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283287 Los(e)/Seite
Los 630
WINSTON CHURCHILL - CENTENARY COLLECTABLES comprising a Pobjoy Mint 'Winston Churchill Centenary 1874-1974' silver gilt medal set, in plastic case and card wallet of issue; together with a Pobjoy Mint 'Winston Spencer Churchill Centenary 1874-1974' silver commemorative dish, London 1974, with a portrait plaque to the centre, 13cm diameter, overall approximately 122g, in case of issue, (2).
Los 1093
A Late XIX Century Meissen Porcelain Figure of a Young Gentleman, a pigeon carrying a letter perched on his arm, a lamb beside tree stump on the rocky circular base, blue crossed swords mark, impressed and gilt numerals, 19cm high; A German Porcelain Figure of a Lady, in flowering robes; A Berlin Style Cabinet Cup and Saucer, decorated with portrait medallion within gilt and dark blue ground, beehive marks. (4)
Los 1214
A Bronze 1897 Medallion to Commemorate Queen Victoria's Diamond Jubilee, with central portrait, the reverse with the fifty shields of the empire, 7.5cm diameter, cased; A Thomas Henry Huxley 1825-1895 Bronze Medallion, 6.2cm diameter, cased, a silver crown, a 2000 five pound coin and two Kenya cloth badges. (6)
Los 66
A REGENCY PORTRAIT MINIATURE OF A YOUNG BOY WITH CURLY BLONDE HAIR, oval, depicted in lace trimmed collar and blue buttoned coat, in a yellow metal frame engraved to the reverse "R.E. Oliver born 1816", with suspension loop and glazed reverse, in an associated leather case. Excluding frame 40mm by 37mm
Los 137
SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) THE BLACK HAT Signed, oil on canvas (Dimensions: 51cm x 41cm (20in x 16in))(51cm x 41cm (20in x 16in))Footnote: Provenance: A gift to his friend George Hutchison and thence by descent Note: Scottish Colourist Samuel John Peploe is best known for his colourful and elegant still-lifes, but like all true artists, he turned his brush to all different subjects. In The Black Hat , he creates an intriguing and enigmatic portrait. The subject is unknown, though it has been suggested that she resembles Poppy Low, an artist’s model popular in Edinburgh in the 1920s, and particularly favoured and recognisable from the portraiture of Stanley Cursiter. As in all successful portraits, Peploe distils something of the personality of the sitter, a slightly moody atmosphere, as well as capturing a charming portrayal of her appearance. There is also something further present, an artistic experimentation, as he plays with the palette; harmonising across the coral background with scraped out areas revealing bare canvas; while the soft, pale blue of her blouse contrasts with the dark shades of her distinctly 1920s hat and bobbed hair. The hints of rosy pink in her cheeks are highlighted with a decisive slash of vivid green to her cheek, and a gentler variation of the same pigment is deployed more softly in the areas of shadow in her jaw and neckline. A creative, colourful cacophony when viewed close-up, yet still a sensitive and harmonious portrait.Condition report: Original unlined condition - there are several areas of bare canvas (see illustration) which would appear to date from time of painting - there are other portaits of a similar date which demonstrate a similar scraped back technique
Los 170
ELIOT, THOMAS STEARNS. 1888-1965.The Waste Land. New York: Boni and Liveright, 1922. 8vo. Publisher's stiff black cloth boards, lacking dust-jacket. Minor rubbing, corners slightly bumped. FIRST EDITION, SECOND ISSUE, number 652 of 1000 copies.Provenance: Hale Moore (bookplate).WITH: The Sacred Wood. London: Methuen, 1930. Publisher's cloth, dust-jacket. Front flap detached, sunning to spine. FIRST EDITION, FIRST BINDING.WITH: Ezra Pound: His Metric and Poetry. New York: Knopf, 1917. Frontispiece portrait of Pound by Gaudier-Brzeska. Publisher's cloth, lacking scarce dust-jacket, spine sunned. FIRST EDITION of the author's 2nd book, published anonymously.
![POUND, EZRA. 1885-1972.Lustra. London: Elkin Mathews, [1916]. 8vo. Photogravure portrait frontispiece by Alvin Langdon Coburn](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/8e74fcbd-84fb-4dd3-8c5f-ab0900e38de7/468x382.jpg)
Los 272
POUND, EZRA. 1885-1972.Lustra. London: Elkin Mathews, [1916]. 8vo. Photogravure portrait frontispiece by Alvin Langdon Coburn, 'EP' device designed by Edmund Dulac to title page. Publisher's tan cloth, lettered in blue, uncut and unopened, custom cloth chemise and slipcase, with morocco title label, minor soiling.Provenance: Jonathan Goodwin (his sale, Sotheby's New York, March 29, 1977, lot 231). FIRST EDITION, FIRST ISSUE, SIGNED BY POUND IN THE YEAR OF PUBLICATION, dated 'Oct 1916' in pencil, number 45 of 200 unabridged copies, hand-numbered by pound to colophon on title page. After a dispute with his publisher Elkin Mathews over sexually charged language, Lustra was printed in an edition of 200 copies containing an 'unabridged' text in September 1916; the 'abridged' trade edition was 800 copies. Cyril Connolly called Lustra Pound's 'first volume of truly modern work' ('The Break-Through in Modern Verse,' London Magazine, 1961). Gallup A11a; Connolly Modern Movement 35.
![SHAKESPEARE, WILLIAM. 1564-1616.[HANMER, SIR THOMAS. 1677-1746]. EDITOR. The Works of Shakespeare. Oxford: the Theatre, 1744.](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/8bfbb707-0547-4d61-96cb-ab0900c23e2f/468x382.jpg)
Los 31
SHAKESPEARE, WILLIAM. 1564-1616.[HANMER, SIR THOMAS. 1677-1746]. EDITOR. The Works of Shakespeare. Oxford: the Theatre, 1744. 6 volumes. 4to (315 x 242 mm). Engraved frontispieces (portrait in volume I), numerous engraved plates. 20th century red half morocco, marbled endpapers, top edge gilt. Joints tender, slightly rubbed, scattered foxing.Provenance: Sir David Lionel Goldsmid-Stern-Salomons (armorial bookplates). FIRST EDITION of Hanmer's version. Jaggard, p 499; Lowndes III, 2260.
Los 316
THOREAU, HENRY DAVID. 1817-1862.Two titles: 1. Cape Cod. Boston: Ticknor & Fields, 1865. 8vo. Publisher's blue-green cloth, decorated in blind, gilt titles on spine within wreath decoration, brown endpapers. Lightly rubbed at extremities, very minor spotting. FIRST EDITION, FIRST ISSUE with December 1864 dated publisher's advertisements at back. Borst A5.1.a; BAL 20155.2. Excursions. Boston: Ticknor & Fields, 1863. Etched portrait frontispiece. Publisher's blue-green cloth, decorated in blind, gilt titles on spine within wreath decoration, brown endpapers. Slightly rubbed, very scattered spotting. FIRST EDITION. Borst A3.1.a; BAL 20113.
Los 338
WILLIAMS, WILLIAM CARLOS. 1883-1963.Paterson. New York: New Directions, 1946-1958. 5 volumes. Publisher's cloth, printed dust jackets, Part V with pencil portrait of Williams reproduced on front panel. Wear and browning to jacket corners, Parts I and III with slight chipping at jacket folds. FIRST EDITION, LIMITED TO 1,000 COPIES of the first four parts (Part V published with no limitation statement). In the preface of Part I, Williams describes this work as 'a long poem in four parts.' Nonetheless, Part V was published in 1958, some seven years after Part IV, and twelve years from the initial publication. Connolly Modern Movement, 100; Wallace A24, A25, A30, A34, A44.
![SHAKESPEAREAN FORGERIES.[IRELAND, WILLIAM HENRY. 1775-1835.] The Confessions of William Henry Ireland. London: Ellerton &](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/758857c8-f1f5-4da1-bad5-ab0900c2d17d/468x382.jpg)
Los 39
SHAKESPEAREAN FORGERIES.[IRELAND, WILLIAM HENRY. 1775-1835.] The Confessions of William Henry Ireland. London: Ellerton & Byworth, 1805. 8vo (185 x 112 mm). Half calf and marbled boards. Rubbed, text block cracking slightly, minor spotting.WITH: Miscellaneous Papers, Legal Instruments, The Tragedy of King Lear, and a Small Fragment of Hamlet, from the Original Mss in the Possession of Samuel Ireland. London: Egerton, et. al., 1796. Small 4to (224 x 140 mm). Folded engraved frontispiece portrait of Shakespeare by Samuel Ireland. Contemporary quarter calf and plain boards, paper spine label, edges uncut. Covers soiled, scattered browning and spotting, library stamp on rear paste-down. Provenance: Francis Bacon Library (bookplate). WITH: GREATHEAD, BERTIE. 1759-1826. The Regent, a Tragedy. Dublin: Burnet, et. al., 1788. Contemporary wrappers, edges uncut. Chips to spine and edges of wrappers, soiling and creasing to page corners. William Henry Ireland was a book collector whose father, Samuel Ireland, held a great fascination for Shakespeare's works. Having access to old paper stock at the legal office where he worked, William produced forgeries of documents supposedly written in Shakespeare's hand, the first of which were published by his father as Miscellaneous Papers, Legal Instruments, The Tragedy of King Lear, and a Small Fragment of Hamlet. William then forged two entirely new plays, Vortigern and Rowena and Henry II, purported to be lost Shakespeare manuscripts, but denounced in print as fakes. With Samuel Ireland accused of forgery, his son published a confession, but the family reputation was ruined and neither he nor his father were able to make it whole.
Los 47
DICKENS, CHARLES. 1812-1870.The Personal History, Adventures, Experiences, & Observation of David Copperfield. London: Bradbury & Evans, May 1849-November 1850 20 parts in 19, 8vo. Engraved frontispiece, additional pictorial title, and 38 plates by H.K. Browne, advertisements conforming to Hatton & Cleaver (including the first issue of part 8 with 'Lile' for 'Life' on pp.3 of the Advertiser, and folding 'Letts' advertisement with 6 specimens at end; without 'Visit to Exhibition...' slip), one leaf of advertisements torn with loss. Publisher's blue pictorial wrappers, lightly soiled, back-strips all neatly replaced. Loose in a modern blue morocco book box, gilt lettered on spine.Provenance: Michael Sharpe (bookplate inside the box).FIRST EDITION IN ORIGINAL PARTS. Dickens's eighth novel, here published in its original parts. The work is inspired by the London of his youth and containing a portrait of his own father in the form of Mr. Micawber.
![JABLONSKI, PIERRE-CHARLES.LURÇAT, JEAN, illustrator. 1892-1966. Roger, ou Les a cote de l'ombrelle. Meudon [Paris]: Editions](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/cb9d435d-6ef5-4881-8218-ab0900c448eb/468x382.jpg)
Los 55
JABLONSKI, PIERRE-CHARLES.LURÇAT, JEAN, illustrator. 1892-1966. Roger, ou Les a cote de l'ombrelle. Meudon [Paris]: Editions de l'Ombrelle, 1926. Small 4to. Facsimile manuscript frontispiece, astrological plate, engraved portrait, 5 hand-colored etched plates by Lurcat. Blue half morocco and marbled boards, original front wrapper bound in. Minimal wear.LIMITED EDITION, number 63 of 100 copies on Ingres paper, from a total edition of 112. Published secretly by Jeanne Bucher, without an author credit. A known annotated copy attributes the text to Polish-born philosopher Jablonski.
Los 58
LONGFELLOW, HENRY WADSWORTH. 1807-1882.Evangeline ... illuminated by John H Tearle. New York: Merrill & Baker, 1903. 4to. Printed on vellum, Acadian edition, illuminated throughout in watercolor and gilt by John Tearle, the Limitation Leaf noting that no two copies are alike, and signed by the illuminator, Tearle, the publisher Merril and Baker, and the printer de Vinne. Green morocco by H. Jackel & Co. of New York, decorated in gilt with brown and red morocco inlays, spine gilt in six compartments, gilt decorated dentelles, cream morocco doublures with a polychrome portrait of Evangeline, initialed A.Le.B, set inside the front cover. Velvet-lined drop-side cloth box. Very slight rubbing to corners, wear to box.A very fine illuminated copy of the special LIMITED EDITION of Evangeline, one of 26 copies PRINTED ON VELLUM, and finely bound by Jackel and Co. This copy unlettered on the limitation leaf, and presumed to be outside of the 26 copies, and intended to be a gift. ABPC records just 3 copies of this work at auction in the last 40 years. Longfellow's epic poem, originally published in 1847, is set during the time of the expulsion of Acadians from what is now Canada and parts of Maine during the French and Indian War, hence the Acadian edition.
Los 91
DANTE, ALIGHIERI. 1265-1321The Divina Commedia. Translated by Henry Boyd. London: T. Cadell and W. Davies, 1802. 3 volumes. 8vo (233 x 144 mm). Engraved portrait frontispiece. Contemporary straight grained red morocco elaborately gilt with wide borders of gilt Greek-key bands within fillets and other decorative designs, spines in six compartments gilt lettered or numbered in two, gilt edges; cloth folding case. Spines darkened, light staining, some wear to joints and rubbing to extremities. Light spotting to endpapers and intermittently within. Provenance: J. Smyth (early owner's name on title). FIRST EDITION of the complete Divine Comedy in English. Preceded only by the 1782 publication of Rogers' translation of the Inferno. Taller than most copies, possibly from the large paper issue cited by Lowndes, finely bound. Lowndes 569.
Los 121
An Album of cartes de visite of Mexican or French sitters resident in Mexico in the 1870s, 90 portrait albumen prints, all loosely inserted within window mounts, most captioned "amis Mexicains" on the mount, approximately 7 or 8 inscribed by the sitters with presentation inscription on the verso, one albumen print view ("Arabes prisonniers a l'Ile St. Marguerite" by W. Debray, 9.5cm x 15cm.) loose at end, contemporary morocco, lacks spine, upper cover (and a couple of leaves) loose, oblong 8vo, [mostly 1870s] Footnotes An album associated with a member of the Ricard family (portrayed in one group photograph, and to whom several images are dedicated by the subjects, all resident in San Luis Potosi or Guanajuato between 1870 and 1873). Sixty-six of the images are captioned "amis Mexicains". Photographers include Pedro Gonzalez (5) and Martin Duhalde (7), both with studios in San Luis Potosi. Approximately 6 images depict Maximilian I, and his circle (the Empress Charlotte, Miguel Miramon, generals), and composite photographic representation by Duhalde of the execution of Maximilian in 1867.
Los 601
BARBIER, George (1882-1932, illustrator). Vingt-Cinq Costumes pour le Théatre. Préface par Edmond Jaloux. Paris: chez Camille Bloch & Jules Meynial, 1927. 4to (305 x 238mm). Half title, etched portrait frontispiece of George Barbier by Charles Martin, wood-engraved illustration on title, initial, text printed on pale grey/blue paper, 25 tipped-in pochoir coloured costume plates by Frazier-Soye after George Barbier. FINELY BOUND in later green morocco by Roger Devauchelle, with the original watered silk wrappers mounted onto the covers, the upper wrapper lettered in green and with an engraved illustration after Barbier laid down, spine lettered in gilt, later endpapers. FIRST EDITION. NUMBER 204 OF 300 COPIES. Colas I, 218; Hiler p. 64; Imbert, Camille Bloch, éditeur, no.26.
![ANIVITTI, G. "Saggi di Anotomia[sic] Pittorica. Per G. Anivitti." [No place:] Small 4to (196 x 135mm). [Undated but [?]early](https://cdn.globalauctionplatform.com/dd3fa65e-97b1-4590-80d4-ab0d00aae4fa/f662ac5a-4cbc-44fe-ac9d-ab0d0102b342/468x382.jpg)
Los 637
ANIVITTI, G. "Saggi di Anotomia[sic] Pittorica. Per G. Anivitti." [No place:] Small 4to (196 x 135mm). [Undated but [?]early/mid 19th-century]. Extensive manuscript of an apparently unpublished treatise on anatomy in Italian comprising c. 107 leaves of densely-written text and c. 245 leaves of fine pen-and-ink or pencil anatomical drawings, some in red and black [?]by G. Anivitti (purple ink stain to blank margin of half of the manuscript). Old limp vellum (lacking ties, spine worn with upper half torn away, quite heavily stained). The author, and artist, of this extensive anatomical manuscript has not been identified with any certainty. The State Library of New South Wales [Mitchell Library] contains five sketchbooks by one Giulio Anivitti (1850-81) which contain a number of anatomical drawings but this artist who was born in Rome and emigrated from Italy to Australia in 1874 is better known as a portrait painter. The technical proficiency of the studies in the present manuscript suggest they are the work of a skilled anatomist. 4698
Los 668
ARBUTHNOT, James. A Trip to Kashmir. Calcutta: Thacker, Spink & Co., 1900. 4to (245 x 185mm). Half title, half tone portrait frontispiece of H. H. Maharaja Sir Pertab Singh Indar Mahindar Bahadur Sitar-I-Sultanat, title with tissue-guard, half tone pictorial initials, plates and illustrations (some mostly minor mainly marginal staining). Original sunflower pictorial cloth gilt (inner hinges weak, split and separating, some light staining, corners scuffed, a few ink spots on lower cover). FIRST EDITION. RARE. Czech Asia p.13; Kaul Early Writings on India 2309.
![ART REFERENCE, miscellaneous - William Fettes DOUGLAS (1822-91). Eight Photogravures. Edinburgh: [no publisher], 1885. Folio](https://cdn.globalauctionplatform.com/dd3fa65e-97b1-4590-80d4-ab0d00aae4fa/6079ea11-14f9-44a4-a6fa-ab0d0102e39a/468x382.jpg)
Los 672
ART REFERENCE, miscellaneous - William Fettes DOUGLAS (1822-91). Eight Photogravures. Edinburgh: [no publisher], 1885. Folio (423 x 305mm). Photogravure portrait of the artist, title printed in red and black, 8 photogravure plates by William Fettes Douglas (some very light mainly marginal spotting and staining). Original green cloth-backed paper boards gilt (rubbed and scuffed chiefly at edges). With 2 other art reference books, namely M. Pilkington's The Gentleman's and Connoisseur's Dictionary of Painters ... A New Edition (London, 1798, calf, old bookplate of Sir William Forbes, Bart.) and The Art Journal (London, 1851, plates, some coloured, half morocco). The lot sold not subject to return. (3)
Los 683
BINDINGS - Lord BYRON (1788-1824). Poetical Works. London: Henry Frowde, 1907. Large 8vo (189 x 125mm). Portrait frontispiece. Attractively bound in contemporary half vellum gilt, spine with tan morocco lettering-piece and stylised gilt floral decoration with green morocco onlayed flowerheads, top edges gilt, others uncut. With 33 other books of the same period and size, mostly English poetry, in attractive decorated vellum bindings. Sold as a set of bindings, not subject to return. (34)
Los 685
BINDINGS - Dante Gabriel ROSSETTI (1828-82). The Poetical Works. London: Ellis, 1910. 8vo (182 x 120mm). Half title, etched frontispiece portrait of Rossetti. Attractively bound in full prize vellum gilt by Bickers & Son, arms of Dulwich College stamped in gilt on the upper cover, spine elaborately gilt, gilt edges (bowed). Provenance: N. Monk-Jones (Dulwich College prize label); signature on front free endpaper. With 4 other books containing works by Keats, Morris, Shelley and Wordsworth in near-uniform Dulwich College vellum prize bindings. Sold as a set of bindings, not subject to return. (5)
Los 686
BINDINGS - Walter SCOTT (1771-1832). The Lay of the Last Minstrel. Edinburgh: Adam and Charles Black, 1862. 12mo (130 x 85mm). Contemporary morocco-backed polished wooden boards with an illustration of Melrose Abbey on the upper board and beneath it printed, "Made from a Tree which grew within the Precincts of Melrose Abbey; and said, by tradition, to have been planted by one of the Monks. 'It was certainly co-existant with the Abbey at its most flourishing period.'" With 14 other books in wooden or otherwise unusual bindings including The Sermon on the Mount ([London], 1845, "illuminated" by Owen Jones throughout, contemporary morocco, rebacked), J. O. Westwood's Illuminated Illustrations of the Bible (London, 1846, coloured plates, decorated morocco), Henry Wadsworth Longfellow's Tales of a Wayside Inn (London, 1867, striking green marbled and bevelled polished wooden boards), Aphorisms of the Wise & Good Illuminated by Samuel Stanesby (London, [c. 1868], highly elaborate cloth gilt), Walter Scott's The Lady of the Lake (Edinburgh, 1874, 6 mounted albumen prints, binding "Made of Wood Grown on the Lands of Abbotsford" with views and portrait), Thomas Moore's Poetical Works (London, 1875, highly unusual foliate polished wooden boards incorporating portrait on the upper cover) and Alphonse Daudet's Tartarin of the Alps (London, [c.1900], in an Arts & Crafts-style blindstamped calf binding (a pencil note suggesting, "... binding in the style of Florence de Rheims - design possibly [by] Constance Carslake of the Guild of Women Binders, c.1900"). Sold as a collection of bindings, not subject to return. (15)
Los 698
CHESTERFIELD, Philip Dormer Stanhope, 4th Earl of (1694-1773). Letters ... to his Son ... Together with Several Other Pieces on Various Subjects ... The Eleventh Edition. London: Printed for J. Nichols (and others), 1800. 4 volumes, large 8vo (233 x 140mm). Half titles, engraved portrait frontispiece in vol. one (some very light browning and spotting). FINELY BOUND in contemporary polished calf gilt, spines gilt in compartments with dove motifs (split to head of lower joints of vol. III, extremities lightly rubbed). Provenance: unidentified armorial bookplate with motto: "Nobis copia venit"; illegible early signature on bookplate. cf. Brunet I, 648; Rothschild 596. (4)
Los 707
CUNDALL, Herbert Minton (1848-1940). Kate Greenaway Pictures. From Originals Presented by her to John Ruskin and other Personal Friends (hitherto unpublished). London: Frederick Warne, 1921. 4to (309 x 250mm). Half title, mounted photogravure portrait of Kate Greenaway, 20 mounted coloured plates by Greenaway (some spotting to tissue guards). Original tan and green buckram gilt, uncut (lightly rubbed at edges, scuff mark to lower cover, without the dust-jacket). Provenance: "Mary Whitaker from Margaret [?]Minta, May 16th, 1923." FIRST EDITION. With 4 other books, namely Ben Kutcher's Illustrated Edition of A House of Pomegranates and the story of The Nightingale and the Rose by Oscar Wilde (New York, 1918, buckram-backed paper boards), Walter de la Mare's Peacock Pie (London, [1924], illustrations by C. Lovat Fraser, linen-backed paper boards, ONE OF 250 COPIES SIGNED BY THE AUTHOR), Bernard & Elinor Darwin's Tootleoo Two (London, Nonesuch Press, [1927], paper boards, remnants of dust-jacket) and Hilaire Belloc's Ladies and Gentleman (London, 1932, illustrated by N. Bentley, cloth-backed illustrated paper boards, dust-jacket). (5)
![SALINGER, J. D. (1919-2010). The Catcher in the Rye. Boston: Little, Brown and Company, [July] 1951. 8vo (197 x 135mm). Half](https://cdn.globalauctionplatform.com/dd3fa65e-97b1-4590-80d4-ab0d00aae4fa/54a8fc2d-caf8-4352-ab20-ab0d01035fea/468x382.jpg)
Los 760
SALINGER, J. D. (1919-2010). The Catcher in the Rye. Boston: Little, Brown and Company, [July] 1951. 8vo (197 x 135mm). Half title, title within single-rule border with typographical headpiece and printer's device (a few leaves lightly spotted and browned, elsewhere some extremely faint spotting). Original black buckram, spine lettered and decorated in gilt, dust-jacket by Michael Mitchell, price of $3.00 unclipped, monochrome photographed portrait of the author on the lower wrapper by Lotte Jacobi (some minor chipping at head head and foot of backstrip, another small chip to upper edge of upper wrapper, some rubbing to corners of lower wrapper affecting 2 letters, some extremely faint spotting and staining). A FINE COPY OF THE FIRST EDITION, FIRST ISSUE, the dust-jacket with the price of $3.00 directly above the 'shoulder' of the letter 'R' on the front turn-in, and the portrait on the lower wrapper cropped at the top. Anthony Burgess Ninety-Nine Novels pp.53-54; Bixby A2; Starosciak A30. "This novel is a key-work of the nineteen-fifties in that the theme of youthful rebellion is first adumbrated in it, though the hero, Holden Caulfield, is more a gentle voice of protest, unprevailing in the noise, than a militant world-changer ... The Catcher in the Rye was a symptom of a need, after a ghastly war and during a ghastly pseudo-peace, for the young to raise a voice of protest against the failure of the adult world. The young used many voices - anger, contempt, self-pity - but the quietest, that of a decent perplexed American adolescent, proved the most telling" (Anthony Burgess).
Los 242
EDWARD VII: (1841-1910) King of the United Kingdom 1901-10. L.S., Albert Edward P, as Prince of Wales, two pages, 4to, Pall Mall, 24th March 1879, to Professor [Richard] Owen, on the printed stationery of Marlborough House. The Prince's letter commences 'With a view of encouraging and promoting the participation of the Mother Country in the International Exhibition about to be held in Australia, at Sydney at the close of this year and at Melbourne in 1880, the Queen has been pleased to appoint a Royal Commission', further adding that he is pleased to be the Executive President and concluding 'Under these circumstances may I hope to have the benefit of your valuable assistance and advice as a member of the Commission'. Annotated in ink in an unidentified hand at the foot of the letter. Matted in red and brown alongside a portrait of the Prince and framed and glazed (to display both sides of the letter, and the original envelope addressed to Owen at the British Museum) in a burgundy and silver coloured frame to an overall size of 19 x 14. The envelope with some tears and the letter with some light staining and age wear, otherwise about VG Richard Owen (1804-1892) English Biologist & Naturalist who coined the word Dinosauria. Owen served as superintendent of the natural history department of the British Museum. Provenance: The vendor purchased the present letter from B. Altman & Co. in New York during the 1980s and it has not appeared on the market since.
Los 248
EDWARD VIII: (1894-1972) King of the United Kingdom January - December 1936. Later Duke of Windsor. D.S., Edward P, as Prince of Wales, on behalf of King George V, at the head of a T.L.S., Stanley Baldwin, by Stanley Baldwin (1867-1947, British Prime Minister 1923-24, 1924-29 and 1935-37) one page, 4to, 10 Downing Street, Whitehall, 8th May 1929, on the printed stationery of the Prime Minister. Baldwin states that, with his humble duty to the King, 'recommends to Your Majesty the appointment of the Reverend Walter Greenwood…..to the Vicarage of the Venerable Bede, Gateshead……' . Countersigned at the head by Stanley Baldwin and Douglas Hogg (1872-1950, 1st Viscount Hailsham, British Lawyer & Politician who served as Lord Chancellor 1928-29, 1935-38). One file hole to the upper left corner, not affecting the text or signatures. Matted in two shades of brown alongside a portrait of the Prince and framed and glazed in a gold coloured wooden frame to an overall size of 18.5 x 14.5. VG Provenance: The vendor purchased the present document from B. Altman & Co. in New York during the 1980s and it has not appeared on the market since.
Los 303
ROOSEVELT ELEANOR: (1884-1962) American Political Leader, wife of Franklin D. Roosevelt. First Lady of the United States 1933-45. T.L.S., Eleanor Roosevelt, one page, 8vo, Hyde Park, New York, 29th November 1942, to Agnes [Reynolds?], on the printed stationery of The White House. Roosevelt announces 'Your letter disturbs me very greatly, and yet I must say that I feel somewhat similarly myself many times', adding 'I would still feel that if the time arrives when I felt we were accomplishing nothing in ISS, that I would want to resign'. The First Lady further remarks 'However, Trude tells me that at the last meeting, Dr. Cohn was very amenable, granting many things which no one had expected him to accede to and that the committee seems to be getting on very much better than ever before, and that in all probability Dr. Cohn was upset because he felt he was not the prime factor. He must be the one to make the suggestions, and then whether they are radical or not, they are all right because they are his!' and also reflects 'How long many of us will be able to work with him, is a question, but I am willing to try if you are going to try and to go on trying as long as I think we are moving ahead and really serving students in this country'. Matted in gold and blue alongside a portrait of Roosevelt and framed and glazed in a gold coloured wooden frame to an overall size of 17 x 15. VG Roosevelt's correspondent is highly likely to have been Agnes Reynolds who worked with the American Radical Political Activist Joseph P. Lash (1909-1987) within the International Student Service. Lash had established the ISS as a non-Communist national student organisation, serving as its head until 1942. An author and journalist, Lash was also a close friend of Eleanor Roosevelt and won the Pulitzer Prize for Biography for Eleanor and Franklin (1971), the first of two volumes he wrote about the First Lady. Trude Lash (1908-2004) American Political Activist, Advocate for Children and a close associate of Eleanor Roosevelt. Dr. Alfred E. Cohn was an American physician and clinical researcher at the Rockefeller Institute for Medical Research. Provenance: The vendor purchased the present letter from B. Altman & Co. in New York during the 1980s and it has not appeared on the market since.
Los 35
STRANGE GLENN: (1899-1973) American Actor, famous for his roles in Westerns and for portraying Frankenstein's monster in three Universal films during the 1940s. An extremely rare vintage signed and inscribed 8 x 10 photograph of Strange standing in a full length pose in costume as Frankenstein's monster in an original Universal Pictures publicity portrait for the film The House of Frankenstein (1944). Signed in dark fountain pen ink by Strange, largely across a clear area of the image. Autographs of Strange are extremely rare in any form and signed photographs of him in costume as Frankenstein's monster and particularly desirable. Very slightly irregularly trimmed to the left white border and with a few minor surface and corner creases, otherwise about VG The House of Frankenstein (1944) also starred Boris Karloff who had previously created the role of Frankenstein's monster in Frankenstein (1931).
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NOW, VOYAGER: An original folio printed copy of the sheet music to the song It Can't be Wrong from the film Now, Voyager (1942) individually signed in bold black ink, in later years, by both Bette Davis (Charlotte Vale) and Paul Henreid (Jerry Durrance) to clear areas of the front cover which promotes the film and features a large portrait of Davis. Some very light age wear, otherwise VG
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SINATRA FRANK: (1915-1998) American Singer and Actor, Academy Award winner. Vintage fountain pen ink signature and inscription ('For Margerate [sic] Frank Sinatra') on a page removed from an autograph album. With a small magazine portrait neatly affixed to the lower right corner. Also signed and inscribed to the verso by Lou Costello ('To Margaret, Lou Costello') in bold blue fountain pen ink. With a small magazine portrait neatly affixed to the lower right corner. Together with Bud Abbott (1895-1974) American Film Comedian. Vintage blue ink signature ('Bud Abbott') on a page removed from the same autograph album. With a small magazine portrait neatly affixed to the lower right corner. VG, 2
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GAINSBOROUGH THOMAS: (1727-1788) English Portrait & Landscape Painter, a founding member of the Royal Academy of Arts. Gainsborough was the dominant British portraitist of the second half of the 18th century, surpassing his rival Joshua Reynolds. An extremely rare D.S., Tho Gainsborough, one page, oblong 8vo, n.p., 21st March 1768. The manuscript document, entirely in the hand of the painter, is a receipt for the sum of 'ten guineas' received from Sir John Sebright 'being half payment for a three quarter Portrait.' Signed by Gainsborough at the foot and docketed by Sebright to the verso. Very slightly irregularly torn to the right edge and lower right corner, not affecting the text or signature, otherwise VG Sir John Sebright (1725-1794) British General and Politician, a close friend of the Irish statesman and writer Edmund Burke. Gainsborough's portrait of Sebright was executed in oil on canvas, the image shown within an oval and depicting the subject in a three quarter length pose, wearing uniform, with his head turned towards the viewer. The portrait was exhibited by Sir Edgar Sebright (1854-1917) in the late 19th century and was more recently sold at Sotheby's in New York on 17th January 1992. Sir Edgar Sebright also owned portraits by Gainsborough's great rival, Joshua Reynolds. Autographs of Gainsborough are extremely rare in any form and American Book Prices Current record only eleven examples having been sold at auction since 1975, only one of these being a similar receipt to the present lot. It is also interesting to note that in the recently published biography Gainsborough: A Portrait, the author James Hamilton laments the fact that Gainsborough's letters and other papers were mostly destroyed after his death in 1788.
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JOHN AUGUSTUS: (1878-1961) Welsh Painter. A.L.S., Augustus John, one page, 8vo, Percy Street, London, 24th October 1950, to Maurice Codner. John thanks his correspondent for their letter and remarks 'I have a picture on the stocks which I had hoped to get finished in time for the coming Exhibition but two successive colds have intervened and prevented this. It will have to wait for the next show', adding that he is sorry to have nothing fresh in the way of portraits and further writing 'Lady Melchett has a portrait I like which is, I think, not well known, although I think it was in the R.A. It is of Martin Conway who became Lord Conway later. I could borrow this no doubt if you think it adviseable - or admissable. At the moment I can think of no other available.' To the verso of the letter appears Codner's pencil draft of his reply, stating, in part, 'We shall be so glad to have your portrait of Martin Conway. Will you arrange this with Lady Melchett.....'. A letter of good content and association. VG Maurice Codner (1888-1958) British Portrait Painter whose subjects included Kathleen Ferrier and King George VI. Martin Conway (1856-1937) 1st Baron Conway of Allington. British Art Critic, Politician, Cartographer & Mountaineer. John painted a portrait of Conway in 1934.
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PICASSO PABLO: (1881-1973) Spanish Painter, a co-founder of the Cubist movement. An excellent vintage signed and inscribed 9.5 x 12 photograph of Picasso standing outdoors in a three quarter length pose holding his portrait of Jaime Sabartes which he executed in 1901. A pencil annotation to the verso in an unidentified hand indicates that the photograph was taken by Jacqueline Picasso. Signed (‘Picasso’) in bold blue fountain pen ink to a clear area at the base of the image, inscribed in French to Ines Sassier and dated 10th May 1968 in his hand. A wonderful signed image with excellent associations. A few very minor creases to the edges and corners, not affecting the signature. VG Jaime Sabartes (1881-1968) Catalan Spanish Artist, Poet & Writer. Sabartes was a close personal friend of Picasso who was later employed as his secretary, responsible for arranging exhibitions. Sabartes had died on 12th February 1968, just a few months before the present photograph was signed. Italian-born Ines Sassier was also a close friend of Picasso, first meeting the artist in 1936. Sassier kept in contact with Picasso for three decades and variously served as his adviser, housekeeper, cook, nanny, model and confidante. Jacqueline Roque (1927-1986) French Muse and second wife of Picasso from 1961-73.
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