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283287 Los(e)/Seite
Los 421
Victorian/Edwardian grouping to Admiral Arthur Archibald Campbell Galloway RN (1855-1918), the grouping consists of the Admirals Midshipman’s Coatee worn around 1870, and a large quantity of papers, both official and personal, held in two tin trunks bearing his initials, Admiral Galloway was born on 30th June 1855, the son of Arthur Galloway of the Indian Civil Service who was Magistrate of Delhi and was killed on 11th May 1857 during the Indian Mutiny, he was the grandson of Major General Sir Archibald Galloway KCB (whose uniform and ephemera are also in this auction) and the Grandnephew of Sir Colin Campbell, who fought with the Duke of Wellington in the Peninsular and Waterloo, and Vice Admiral Sir Patrick Campbell a distinguished naval officer during the Napoleonic Wars, Arthur Galloway joined the Royal Navy in 1869 aged 14 as Naval Cadet at HMS Britannia the training ship at Dartmouth, in 1874 he was awarded the Royal Humane Society’s Bronze Medal for jumping overboard to save the life of a drowning stoker, in 1877 he was promoted Lieutenant and was Gunnery Lieutenant on HMS Invincible in 1882 during the Egyptian Campaign/bombardment of Alexandria, in 1885 he was again commended for his actions in jumping overboard to save a man who had fallen from aloft, in 1887 he was promoted First & Gunnery Lieutenant on HMS Cordelia and in 1890-91 on HMS Lapwing carried out operations in relation to the loss of HMS Serpent off the coast of Spain, with the rank of Commander as Captain of HMS Daphne 1896-98 on the China Station he carried out diplomatic missions in China, Kamchatka and the Philippine Islands during the rebellion of 1897, in 1901-02 he was Captain commanding HMS Tribune and carried out diplomatic work in Venezuela ( Ban Righ incident) and Columbia where he was involved in saving the city of Colon from destruction by arranging negotiations between the opposing forces during the Thousand Days War (Columbian Civil War), in Jamaica assisted in stopping rioting in April 1901, 1903-1906 Captain of HMS Revenge and HMS Swiftsure in Channel Fleet, 1906 he was appointed Aide de Camp to King Edward VII, he was Officer in Command of Sheerness Gunnery School July-Dec. 1906 and Commodore in Command of the Royal Naval Barracks Portsmouth where he had to deal with the aftermath of a mutiny by Stokers under training, in December 1907 Galloway was promoted to the rank of Rear Admiral and then to Vice Admiral in March 1913, in June of the same year he was placed on the Retired List at his own request and was advanced to the rank of Admiral on the same list in June 1916, in all, Arthur Galloway served on 29 ships, he passed away on the 12th February 1918,The Midshipman’s Coatee is in blue cloth, shortened to the front with tails to the rear, black silk frogging in horizontal lines to the front with gilt Queen Victoria Crown Royal Naval officers buttons to the front, rear and cuffs, the traditional badge of rank of a white patch of cloth with a gold button and a twist of white cord is on each side of the coat collar, the coatee is lined with white silk, it has suffered from mothing over the years but is still a scarce item.The tin trunks contain a remarkable archive of information for anyone with an interest in the Royal Navy of the Victorian and Edwardian era and includes the following,Galloway’s Royal Naval Officers CommissionsA large quantity of letters, many from well known figures of the day including Admiral Sir ‘Jackie’ Fisher, Robert Baden Powell, and Dame ‘Aggie’ Weston Many signed letters from Admirals of the period including Neville, Farquar, Boothby, Stokes, Custance, Holland, and othersOfficial Letters and Memos Service Records, including names of ships and time period served,Collection of Commanding Officers ReportsCertificate of Nomination as a Naval Cadet from Admiralty, dated 18/12/1868Progress Reports on Cadet Galloway Exam papersLetters of Appointment to various ships throughout his career from Midshipman to Captain There are more detailed collections of papers for various incidents and missions that occurred throughout Galloway’s career, these include:-Collection of papers re mission to repatriate the crew of a United States Schooner ‘Golden Fleece’ Documentation re the Philippines Revolution 1897Documentation regarding ‘Ban Righ’ incident in Venezuela 1901 Documentation relating to the Columbian Civil War in 1901 Papers regarding a riot/mutiny by stokers under training at the Royal Naval Barracks Portsmouth in 1906 Confidential memo regarding ‘ operations against submarine boats, March 1904’Folder entitled ‘Tactical Exercises Sailing Orders marked ‘Secret’ for Strategic Exercises , August 1904Temporary Memorandum No.13 Combined Fleet Exercises dated 5/8/1904Temp. Memo No.3 Combined Fleet Exercises 1904-Battle ExercisesTemp Orders for Peace Manoeuvres 1904Folder entitled ‘Naval Manoeuvres 1910’ Naval Signal sheets form 1320c copies of messages from HMS Bachante to HMS King AlfredHMS Swiftsure Gunlayers test October 1905, Shifting TargetsTimes for Gunnery Drills, Gunnery School SheernessGunnery memos folder, Group B Naval Manoeuvres 1910 including Booklet entitled ‘The Fighting Power of the Capital Ship’ by Admiral Sir Reginald Custance 1910, marked ‘Private and Confidential’Proposed programme for Towing Trials/Coaling at Sea, HMS Swiftsure and MFA Torridge, April 1906Orders for ‘Wireless Experiment’, HMS Swiftsure dated 12/01/1906Sailing Orders for HMS Swiftsure dated 11/01/1906Sailing Orders for HMS Juno dated 11/01/1906Sailing Orders for HMS Albermarle dated 24/04/1906Sailing Orders for HMS Revenge dated 03/11/1904Programme for joint Exercise by Navy and Army on ‘Submarine Mining Operations-Portsmouth Friday 22nd August 1879’Exercise Programme for ‘Naval Attack on Coast Defence for 22nd August’Report on giving up Command of 3rd and 4th Divisions of the Home Fleet, dated 04/01/1911Essay entitled ‘Remarks on Modern Naval Tactics, dated 17/12/1910There are also many official letters from the Admiralty, foreign Consuls, and other organisations including one from the German Charge d’ Affairs re money raised by the crew of HMS Daphne for the families of sailors drowned when the Imperial German Gunboat Iltis was lost in a Typhoon in 1896A portrait photograph of Arthur Galloway with the rank of Captain in dress uniform on the bridge of HMS Revenge, dated 12th June 1904. For full description please follow link https://www.bishopandmillerauctions.co.uk/lot/militaryapril2021/421
Los 6
Early 20th century grouping to a highly respected figure in the Nursing profession Miss Ruth Eveline Darbyshire,medal group includes the C.B.E. (Commander of the British Empire) on Ladies bow mount held in fitted case by Garrard & Co London, unnamed as issued, Royal Red Cross 1st Class , bow mounted, unnamed as issued, Order of the Hospital of St John of Jerusalem Badge of a Lady of Grace, bow mounted,1935 Silver Jubilee Medal, Territorial Force Nursing Service Tippet Medal, Nightingale Badge (Nightingale Training School, St Thomas’ Hospital ) named to the reverse 'Ruth E. Darbyshire' and dated 1904, miniature medal bar consisting of the Royal Red Cross 1st Class, Kaisar i Hind Medal 1st Class in Gold, Order of the Hospital of St John, and 1935 Silver Jubilee Medal, mounted as worn, together with 1935 Jubilee medallion, leather nurses belt with silver plated buckles, and portrait photograph/postcard of Ruth Darbyshire, born in 1878 in England Miss Darbyshire moved to Australia with her family, she began training as a nurse in Adelaide and returning to England around the beginning of the Boer War continued at St Thomas' Hospital in London , during her long nursing career Miss Darbyshire was Matron of the Derbyshire Royal Infirmary Derby, Matron of St Mary's Hospital Paddington, Matron of the 2nd London General Hospital Territorial Army Nursing Service, member of The Army Nursing Board, and in 1917 was sent out to India to become Chief Lady Superintendent of Lady Minto's Indian Nursing Association, she was Matron of University College Hospital London, and Matron in Chief of the British Red Cross Society from 1940 to 1943 in London, she was also a founder member of the College of Nursing, she was awarded the Royal Red Cross 1st Class in 1916 by King George V and the Kaisar i Hind Medal in Gold for her First World War services,she was also appointed Lady of Grace of the Order of the Hospital of St John and in January 1942 was awarded the C.B.E. in the New Years Honours List for services to nursing, Miss Darbyshire retired in 1935 due to ill health and passed away on 7th March 1946 at Bromley, Kent, a wonderful grouping to a remarkable Lady
![[ Robert Burns ] "The Burns Centenary: being an account of the proceedings and speeches at the various banquets and meetings](https://cdn.globalauctionplatform.com/44f824f4-0251-44d5-8089-ad1000ec8c6d/0f3af498-0cc4-4589-89ed-ad1300d9d80a/468x382.jpg)
Los 839
Three 19th Century jugs, including a pressed milk-glass commemorative jug depicting a portrait of Prime Minister Benjamin Disraeli, 1st Earl of Beaconsfield, a transfer-printed and hand tinted milk jug, and a silver lustre jug, (milk jug has fine hairline cracks, silver lustre jug has crack to glaze in rim and foot)
Los 151
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, CIRCA 1934 bronze, unique example with chasing, on original rosewood base(overall 67.4cm high (26.5in high) including base, 36.5cm wide (14.3in wide), the bronze 61cm high (24in high))Footnote: Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, London, 1974, p.154, no.109 (illustrated with the base and dated 1934); Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.68. We would like to thank Ben Whitworth for his assitance in cataloguing the current work. Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly.2 Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Los 152
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, 1938 signed, dated, titled and numbered 'IV', from an edition of four, terracotta, on original wooden base(overall 62cm high (24.3in high) including base, 33cm wide (13in wide))Footnote: Provenance: J. P. Lehmans Gallery, London; Obelisk Gallery, London, 1972. Literature: Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.67 and p.78, figure 54 (another cast). Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly. Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Los 158
§ EDWARD WOLFE R.A. (SOUTH AFRICAN/BRITISH 1897-1982) PORTRAIT OF PAT NELSON, 1930S signed (lower left), oil on canvas(94cm x 73cm (37in x 28.75in))Footnote: Exhibited: Tate Britain, Spaces of Black Modernism 1919-1939, 2014-15; Tate Britain, Queer British Art 1861-1967, 2017. Literature: Russell-Taylor, John, Edward Wolfe, Trefoil Books, London, 1986, p.199, no.180 (illustrated). The Guardian also used this painting to illustrate Peter Tatchell's famous article 'Fifty years of gay liberation' on 23 May 2017. 'Edward Wolfe's portrait of Pat Nelson...explores the experiences of people from diverse ethnic backgrounds in London's art world between the wars. Nelson came to Britain in 1937 to work as a valet in Wales. In about 1938 he was studying law in London as well as working as an artist's model for Wolfe and Duncan Grant. He became Duncan Grant's lover in the late 1930s. Following the outbreak of the Second World War he enlisted with the Pioneer Corps, was posted to France with the British Expeditionary Force and was injured and captured near Dunkirk. He was held in various prison camps, including Stalag 344, until his release in late 1944. On his return he resumed his friendship with Duncan Grant, and they would write to each other over the next 25 years until Nelson's death in 1963'. (A Model's Life, Spaces of Black Modernism, Tate Britain) 'Wolfe’s depiction of Nelson against the rich green background is exoticising and his pose invites the viewer to admire his body. Such objectification was typical of many depictions of black men from this time and reflects an uneven power dynamic, although Nelson’s friendship with members of the Bloomsbury group adds a level of complexity to the relationship between artist and sitter'. (Queer British Art, Tate Britain)
Los 175
§ SIR JACOB EPSTEIN K.B.E. (BRITISH 1880-1959) THIRD PORTRAIT OF MEUM (MASK), CONCEIVED IN 1918 bronze, on a stepped base(the bronze 23cm high (9in high) excluding base, overall 32.5cm high (12.75in high))Footnote: Provenance: Private Collection, USA; Bonhams, London, 22 November 2016, Lot 160; Private Collection, UK. Literature: R. Buckle, Jacob Epstein Sculptor, Faber & Faber, London, 1963, p.94, pl.145 (illustrated another cast); E. Silber, The Sculpture of Epstein, Phaidon, Oxford, 1986, pp.142-3, cat. no.89 (illustrated another cast). Buckle noted that that the mask of Meum ‘was one of three ‘Masks’ Epstein modelled between 1916 and 1918. The idea of making masks, that is, faces with no backs to them, was probably inspired by African sculpture’. (Buckle, p.94)
Los 10
Cathleen Sabine Mann (1896–1959) West Wycombe lithographic poster, 1933, condition A; not backed (Dimensions: 76cm x 114 cm (30in x 45 in))(76cm x 114 cm (30in x 45 in))Footnote: Literature: Hewitt, The Shell Poster Book, 53.The ‘Everywhere you Go, You can be Sure of Shell’ series featured fine landmarks, historical sights and inspiring landscapes, all firmly located in the countryside. It was an idealized view of a rural order much sought after by the middle classes, particularly those from large towns. “By celebrating and making accessible such rural delights, Shell won the plaudits of powerful pressure groups who sought to protect the countryside from urban expansion and the destruction of rural amenities by advertising hoardings”. The first exhibition of these Shell posters took place at the New Burlington Galleries in June 1931.Born in Newcastle upon Tyne in 1896 Cathleen Mann followed in the footsteps of both her parents and became a painter of portraits and landscapes. Her father was Scottish portrait painter Harrington Mann and her mother portraitist Florence Sabine Pasley. West Wycombe was developed as an important 18th Century staging post along the old coaching route from London to Oxford. The village features many buildings of architectural value which were built between the 16th and 18th Centuries. Mann has chosen to feature the unmistakable 14th Century church, located high on West Wycombe Hill. The poster features the famous ‘Golden Ball’, a copy of the Custom House in Venice.
Los 2112
§ James Lloyd (British, b.1971), Study of a nude man sitting on a chair, charcoal on paper, framed, 96 x 83cmProvenance: Vendor was a student with the artist at Coventry Polytechnic (now Coventry University) and purchased the piece from the artist's degree show.James Lloyd graduated with an MA from the Slade School of Fine Art, following a BA in Fine Art from Coventry. He teaches at the Royal Drawing School and has won numerous awards including the First Prize in the BP Portrait Award, Paul Smith Scholarship, Windsor & Newton Young Artists Award, and Carrol Foundation Young Artist of the Year Award.Lloyd has undertaken commissions for many private and public clients and institutions including the National Portrait Gallery, the Royal Collection, the Bank of England, Lords Cricket Ground, the House of Lords, and a portrait of the Queen for Queen's College Cambridge. Please note that artists resale right maybe additionally payable on this lot up to a maximum of 4% on top of the hammer price where above the threshold, visit www.dacs.org for more information.
Los 2208
Luke Rudolf (British, b.1977). 'Portrait No.18', 2010. Acrylic and oil on canvas, 190 x 160 cm. Provenance: From a reputable private collection. Acquired from Kate Macgarry, London by the present owner in 2010. Exhibitions: Newspeak: British Art Now Part II, Saatchi Gallery, London, 2011. Luke Rudolf, Kate MacGarry, London, 7 May - 13 June 2010. Condition Report: Unframed - no fixings Good overall condition
Los 2209
Luke Rudolf (British, b.1977). 'Portrait No.19', 2010. Acrylic and oil on canvas, 150 x 125 cm. Provenance: From a reputable private collection. Acquired from Kate Macgarry, London by the present owner in 2010. Exhibitions: Newspeak: British Art Now Part II, Saatchi Gallery, London, 2011. Luke Rudolf, Kate MacGarry, London, 7 May - 13 June 2010.
Los 130
Hardy (Thomas) The Dynasts, 3 vol., one of 525 large paper copies signed by the author, etched portrait by Francis Dodd signed by him in pencil, printed in red and black, some light scattered spotting, bookplate of Vyvyan Edwards to pastedowns, original vellum-backed batik boards, uncut, some light marking and toning to spines, minor bumping to corners, a bright, sharp set, 4to, printed at the Chiswick Press for Macmillan & Co., 1927.
Los 178
Priestley (J.B.) Angel Pavement, deluxe edition signed and numbered by author, portrait frontispiece, original buckram, card slipcase, spotting, 1930; The Happy Dream, original morocco, gilt, slipcase, Andoversford, Whittington Press, 1976 § Day (Alan Edwin) J.B. Priestley An Annotated Bibliography, number 1 of 50 signed by Priestley, original morocco-backed marbled boards, 1980; and 2 others on Priestley, 8vo (5)
Los 18
Locke (John) An Essay Concerning Humane Understanding, third edition, engraved portrait frontispiece by Vanderbanck after Brounower, frontispiece and title mounted on stubs, light staining to upper outer corner of last few leaves, washed, modern half morocco, spine gilt,[Wing L2741], folio, for Awnsham & John Churchil and Samuel Manship, 1695.
Los 181
NO RESERVE Priestley J.B.- Low (Sir David) Portrait of the Priestley seated smoking a pipe, original drawing for 'The Saturday Book', black chalk, pencil, signed and inscribed, 380 x 275 mm (15 x 10 3/4 in), under glass, minor spotting and surface dirt, framed, [1945]; together with a lithographic proof of Percy Smith's A Study of J.B. Priestley, signed and inscribed, 375 x 270 mm (14 3/4 x 10 1/2 in), framed, (2)
Los 193
Sackville-West (Vita) The Edwardians, first edition, presentation copy from Lady Sackville with her card pinned to blank, signed photograph and ALs loosely inserted, scattered spotting, stain to title, previous owner's ink inscription to half-title, original cloth, spotting, bumping to corners and spine extremities, related newspaper articles loosely inserted, 1930; Brittain (Vera) In the Steps of John Bunyan, signed by author, portrait frontispiece, plates, original cloth, dust-jacket, small loss to spine extremities, slight chipping and creasing to extremities, n.d., 8vo (2)⁂ The letter in the first is dated 30 May, 30 and begins 'As you know, I am nearly blind but I can write with my eyes shut!'
Los 240
NO RESERVE Interfunktionen No. 12, illustrations, many full-page, including work by Anselm Kiefer amongst others, original pictorial wrappers, glassine jacket, small loss to upper cover, Cologne, 1975 § Neruda (Pablo) We Are Many, portrait frontispiece, original cloth, slight bumping to spine extremities, dust-jacket, a little rubbed, short tear to spine foot, slight creasing to extremities, 1967 § di Prima (Diane) Memoirs of a Beatnik, original pictorial wrappers, slight creasing to rear cover, New York, Traveller's Companion Series, 1969 § Hausenstein (Wilhelm) Die Masken des Münchner Komikers Karl Valentin, title signed by author, full-page illustrations, previous owner's ink inscription, water-staining, original boards, lacking backstrip, rubbed, bumping to corners, Munich, 1948; and others similar, 4to & 8vo (10)
Los 293
Pringle (Roger) Portrait of a Stratford Year, one of 350 copies, this copy inscribed by the author to John Cornish on half-title, illustrations by Arthur Keene, original cloth-backed marbled boards, Halford, Celandine Press, 1985; A Garland for the Laureate: Poems presented to Sir John Betjeman n his 75th birthday, out-of-series copy number 2 of 5, from an edition limited to 350, presentation copy from the author to Jacquetta Hawkes and J.B.Priestley with accompanying A.L.s. loosely inserted, wood-engraved title-garland by Miriam Macgregor, original marbled wrappers, Stratford-upon-Avon, Celandine Press, 1981 § Thomas (Helen) A Memory of W H Hudson, one of 40 specially-bound copies signed by Myfanwy Thomas, from an edition limited to 190, wood-engraving by Michael Renton, original cloth-backed patterned-paper boards, Wakefield, Fleece Press, [c.1984], all uncut, the first two printed by the Whittington Press; and 3 others, poetry, 4to & 8vo (6)
![NO RESERVE Horatius Flaccus (Quintus) [Opera], engraved frontispiece, title-vignette and coat-of-arms at head of dedication,](https://cdn.globalauctionplatform.com/cc1eed4d-cf60-4330-8ca0-ad0b00fada06/2a970cae-0fa6-4811-b53b-ad0f00bbc35f/468x382.jpg)
Los 36
NO RESERVE Horatius Flaccus (Quintus) [Opera], engraved frontispiece, title-vignette and coat-of-arms at head of dedication, with errata leaf and advertisement leaf at end, foxing to text, modern half morocco, Birmingham, John Baskerville, 1762 § Aesop. Fables..., translated by Samuel Croxall, sixteenth edition, wood-engraved frontispiece and numerous illustrations, soiled, several leaves torn and frayed at lower outer corner with occasional loss, contemporary ink inscription "Wm Paterson May 24 1800" on label to front pastedown, modern calf, for C.Dilly [& others], 1798 § Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 9 vol., engraved portrait, additional pictorial titles and plates, contemporary ink signature of Atkinson to head of titles, foxing, contemporary half calf, rubbed, spines worn, some repairs, 1809 § Scott (John) A Visit to Paris in 1814, fifth edition, modern morocco-backed marbled boards, uncut, 1816; and 4 others, miscellaneous, v.s. (16)
Los 42
NO RESERVE Ripley (James) Select original letters on various subjects, first edition, engraved portrait frontispiece, lightly off-setting on to title, later sheep, gilt spine in compartments and with red leather label, upper cover detached, spine ends chipped, corners little worn, rubbed, 8vo, Printed for the Author, 1781.⁂ Ripley was ostler at the Red-Lion, Barnet. He rails against the war in America, cruelty to horses, and the nobility, amongst other diverse subjects.
Los 47
Bindings.- Walpole (Horace) A Catalogue of Engravers, engraved portrait frontispiece and 16 portrait plates, one with short marginal tear, scattered faint spotting, bookplate, contemporary half-calf, a little rubbed, 1794 § Rickman (Thomas) An Attempt to Discriminate the Styles of Architecture in England, third edition, engraved additional title, 14 plates, cracked upper hinge, contemporary half-calf, slight bumping to corners and extremities, n.d. § The Campaigns of the British Army at Washington and New Orleans, in the years 1814-15, faint spotting to title, contemporary half-calf, 1847; and another on shooting and angling, 8vo (4)
Los 50
Voltaire (François Marie Arouet de) The Philosophical Dictionary, half-title, engraved portrait, light offsetting to title, original boards, 1802; L'Esprit de Voltaire, contemporary calf, spine a little rubbed, 1759; and a large quantity of others, antiquarian and leather bindings, v.s. (lge qty)
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283287 Los(e)/Seite