Godwin (Francis). Episcopi de Prasulibus Angliae Commentarius... Cambridge, 1743, engraved portrait frontispiece, engraved head-pieces, one or two marginal abrasions to title, light marginal waterstain, modern calf-backed boards (recovered), folio, together with De Christo Imitando, Contemnendisque Mundi Vanitatibus Libellus..., 1709, five engraved plates, occasional water stain, previous owner inscription, contemporary calf, upper cover detached, rubbed, 12mo, with others including Sir Walter Raleigh’s History of the World, 1666 (lacking maps) (15)
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Raleigh (Sir Walter). The History of the World in Five Books, 11th. ed., To which is Prefix’d the Life of the Author. Newly Compil’d...., by Mr Oldys. Also his trial with some Additions Together with a new and more copious Index to the whole work, 2 vols. bound in 1, 1736, title printed in red & black, with later pencil ownership signature, eng. portrait frontis. by G.Vertue, table and index at rear, eight b & w engraved maps bound in at rear, appears to lack the ‘Letter to the Reader’ normally found before the list of tables, modern blind stamped calf, folio. ‘Before the Oxford edition of 1829 this used to be called the best edition’ (Lowndes. pp. 2039). (1)
Shakespeare (William). The Plays of Shakespeare, in nine volumes, William Pickering, 1825, marbled endpapers, a.e.g., orig. dark blue straight-grained morocco, dot roll decorated raised bands, gilt lettered direct in second and fourth compartments, date lettered direct at foot, covers with gilt single fillet border, dot roll on edges, dotted scallop roll on turn-ins, 83 x 49mm (3.25 x 2ins), contained in crimson velvet-lined walnut bookcase box with lid bearing oval ivorine cameo portrait of Shakespeare, part of metal closure lacking, box 107 x 177 x 74mm (4.25 x 7 x 3ins). A fine set, unusually in the deluxe morocco binding, and housed in a sumptuous custom-made box. (1)
Leybourn (William). The Art of Dialling, Performed Geometrically, by Scale and Compasses: Arithmetically, by the Canons of Sins and Tangents: Instrumentally, by a Trigonal Instrument, accommodated with Lines for that purpose..., 1st ed., 1669, folding eng. plts., one eng. diagram and numerous woodcut diagrams throughout, lacking portrait frontis., occasional minor marks and some minor dampstaining to upper margins mostly to initial leaves, single worm hole to few leaves, rear pastedown with contemporary ownership signatures of Joseph Partridge dated 1696, hinges repaired, contemp. calf, rebacked and corners repaired, slim 4to. Wing L1900. (1)
Kokoschka (Oskar, 1886-1980). Oskar Kokoschka, The Work of the Painter, by Hans Maria Wingler, 1st English ed., 1958, colour and b&w reproductions throughout, some tipped in and some folding, artist’s signed presentation inscription dated 1959 to front free endpaper, ‘For Sir Stanley, this is my life’s work. I always enjoyed vision and tried to give a record of what I had seen. To-day it is not fashion, they like non-objective existence, love to you’, orig. cloth in d.j., and card slipcase, 4to, together with two autograph letters signed from Kokoschka to Stanley Unwin, Villeneuve (Vaud), Switzerland, 21st December 1959 & 3rd January 1960, the first begins, ‘I am happy indeed knowing now that you returned from Siberia without being turned out into an ice-block. I hear your heart chirruping, how happy and huan (?) you can be! It is so more to-day and certainly inspired me while we were together ...’, sending Christmas and New Year good wishes, one page, 8vo, the second thanking Sir Stanley for his letter concerning the Christmas family reunion and ‘Concerning the proofs of the reproduction of our painting I am rather content with them and my experience tells me to trust the expert rather than making suggestions of my own. The blockmaker has the original before his eyes and if he thinks he can alter the blue at the expense of other colours he should be careful not to weaken the eyes, face, expression and spatial illusion which are rendered on the proof to my full satisfaction ...’, 2 pp., both 8vo plus a printed address by R.H. Code Holland read at the funeral of Stanley Unwin on 13 November 1968, 3pp., colour frontis. reproduction of the oil portrait by Kokoschka, slim 8vo. When it was decided to have a portrait of Stanley Unwin painted, he left the arrangements to his son Rayner who wrote that ‘we were determined not to have the sort of dull likeness that one could see in so many boardrooms’. The Austrian Oskar Kokoschka was the artist eventually chosen. In spite of the meeting of two strong personalities, artist and sitter got along splendidly with Kokoschka painting while Sir Stanley went about his daily office routines. So happy was Unwin with the finished artwork that he used the image on the dust jacket of his own autobiography The Truth about a Publisher (1960).The second letter offered here relates to the proofs for the dust jacket and highlights Kokoschka’s understandable concern about his all important colours. (4)
Longstaff (Tom George, 1875-1964). This My Voyage, 1st ed., 1950, b&w plts. and illusts., author’s autograph letter signed, tipped onto front pastedown with sellotape, dated 24th April 1950 and addressed to Ross [Higgins], concerning his book and some work for the BBC, 2 pp., 8vo, orig. cloth in rubbed and sl. soiled d.j., together with two further autograph letters signed to Higgins, 21st October 1952 and 3rd May 1958, concerning climbing and publishing, both 2 pp., 4to, one with punch holes to inner margin, plus a colour polaroid of the author, together with Young (Geoffrey Winthrop, 1876-1958), Mountain Craft, 7th revised ed., 1949, b&w illusts. from photos, author’s signed presentation inscription to front free endpaper, presented to Ross Higgins and dated February 1950, together with a b&w portrait photo of the author taped beneath and a typed letter signed (dated 23rd February 1950) to Ross Higgins tipped in with sellotape to front pastedown, one page, oblong 8vo, orig. cloth in sl. soiled and chipped d.j., both 8vo. Ross Higgins (1914-1998) was a Glasgow bookseller who ran Wylies Bookshop in Glasgow, and spent much time working on the council of the Bookseller’s Association. An avid reader he found lasting friendships with authors, publishers, booksellers, as well as climbers, mountaineers and hillwalkers. (5)
Auden (W.H.). Another Time, 1940; For the Time Being, 1945; The Age of Anxiety, 1948, 1st eds., previous owner inscriptions, original cloth, spines a little faded, 8vo, together with First Hymn to Lenin and Other Poems, by Hugh McDiarmid, Unicorn Press, 1931, portrait frontispiece, one or two spots, t.e.g., original black and red cloth, 8vo, limited edition, 172/450, with others by Auden, Spender, Eliot etc (19)
Hardy (Thomas). Selected Poems, 1921, portrait and title wood-engraved by William Nicholson, t.e.g., original cloth-backed boards, d.j., spine faded, 8vo, limited edition, 348/1025, together with Peronnik the Fool, by George Moore, 1933, engraved illustrations by Stephen Gooden, t.e.g., original vellum, morocco-backed solander box, 8vo, limited edition, 264/525 signed by author and artist, plus Stories from the Bible, by Walter de la Mare, 1929, t.e.g., original vellum-backed boards, corners rubbed, 8vo, limited edition, 193/300 signed by Walter de la Mare, with four others including John Masefield’s Selected Poems, 1923 (signed limited edition of 400) and Laurence Sterne’s Life and Opinions of Tristram Shandy, 1926, limited edition of 1000 (7)
Amundsen (Roald). The South Pole. An Account of the Norwegian Antarctic Expedition in the “Fram,” 1910-1912, Translated from the Norwegian by A.G. Chater, 2 vols., 1st ed., 1912, folding maps, b & w illustrations, lacking half title and portrait frontispiece in vol. I, a few spots and closed tears, press cuttings at front of vol. I, bookplates, t.e.g., original red cloth, joints and edges rubbed, 8vo. Spence 16. (2)
Fraser (David). The Short Cut to India. The Record of a Journey along the Route of the Baghdad Railway, 2nd impression, 1909, folding colour map, numerous half-tone plates, occasional light spotting, bookplate, original red cloth, spine faded, 8vo, together with Baldwin (Captain J.H.), The Large and Small Game of Bengal and the North-Western Provinces of India, 2nd ed., 1883, b & w illustrations, bookplate, original green pictorial cloth, a little rubbed at spine ends, 8vo, plus Black (Charles E. Drummond), The Marquess of Dufferin and Ava. Diplomatist, Viceroy, Statesman, 2nd ed., 1903, portrait frontispiece, b & w illustrations, one or two spots, contemporary presentation inscription, t.e.g., original cloth gilt, spine faded, 8vo, with three others including J.H. Patterson’s In the Grip of the Nyika, 2nd impression, December 1909 and The Man-Eaters of Tsavo, 1909 (6)
Kippis (Andrew). The Life of Captain James Cook, 1st ed., 1788, engraved portrait frontispiece (dust stains to verso), title with repaired tears with the letter ‘e’ in ‘The’ restored in manuscript, bound without half title, scattered light spotting, one or two small marginal repairs, modern red half morocco, 4to. The first English biography of Captain James Cook. Beddie 32; Sabin 37954. (1)
Rapin de Thoyras (Paul de). The History of England ....., Translated into English with Additional notes by N.Tindall, 4 vols. in five, 2nd ed., 1732 - 47, portrait frontis. to each vol., portrait in vol.2 excised, trimmed and laid on later paper, title pages printed in red & black, forty-five engraved plates (including 2 folding), eight folding eng. tables, twenty-four folding engraved maps and fifty eng. folding city plans, occ. offsetting, later end papers, book plate of Rev. J.G.H.Stamper, near contemp. panelled calf, rebacked and corners repaired, rubbed at extrems., folio (5)
Camden (William). Britannia: or a Chorographical Description of the Flourishing Kingdoms of England, Scotland and Ireland and the Islands Adjacent; from the Earliest Antiquity......., Enlarged by the Latest Discoveries by Richard Gough, 4 vols. 2nd. ed., pub. John Stockdale, 1806, eng. portrait frontis., letterpress title and addn. half title to each vol., 100 b & w engraved plts. (including eight folding), one folding table, fifty folding maps with contemp. hand colouring and seven uncoloured maps (including one folding), occ. engs. to text throughout, very occ. spotting, some light overall toning to some maps, armorial book plate of Rigby to each vol., contemp. diced calf, skillfully rebacked, rubbed at extrems., folio. Chubb. CCLXXII. (4)
Risdon (Tristram). The Chorographical Description or Survey of the County of Devon, Printed from a Genuine Copy of the Original Manuscript; With Considerable Additions, 1st. ed., pub. Rees and Curtis, Plymouth, 1811, title page and dedication, large paper copy limited to fifty copies, near contemp. manuscript owners signature to first end paper, book plate of Walter Harold Wilkin to front paste down, later half calf but retaining orig. gilt dec. spine, 4to, together with Jenkins (Alexander), The History and Description of the City of Exeter and its Environs, Ancient and Modern, Civil and Ecclesiastical....., pub. P.Hedgeland, Exeter, 1806,etched topographical frontis., title page with some offsetting, double page map of Exeter by Baker, eight uncoloured eng. plts. and two eng. maps, slight spotting throughout, large paper copy, a.e.g., contemp. diced calf with skillfully rebacked gilt dec. spine, 4to, with Prince (John), Danmonii Orientales Illustres: or The Worthies of Devon....., pub. Rees and Curtis, Plymouth, 1810,portrait frontis. and title page toned and spotted, five further eng. portraits and five eng. plts. of coats of arms, some spotting and slight offsetting throughout, new end papers, later half calf with contrasting morocco label to spine, 4to (3)
Braithwaite (Cecil). Fishing Vignettes being extracts from a diary and other fragments, 1875 to 1922, [1923], b&w plts. after photos, t.e.g., remainder untrimmed, orig. half black morocco, a little rubbed, 8vo, limited edition on handmade paper, this copy numbered 34 from an unspecified total, together with Henderson (William), My Life as an Angler, 1st ed., 1879, woodburytype b&w photo portrait of the author, b&w wood eng. illusts., minor spotting to first and last leaves, orig. green cloth gilt, sl. rubbed to extrems. (generally in good condition), plus Cadman (Henry), Harry Druidale, Fisherman, from Manxland to England, 1st ed., 1898, b&w plts. after photos, contemp. ownership inscription to verso of frontispiece (now faded), and one or two old oval inkstamps partly faded, orig. blue cloth gilt, very sl. rubbed (generally in good condition), and three others angling interest (J. J. Armistead, An Angler’s Paradise and How to Obtain It, 1895, Alfred W. Rees, Ianto The Fisherman and Other Sketches of Country Life, 1st ed., 1904 & Joseph T. Lea, Fishing Reminiscences, Kidderminster, 1892), all 8vo (1)
Evelyn (John). Silva: Or a Discourse of Forest-Trees, and the Propagation of Timber in his Majesty’s Dominions...., pub. York, Edinburgh & London, 1776, engraved portrait frontis. after F.Bartolozzi, title page, dedication and preface, forty b & w engraved plates (including 1 folding) and one folding eng. table, index bound at rear, slight spotting and offsetting throughout, bound with Terra: A Philosophical Discourse of Earth Relating to the Culture and Improvement of it for Vegetation and the Propogation of Plants, as it was Presented to the Royal Society, pub. York, 1787,title page, one aqua. plt. printed in sepia and one folding eng. table, advertisement bound in at rear, later half calf, gilt dec. spine, retaining contemp. marbled boards, 4to (1)
Circle of Angelica Kaufmann [1741-1807] An Allegory of Autumn; a lady holding a string of fruit in one hand and a bowl of apples standing by a large urn in a garden oil on canvas 76 x 59cm. Provenance: A Glasgow loan exhibition label verso, also a label inscribed ‘Glasgow Loan Exhibition in aid of The Royal Infirmary, lent by .....worth, No.7, Title of Picture, Portrait of a C......., artist name Angelica Kaufman’
Colonel Edmund Gilling Hallewell [1822-1869] Niagara Falls with the old Terrapin Tower and Horseshoe Falls signed bottom right watercolour over pencil heightened with white 23.5 x 34cm, together with two other watercolours [3] Colonel Edmund Gilling Hallewell (1822-1869) was a career soldier, joining the 20th Regiment of Foot as a young ensign in 1839. He served with distinction in the Crimea, where he was Deputy Acting Quartermaster General of the Light Division at the battles of Alma, Inkerman and Sebastopol, and it was during the Crimean campaign that he became acquainted with the photographer, Roger Fenton, and is the subject of no less than four of Fenton’s tableaux of camp life. Hallewell was by this time a noted amateur artist, mainly of topographical subjects [see lots 378 and 379]. As Fenton’s early training was as an artist, the two were no doubt drawn together by their mutual interests, remaining in contact after the Crimean campaign, when Hallewell, by then a lieutenant colonel, was appointed Deputy Quartermaster General in Malta. That he maintained his interest in photography is manifest from the album offered here, and while on home leave in 1860, when he was confirmed as full colonel, he records in his diary (see lot 383) “I went to see the Fentons, he gave me some Photographs. He is also going to do the Photo from my mother’s portrait, which I left with him.” Fenton fulfilled his promise and Hallewell later records that on his return to Malta he sent him a case of oranges in gratitude. It is believed that the images of Bolton Abbey included in this album may have been the gift of Roger Fenton to Col. Hallewell.
Colonel Edmund Gilling Hallewell’s Photographic Album A mixed photographic album of the 1850s and 1860s, elephant folio, lacking front board and some leaves. Notable images include Colonel Hallewell DCMG, Malta, 1863. Portrait in full dress uniform. Titled in pencil below the image. Albumen print, 19.8 x 15.7cm (illustrated page 89). Sir George Brown and a portion of the Light Division Staff, a nine-man group portrait in civilian attire. (A soldier since 1806, Brown commanded the Light Division throughout the Crimean War). Albumen print, 24 x 29.5cm. (illustrated opposite). Bolton Abbey, the ruins of the cloister. An untitled large-scale salt print 26.5 x 37.5cm., from a paper negative (illustrated opposite). Near Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 18 x 25.5cm. The Strid, Bolton. Titled in pencil below the image. Salt print, 20.8 x 29cm. At Bolton Abbey, a woodland scene. Titled in pencil below the image. Salt print, 24 x 19cm. Gibraltar General view of town. Titled in pencil below the image. 2-plate panorama 20 x 45.5cm., Albumen prints. At Bolton Abbey, Yorks. Titled in pencil below the image. Salt print, 26 x 36.5cm (illustrated opposite). Bolton Abbey, Yorks, ruins of the priory. Titled in pencil below the image. Albumen print, 26.5 x 35.5cm. into rounded corners (illustrated opposite). Road at the back of the Hall, Bolton. Titled in pencil below the image. Albumen print, 29 x 36 cm., into arched corners (illustrated opposite). The album also contains over 120 other mainly albumen prints, but including a small number of salt prints (including further images of Bolton Abbey and its environs), varying sizes up to 30 x 24cm. Assorted images by amateur and commercial photographers, including Francis Bedford and James Robertson; subject matter being a variety of topographical, portrait and other subjects, (including Robertson: the Crimean war) and various locations in UK, Malta, Gibraltar and the Mediterranean. In addition, approximately 200 cartes de visite of British and European royalty, family, topographical, army officers various, Crimean war generals, etc., and a rare image of a white- bearded Roger Fenton c.1865. For a variant of this portrait by John Eastham of Manchester see All the Mighty World, The Photographs of Roger Fenton 1852-1860, Yale University Press, 2004, p.30.
19TH CENTURY FRENCH GILT BRONZE PORCELAIN MOUNTED CLOCK GARNITURE, the clock with urn shaped finial, and overall decorated with leaves, birds and swags with painted porcelain portrait panel of two figures in a landscape flanked by two porcelain painted columns, the porcelain face painted with flowers and Roman numerals. French brass drum movement strikes on one bell together with two metal mounted porcelain urn shaped supporters, decorated with birds amongst flowers and cottages in landscapes. All with gilded wooden bases and under glass domes on ebonized metal plinths. The clock 17" High.
Renee De Mirmont (French, late 19th/early 20th century) - 'Portrait of a Lady' (inscribed verso 'believed to be Evelyn Baker at about the time of her marriage to Howard St George'), watercolour heightened with white, signed, bears label verso for Henry Donn, Fine Art Dealers, Whitefield, Manchester, inset moulded gilt frame, 16x11cm

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