margins, inscribed 'Proof' lower right, plate mark 215 x 170 mm. (8 1/2 x 6 3/4 in), sheet 375 x 260 mm. (14 3/4 x 10 1/4 in), some surface dirt and light spotting, various pencil inscriptions by a later hand, pin hole in lower right corner, unframed, published by the artist for John Linnell, circa 1825 Literature: Bindman, David, The Complete Graphic Works of William Blake, 1978, no. 638
Richmond (William Blake, 1842-1921) The Arcadian Shepherd, 1858, pen and brown ink, on wove paper without watermark, signed with monogram on tree trunk and dated '1858', 145 x 185 mm. (5 3/4 x 7 1/4 in), several inscribed attributions and inscriptions verso, light spotting and surface dirt, unframed Provenance: The artist's family and thence by descent; With Abbot & Holder, London (circa 1990) Literature: cf. Mrs A. M. W. Stirling, The Richmond Papers, London, 1926, pp. 99-100 Simon Reynolds, Sir William Blake Richmond: an artist's life, 1842-1921, 1995, p. 14, see note 15, p. 364 ⁂ The young William Blake Richmond executed the present drawing aged only 15, and would have done so while enrolled in the Royal Academy Schools, London, where he studied for three years. As a drawing from 1858 the nature of the work at first appears as an anachronism, but in reality the drawing serves to illustrate the "poetic" spell that the artist was under after having grown up with the early work of his father, and his father's contemporaries. For a loosely associated work by George Richmond, albeit in a reproductive medium, see the line engraving 'The Shepherd' (see Tate, ref.: N04064); similarly see the wood-engravings by Edward Calvert, the artist arguably closest to Blake Richmond's aesthetic in this drawing, and the Virgil woodcuts by William Blake. "If there be the least value in my pictures, it is due to such lovely early impressions derived from the sweet poetic work of many of [my father's] contemporaries - Calvert, Blake and others, whose shadows are substance still to me." [Sir William Blake Richmond, letter to his father, 50 years after the death of William Blake, from Stirling, op. cit., p. 28]
Rowlandson (Thomas, 1756-1827) The Riding School, point of the brush with brownish-black ink, watercolour, traces of graphite, on wove paper, with partial watermark dated '[??]96', 140 x 210 mm. (5 1/2 x 8 1/4 in), under glass, light surface dirt, inset into mount, [circa 1796] Provenance: Ex-[?]Salthorp collection (inscribed on mount) Sir John Clement Witt [L.2228b]; Thence by descent ⁂ The bold, heavily inked lines drawn by Rowlandson in the present watercolour show an expressive and almost exploratory flourish, which is somewhat uncharacteristic when compared with the refined works produced and often duplicated by Rowlandson circa 1810 to 1827 (for instance see works related to "Rowlandson's Sketches on Comparative Anatomy", British Museum, acc. no. 1885,1212.182-244). Similar drawings from this period, circa 1795-1800, can be found, such as the watercolour 'The horse dealer' (see Christie's British Art on Paper, 18th November 2004, lot 10), and 'Old Billingsgate on market day' (see British Musuem acc. no. 1880,1113.3390).
Attributed to Thomas Rowlandson (1756-1827) Two Frenchmen conversing, pen and dark grey ink, with grey wash, on wove paper, with partial watermark of J. Whatman, 110 x 850 mm. (4 1/4 x 3 1/4 in), under glass, light surface dirt and minor browning, inscribed 'Thomas Rowlandson' verso, and by another hand on the mount Provenance: Sir John Clement Witt [L.2228b]; Thence by descent ⁂ Unusual in its particularly fine application of ink and delicate pen strokes (as opposed to point of the brush), which alongside the lack of distinct Rowlandson-like physiognomy, means the present work has few comparisons within the artist's oeuvre. The handling of line does show some similarities with Rowlandson's early series of 'Outlines of Figures and Landscapes', circa 1790, but there appears to be little else one can compare it to.
Gillray (James) -"More pigs than teats", -or- the new litter of hungry grunters, sucking John-Bulls-old-sow to death, showing John Bull, depcited as a yokel, overlooking an old exhausted sow feeding thirty-two piglets with human heads, etching printed in brownish-black ink with hand-colouring, on wove paper with watermark 'Rose & Turner/ 1806', sheet 280 x 405 mm. (11 x 16 in), repaired tear upper left, with upper edge tipped onto paper support with some cockling, minor surface dirt and light browning, unframed, [BM Satires 10540], published by Hannah Humphrey, 1806
Follower of George Chinnery (1774-1852) Fisherwoman with two young boys playing beside a Chinese junk, ships and mountains in the distance, point of the brush, watercolour, over traces of graphite, on cream laid paper, inscribed attributions to Chinnery verso, 195 x 300 mm. (7 3/4 x 11 3/4 in), some light browning to sheet, with residual adhesive from previous mount to each corner visible verso, laid onto paper support at edges, unframed Provenance: Sir John Clement Witt [L.2228b]; Thence by descent ⁂ While the composition, and at the first glance the general nature of the work, suggests Chinnery to be the draughtsman, the handling of line and execution of the figures would suggest that it is by the hand of another.
Potter (Beatrix) Appley Dapply's Nursery Rhymes, first edition, first or second printing with correct endpapers, colour frontispiece, plain title vignette and 14 colour plates, pictorial endpapers, small ink name to front free endpaper, original green boards with mounted colour illustration, minor bumping to spine ends and corners, some light rubbing to joints, but a near-fine copy overall, [Linder 430; Quinby 23], 16mo, 1917. ⁂ Potter had originally conceived of the idea behind Appley Dapply shortly after the publication of Peter Rabbit. Frederick Warne & Co. however were more keen on pursuing her original prose works and the project fell away. In 1917 the publishers were beset by a major scandal and faced closure when Harold Warne was convicted of forgery. The firm turned to Potter, as the firm's most commercially successful writer, to ask her to assist. Potter however was deeply involved in the creation of Johnny Town-Mouse and was unable to create another fresh work at short notice and suggested therefore that the firm revisit Appley Dapply. A number of unused illustrations were used; the fact that their creation spanned a range of years and styles for the author largely contributes to the rather uneven nature of the work.
Potter (Beatrix) The Tale of Johnny Town-Mouse, first edition, first printing, first state with "Londo" in the title-page imprint, colour frontispiece, plain title vignette and 26 colour plates, pictorial endpapers, original green boards with mounted colour illustration, very slight shelf-lean, spine browned, some light rubbing and marking, still an excellent copy overall, [Quinby 25; Linder p.430], 16mo, [1918]. ⁂ By 1918 Beatrix Potter's eyesight was failing and Johnny Town-Mouse therefore became the last book for which she drew up an entirely new set of illustrations. The character of Johnny Town-Mouse was based on a Dr. Parsons, a friend of her husband's.
Potter (Beatrix) Peter Rabbit's Almanac for 1929, first edition, colour frontispiece, colour title vignette and 12 colour plates, plain illustrations and decorations, pictorial endpapers, publisher's printed promotional leaflet loosely inserted, original tan boards with mounted colour illustration, spine a little darkened, some light rubbing and spotting, but an excellent copy overall, [Linder pp.254-255; Quinby 28], 16mo, 1929. ⁂ Originally planned as part of a series, however Potter was unhappy with the finished article, making this the sole almanac produced. It is nevertheless a charming production.
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Potter (Beatrix) The Tale of Peter Rabbit, first edition, second printing, [one of 200 copies], colour frontispiece and 41 full-page plain illustrations by the author, light spotting to title, occasional very light scattered spotting or finger-soiling, light foxing to endpapers, original brown-green printed boards with illustration to upper cover and rounded spine, spine browned and with light creasing, covers with marginal toning, some light rubbing and marking, but an excellent copy overall, [Linder 420 & cf. p.96; Quinby 1a], 16mo, [privately printed for the Author by Strangeways & Sons], Febraury, 1902. ⁂ The first printing of The Tale of Peter Rabbit was priced at 1 shilling and sold out quickly (including a copy to Arthur Conan Doyle), leading Potter to order another 200 copies from the printers. This printing had a few minor changes to the text and a rounded spine to increase the durability of the binding.
Potter (Beatrix) The Fairy Caravan, first edition, one of 100 copies, colour frontispiece and 5 plates, numerous plain vignettes and full-page illustrations by the author, some minor spotting, light browning to endpapers, original cloth-backed boards, spine ends and corners bumped, light marking and finger-soiling to covers, light rubbing to extremities, [Linder pp.292-305 & 431; Quinby 29], 4to, [Philadelphia, David McKay, and Ambleside, George Middleton], 1929. ⁂ After the completion of the Peter Rabbit series, Beatrix Potter was content to write largely for her own and her friends' amusements. The American publisher McKay however persuaded her to write another work for the American market. Although intended only for publication in America, the vagaries of copyright law at the time required that Potter simultaneously publish an edition in England or relinquish rights there. To that end 100 unbound sheets were sent over from the US and then bound with 18 reset pages for the UK edition in which the author was credited as Beatrix Heelis and a plate depicting drawings of dogs was included.
Potter (Beatrix) Wag-By-Wall, number 2 of 100 copies, autograph note from Leslie Linder loosely inserted, original cloth, dust-jacket, some light surface soiling, a near-fine copy otherwise, [Linder 432], 16mo, 1944. ⁂ Wag-By-Wall was originally written as an addendum to the Tailor of Gloucester before being rewritten for, but never included in, The Fairy Caravan. It was finally published in the Horn Book Magazine, although sadly five months after Beatrix Potter had died. In the note, Linder remarks that "I have copy No.1 it was an advance copy with hand-made dust jacket - sent to Beatrix Potter"
Potter (Beatrix).- Barrie (J.M.) A Window in Thrums, third edition, Beatrix Potter's copy with her ink ownership inscription "Beatrix Potter, Hill Top Farm, Sawrey" to front free endpaper, patch of staining, mostly to margins, occasional marginal spotting, 2 pencil sketches in another hand loosely inserted, original cloth, light rubbing to tips of spine and corners, else fine, 8vo, 1889. ⁂ Whilst Beatrix Potter and J.M.Barrie do not appear to have known each other personally, they almost certainly would have known of each other's works. Potter moved to Hill Top Farm in 1905, the year after the first performance of Barrie's wildly successful Peter Pan and it seems possible that she would have shown an interest in the works of another author who wrote of pastoral idylls for children.
Potter (Beatrix).- Maitland (Ella Fuller) and Sir Frederick Pollock, The Etchingham Letters, first edition, Beatrix Potter's copy with her ink ownership inscription "Beatrix Potter, Hill Top Farm, Sawrey" to front free endpaper, light foxing to endpapers, autograph letter in another hand loosely inserted, original cloth, slight shelf-lean, light fading to spine, rubbing to extremities, very good otherwise, 8vo, 1899. ⁂ The Etchingham Letters is an epistolary novel written by the poet Ella Fuller Maitland and the English jurist and law historian Sir Frederick Pollock.
Potter (Beatrix) A pencil drawing of a Victorian street scene, graphite on faintly lined paper, signed "Helen Beatrix Potter" at foot, tissue-guard, very light toning to margins and one or two faint spots, 234 x 190mm., [c.1900]. ⁂ Accompanying the lot is a signed declaration by Anne S. Hobbs stating that in her opinion "this drawing is by Beatrix Potter and that the signature is authentic. The subject is very likely to have been copied from a drawing manual." An interesting early scene by Beatrix Potter that bears an interesting resemblance to a plate used in the privately printed edition of The Tailor of Gloucester (the illustration of Simkin sitting in the snow). Provenance: The Greenfield Beale Collection, Dominic Winter Book Auctions, 15th November, 2000, lot 170.
Crane (Walter, 1845-1915) "Lost & Broken", probably an unrealised design intended for the Sixpenny Toy Book Series, pen and black and brown ink, watercolour, traces of graphite, heightened with white, signed with monogram upper right, inscribed in pencil upper left, on wove paper, 205 x 160 mm. (8 1/8 x 6 1/4 in), some loss to margins, minor surface dirt and light browning, unframed, [circa 1865-1875].
Dodgson (Charles Lutwidge), "Lewis Carroll". - Tenniel (Sir John, 1820-1914) Forty-two proof impressions for Lewis Carroll's 'Alice's Adventures in Wonderland', copper electrotype engraved proofs, with additional lettering, on three sheets of fine wove paper, each sheet c. 430 x 575 mm. (16 7/8 x 22 3/4 in), minor nicks and tears, very light spotting and surface dirt, unframed, [circa 1866, but from a later edition], (3) ⁂ A suite of proofs, where the engraver laid fine paper on a carefully inked block, and rubbed the back with a steel burnisher.
Dodgson (Charles Lutwidge) The Hunting of the Snark, first edition, 9 illustrations by Henry Holiday, 1p. advertisements, light offsetting, book labels to pastedown, original light tan pictorial cloth, near-fine, original printed dust-jacket, spine ends and corners a little chipped, light toning to panels but a remarkably sharp and excellent example overall, g.e., preserved in custom folding chemise and morocco-backed slip-case, 8vo, 1876. ⁂ A superb example in the excessively rare dust-jacket, we know of only a handful of copies, this dust-jacket may also have been the first to carry advertisements and review blurbs, a practice continued until the present day.
Playing Cards.- A set of 78 numbered playing cards, wood engraved and hand-coloured, each 90x58mm., housed in original hinged box, with pictorial onlay and gilt decorations, light wear to extremities, surface soiling to box lid, [c.1850]. ⁂ The cards depict tradesmen, soldiers, animals and a number of generic symbols and icons.
Robinson (William Heath) Bill the Minder, number 133 of 380 deluxe copies signed by the author, 16 tipped-in colour plates by the author, numerous black and white decorations and illustrations, contemporary ink gift inscription to front free endpaper, endpapers browned, original pictorial vellum, gilt, new ties, some light rubbing and surface soiling, but a remarkably clean and bright copy overall, 4to, 1912.
Potter (Beatrix) The Tale of Peter Rabbit, first edition, fourth printing with "shed big tears" on p.51, deluxe issue in rare trial binding, colour frontispiece, plain title vignette and 31 colour plates, some pulling, occasional very light marking to margins, cream glazed endpapers, original black morocco, lettered in gilt, upper joint split at foot, lower joint split at head, light wear to spine ends, light rubbing to extremities, still a good copy, g.e., [not in Linder or Quinby], 16mo, [c.1903]. ⁂ A scarce variant trial binding, likely one of only a handful of copies. In 1902 Warne brought out a deluxe edition of Peter Rabbit in green or yellow cloth. The sales were poor however and the decision was made to alter the binding in order to boost interest. Judging by the coincidence of date for this and the copy of The Tailor of Gloucester (see lot 12), it appears that these were trials that were rejected in favour of the art fabric and then moiré cloth editions. The lettering on both titles is different to that appearing on the trade editions and seems to have been another rejected experiment. There is an additional colour plate printed before the frontispiece which replicates the design that appears on the upper cover of the first trade edition (the plate is also repeated later on in the volume). Please note: this lot has been sympathetically rebacked.
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