WAUGH, Evelyn (1903-66). Brideshead Revisited, London, 1945, 8vo, original pink cloth, dust-jacket (torn with some loss at corners). FIRST EDITION.WAUGH, Evelyn (1903-66). Brideshead Revisited. The Sacred and Profane Memories of Captain Charles Ryder. A Novel. London: Chapman & Hall, 1945. 8vo (185 x 120mm). Half title (some leaves with short tears at upper margin, not affecting text, some extremely faint spotting with the occasional small darker stains). Original pink cloth, the spine lettered and decorated in gilt (lower corners a little bumped, extremities very lightly rubbed), dust-jacket (jacket torn with loss at corners including a few letters of the publisher's name, some other fraying, creasing and staining). Provenance: From the Collection of Professor Jonathan Brostoff, D.M., D.Sc., FRCP, FRCPath (1934-2020); Beth Mills (signature on front free endpaper). FIRST EDITION of what the author often referred to as his magnum opus. Of all his novels, it was certainly the one which most captured the public's imagination and even entered the national psyche due in a large part to the lavish and critically-acclaimed Granada Television adaptation of 1981. "The first print run of Brideshead sold out within a few days at the end of May 1945. It was three weeks since V.E. Day. The streets had been full of crowds and bunting, the bells had rung for the first time in five years. But long-pent tension and and grief had not dissolved and, in a climate of compulsory cheerfulness, Waugh's novel of extravagant melancholy tapped some of the currents of feeling that ran beneath the celebrations" (Harris, Romantic Moderns (2010), p.272). "I have read Brideshead Revisited at least a dozen times and have never failed to be charmed and moved, even to tears. It is, appropriately, a seductive book ... This is one of those disturbing novels in which the faults do not matter ... Apart from its literary qualities, it breathes a theological certainty which, if a little chic, is a world away from the confusion of Greeneland and the squalor of the Irish. It is a novel altogether readable and damnably magical" (Burgess Ninety-Nine Novels (1984), p.35). John Howard Wilson Evelyn Waugh: A Literary Biography (1996) p.108. RARE.
315251 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
315251 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
315251 Los(e)/Seite
![CHURCHILL, Winston (1874-1965). The Collected Works [and] The Collected Essays, London, 1973-76, 38 volumes, large 8vo, plat](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/d012246b-7ed9-4bbf-a17c-b03000b24eb7/468x382.jpg)
CHURCHILL, Winston (1874-1965). The Collected Works [and] The Collected Essays, London, 1973-76, 38 volumes, large 8vo, plates and maps, original armorial vellum (lacking the slipcases). A COMPLETE SET OF "THE CENTENARY EDITION". Limited edition. (38)CHURCHILL, Winston Spencer (1874-1965). The Collected Works [and] The Collected Essays, edited by Frederick Woods, Tom Hartman and Herbert Rees. London: Library of Imperial History in Association with Charles Scribner's Sons and the Hamlyn Publishing Group, 1973-76. 38 volumes, large 8vo (233 x 150mm). Plates and maps. Original publisher's full armorial vellum gilt, gilt edges, marbled endpapers, green silk markers (without the slipcases, [?]as here issued). A COMPLETE SET OF "THE CENTENARY EDITION", including the four volumes of The Collected Essays which are sometimes lacking. Limited edition, but issued without the numbered limitation bookplates. "The Collection is issued as a limited edition and contains all 50 of Churchill's published titled, arranged in 34 [sic] volumes. Only 2,000 sets have been authorised for the British Empire and Commonwealth, excluding Canada, and a further 1,000 sets for the United States of America and Canada. The registered number of the set to which this volume belongs will be found on the inside front cover [not present in this set; see note above]. No volume of the complete edition has been sold other than as part of the whole, and in no circumstances can the total number of sets available anywhere in the world exceed the number 3,000" (from the preface to each vol.). Cohen A286: "... the print run never exceeded 2000 copies, and only 1750 sets were ever published"; Woods A146. (38)
![[PATMORE, Coventry (1823-96)]. The Unknown Eros and Other Odes, London, 1877, 8vo, original buckram (faded), with a one-page](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/9b6613ed-3b12-4e7f-9633-b03000b1242a/468x382.jpg)
[PATMORE, Coventry (1823-96)]. The Unknown Eros and Other Odes, London, 1877, 8vo, original buckram (faded), with a one-page autograph letter from the author tipped-in at the front, old bookplate of Anthony Eden. With 5 other books by Patmore. (6)[PATMORE, Coventry (1823-96)]. The Unknown Eros and Other Odes. Odes I. - XXXI. London: George Bell and Sons, 1877. 8vo (190 x 145mm). Half title (single spot to half title and title, not affecting letters, some very light marginal spotting and staining). Original tan buckram, the covers ruled in blind, spine label (wide strip faded at the head of the upper cover, some other fading, some minor erosion to the head and foot of spine, label lightly rubbed). Provenance: Anthony Eden, 1st Earl of Avon (old armorial bookplate); Richard Garnett (old signature on title). FIRST EDITION of this collection of odes which includes, arguably, the author's most famous poem "The Toys" (Ode XI). Tipped-in at the front is a one-page autograph letter from the author, headed "Hastings Sept. 19, 1877," stating, "Sir, In reply to your request I beg to say that you are at liberty to print the three odes you mention in your proposed selection, and to affix my name to them, I am, Sir, Yours faithfully, C. Patmore." The letter's recipient ("Mr D. Adams"), whose identity we have been unable to establish, is added at the foot of the letter. The signature on the title page is almost certainly that of Richard Garnett (1805-1906), biographer and poet, who edited Coventry Patmore's Florilegium Amantis in 1879. "The Unknown Eros (1877) was received with much less enthusiasm than his earlier work. It contains odes marked by an erotic mysticism, but also some more autobiographical pieces (now the most anthologised), including 'The Azalea', 'Departure', 'A Farewell', directly inspired by Emily's [his first wife's] illness and death, and 'The Toys', inspired by a moment of anger and grief aroused by one of his sons" (The Oxford Companion to English Literature, ed. M. Drabble, 1985). With 5 other books by the same author, namely The Angel in the House. The Betrothal and [The Espousals] (London, 1854-56, Books I - II bound in 2 vols.), Faithful for Ever (London, 1860), The Victories of Love (London, 1863, the bookplate [accidentally] pasted in upside down at the end) and The Rod, the Root, and the Flower (London, 1895), all FIRST EDITIONS attractively bound in uniform full red morocco gilt by Roger de Coverly & Sons, each with Anthony Eden's old armorial bookplate. (6)
![GRIFFITH, Elizabeth ([?]1727-93). The Morality of Shakespeare's Drama Illustrated, London, 1775, 8vo, engraved portrait fron](https://cdn.globalauctionplatform.com/9f62f50f-e3e9-488b-bedd-b02f00c8e0e3/b7ae4009-bace-453d-a8ce-b03000b62884/468x382.jpg)
GRIFFITH, Elizabeth ([?]1727-93). The Morality of Shakespeare's Drama Illustrated, London, 1775, 8vo, engraved portrait frontispiece of Shakespeare, contemporary calf (worn). FIRST EDITION. With another related work in 2 vols. (3)GRIFFITH, Elizabeth ([?]1727-93). The Morality of Shakespeare's Drama Illustrated. London: Printed for T. Cadell, 1775. 8vo (214 x 125mm). Engraved portrait frontispiece of Shakespeare, woodcut typographical ornament on title, printed dedication to David Garrick, one-page of errata on the verso of the last page of the preface (portrait almost detached, some very light spotting and staining). Contemporary calf, spine gilt (worn, head of spine torn, some erosion to foot of spine, lacking lettering-piece, rubbed). Provenance: Robert Prescott Esq. (old armorial bookplate). FIRST EDITION of this pioneering work of Shakespearean criticism - in part a rebuttal of Voltaire's "single discordant voice" (see the author's Preface) - and, arguably, the first to establish Shakespeare's status as "National Poet." Of particular interest are the author's comments on "King Lear", comparing Shakespeare's original tragedy and Nahum Tate's (now infamous) re-working of it in 1681 which remained the preferred version among audiences and critics even into the first half of the 19th-century. Griffith's printed introduction to the play, on p.351 (preserving her original eccentric punctuation), states: "It may be necessary to many Readers to premise, that the Piece here under consideration, is the Play as originally written by Shakespeare, lest the bearing it in mind as altered by Tate, and generally acted so, might occasion confusion or mistakes, in the following notes and observations. The Critics are divided in their opinions between the original and the altered copy. Some prefer the first, as a more general representation of human life, where fraud too often succeeds, and innocence suffers: others prefer the latter, as a more general description of what life should be ... However, if pity and terror, as the Critics say, are the principal objects of Tragedy, surely no Play that ever was written can possibly answer both these ends better than this [i.e. the original] performance, as it stands in the present text." The author's stance may have been influential in eventually restoring Shakespeare's original play to the stage and to print. RARE. With [Charlotte Lennox's] Shakespear Illustrated: or the Novels and Histories On which the Plays of Shakespear Are Founded, Collected and Translated from the Original Authors. With Critical Remarks. In Two Volumes. By the Author of the Female Quixote (London, 1753, 2 vols., 12mo, contemporary calf, worn, upper cover of vol. one detached. A supplementary third volume, not present here and not called for on the title page of vol. one (where it states "In Two Volumes"), appeared in 1755). (3)
LIE, Trygve (1896-1968). In The Cause of Peace. Seven Years with the United Nations, New York, 1954, large 8vo, original cloth. FIRST EDITION, IMPORTANT PRESENTATION COPY, inscribed by the author to Anthony Eden.LIE, Trygve (1896-1968). In the Cause of Peace. Seven Years with the United Nations. New York: The Macmillan Company, 1954. Large 8vo (210 x 140mm). Half title, half tone frontispiece portrait of the author. Original two-tone cloth, spine lettered in white (without the dust-jacket). Provenance: Anthony Eden, 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, IMPORTANT PRESENTATION COPY, the front free endpaper inscribed, "H. E. Mr Anthony Eden. Dear Mr Eden, I hope you or your charming wife will get a chance to read the book. My [?]desire is that it will serve our common ideas and cause, Yours Trygve Lie, [illegible Norwegian place-name], Norway, August 9th, 1954." The author was the Norwegian Foreign Minister during the Norwegian Government's exile in London from 1940-45 and, from 1946 to 1952, the first Secretary-General of the United Nations. On p.11 of the book, the author describes (in print) his relationship with Anthony Eden and the high esteem in which he held him: "During the war I had formed a warm friendship with Anthony Eden. I had known and admired his courageous stand against the prevailing mood of his own Conservative party in the later 1920's, his opposition to appeasement and effort to revitalize the League of Nations and make it a real force for collective security against aggression before it was too late ... Now he was out of office as Foreign Secretary, and I regarded him as an ideal choice for Secretary-General [i.e. of the United Nations]. I am not sure that he would have accepted, but he did not object when I told him I should like to sound out the Labor[sic] Government and Moscow."
Potter (Beatrix) The Tale of Jemima Puddle-Duck, first edition, first or second printing, signed presentation inscription from the author to her governess "for Miss Hammond with love from Beatrix Potter Sept 30th 08" on pictorial endpapers, colour frontispiece, plain title vignette and 26 colour plates, upper hinge broken but holding firm, original grey boards with mounted colour illustration, small chip to spine tail not affecting text, very light rubbing to spine head, [Linder p.427; Quinby 14], 16mo, 1908.⁂ A superb association copy dedicated to Potter's favourite governess. Miss Flora "Florrie" Hammond was Potter's first governess, hired when her younger brother Walter Bertram was born. Potter didn't attend school and had very little contact with children her own age, and Miss Hammond would thus have been a pivotal early influence, teaching her reading, writing and arithmetic until she was 17. Moreover she encouraged her artistic pursuits - it was Miss Hammond who suggested to her parents that an art tutor was hired to give formal painting and drawing lessons. After leaving the family Beatrix and Miss Hammond continued to correspond with occasional visits to one another. The work is inscribed and dated in the first print window (August-September 1908), denoting it to be a possible first printing.
Royal wedding.- Stoop (Dirk, circa 1610-1686) Six festival prints illustrating Catherine of Braganza's voyage from Portugal to England on the eve of her marriage to Charles II in 1662, lacking the final and seventh print in the series, engravings, early impressions with burr printing in places, each platemark approx.190 x 565 mm (7 5/8 x 22 1/4 in), two with small margins, the others trimmed to the platemark or just within, old central folds with two splitting but reinforced verso, some scattered spotting and minor browning, light surface dirt, all tipped at the left corners onto support, each support verso with purple ink stamp 'Zentralstelle für Denkmalschutz', unframed, 1662Provenance:[Plate 1 only] Johann Peter Maria Cerroni (1753-1826) [Lugt 1432]Olga Raggio (art historian and curator with the Metropolitan Museum of Art, New York, 1926-2009)Gifted to the present owner⁂ Exceptionally scarce on the open market, with no auction records of the complete suite or individual plates that we can trace in the last 30 years. The British Museum appear to hold a complete set of seven, however Rudolph Weigel notes in the Supplement au Peintre-Graveur de Bartsch that 'this suite is so rare that there are barely four copies that are complete'.Prints included illustrate:1) The entrance of the Lord Ambassador Montagu into the City of Lisbonne the 28 day of March, 16622) The publique proceeding of the Queenes Matie, of Great Britaine through ye Citty of Lisbone ye 20th day of Aprill, 16623) The manner how her Matie Dona Catherina imbarketh from Lisbon for England4) The Duke of York's meeting with ye Royall Navy after it came into the Channell5) The manner of the Queenes Maties. landing at Portsmouth, &c.6) Ye coming of ye King's Matie and ye Queene from Portsmouth to Hampton Court
Thompson (G., publisher) The World Turned Upside-Down or The Folly of Man, popular print representing the world upside down in sixteen compartments, with animals behaving like men, flying fishes, women adopting the role of men and the earth above the sky, engraving, on wove paper without watermark, platemark 370 x 465 mm (14 1/2 x 18 1/4 in), old vertical fold with splitting repaired verso, scattered spotting and surface dirt, unframed, [circa 1790 or slightly later]⁂ Scarce at auction. The theme of the "inverted world", where horses joust while riding men and oxen become butchers, was first seen in the late 16th century and continued will into the 18th and 19th century. We can trace only one other copy, held in the British Museum, London.
Chagall (Marc) Lithographe I, first edition, 12 lithographs and illustrations by Chagall, original cloth, dust-jacket, light creases and nicks to edges, otherwise excellent, 4to, Paris, André Sauret, 1960.⁂ For Chagall, the medium of lithography did not come easily. Printer Fernand Mourlot ran a lithography press where Braque, Matisse, Picasso, Miró and Chagall came to have their designs printed and to learn about this still nascent print-making process. "For many long months Chagall came and worked tirelessly, and his dissatisfaction allowed him to have only a few of his first attempts printed" (Sorlier, 45). This is the scarce first volume of the 6 vol. set which were issued separately over a period of 26 years.
δ Drury (Paul) Hayling Island (Barn with cart), etching, an excellent impression on antique laid paper, signed and dated in pencil, further inscribed underneath 'Personal print 2/6. Old Paper 1830', platemark 87 x 180 mm (3 3/8 x 7 in), sheet 164 x 235 mm (6 3/8 x 9 1/4 in), unframed, 1925; together with a good impression of 'The Family', etching, signed in pencil, platemark 144 x 178 mm (5 5/8 x 7 in), wide margins, unframed, circa 1950 (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
![Gill (Eric) Collection of 14 wood-engravings, including a first state impression of 'The Deposition' before the halo [P. 289]](https://cdn.globalauctionplatform.com/175e1d27-5155-4863-91f2-b02a010cc1cf/0eb98437-b77b-4374-9a60-b02a011a4a23/468x382.jpg)
Gill (Eric) Collection of 14 wood-engravings, including a first state impression of 'The Deposition' before the halo [P. 289], three impressions of 'Venus' including one proof before correction to nose [P. 290], proof impressions of 'Adam' and 'Eve' printed on the same sheet but separated [P. 265 and 266], 'Woman with Balloons' signed in pencil and numbered '16/25' [P. 387], a later impression of 'The Bee Sting' [P. 292], six variant impressions of an unidentified print of a couple making love showing penetration, one initialled in pencil and numbered '3/7' and with an encircled number 2, all on various papers, most with good margins, all unframed, circa 1923-1924 (14)
Eragny Press.- Rust (Margaret) The Queen of the Fishes. An Adaptation in English of a Fairy Tale of Valois, number 71 of 150 copies signed with the artist/printer's monogram, printed in red, grey and gold on Japanese handmade paper, wood-engraved illustrations (5 in colour) and borders designed and engraved by Lucien Pissarro, one full-page, with prospectus/order form loosely inserted (a little spotted), engraved Hartshorne bookplate, original limp vellum, gilt floral ornament to upper cover, t.e.g., an excellent copy, 8vo, Eragny Press, 1894.⁂ The charming first publication of the Eragny Press, and the only one not printed in the usual Vale type. "We knew nothing of the art of printing and had to learn it as we went along - which meant that we were faced with endless difficulties. We bought a small hand-press, crown 4to, and started to print this booklet, The Queen of the Fishes, two pages at a time; the gold used in the book was real gold powder...". (Pissarro quoted by Franklin, The Private Presses p.96)
Hong Kong.- Evans (George H.) Hongkong Volunteer Corps. The Camp, 1901, 14 vintage photographic prints, numbered on mount in pencil, scattered faint spotting, cracked upper hinge, original cloth-backed boards, photographic print to upper cover, previous owner's pencil signature, a little rubbed, slight bumping to corners and extremities, oblong 8vo, Hong Kong, 1901.
Chess.- Friedmann (David) Koepfe beruehmter Schachmeister, one of 50 copies, 12 lithograph portraits only (of 14), each signed in pencil by the artist and within mounts as issued, lithograph vignette title (browned and chipped), limitation leaf and text leaf, all loose as issued in original portfolio, some mounts worn, one badly stained, but portraits generally clean, original vellum-backed decorative boards with title label to upper cover, folio, [?Berlin], c.1923.⁂ It is believed that only 6 sets, including this one, of the original 50 copies survive, at least 2 of which are incomplete and 3 of which are in institutional collections. Friedmann (1893-1980) studied painting with Lovis Corinth and graphic arts with Hermann Struck. He served as a war artist for the Austro-Hungarian army in WW1 and afterwards became a successful portraitist. In 1938 he fled to Prague with his wife and young daughter leaving behind his art collection but in 1941 the family were deported to the Lodz Ghetto in Poland. The gestapo confiscated over 2000 of his drawings, watercolours and oils in Berlin and Prague. He was separated from his family in August 1944, deported to Auschwitz-Birkenau and other concentration camps, survived but tragically his family did not. He became an American citizen in 1960, dropping the second 'n' in his surname and continued producing art and portraits. The subjects of this portfolio are Lasker, Rubinstein, Selesnieff, Bernstein, Tarrasch, Tartakower, Gruenfeld, Bogoljubow, Wolf, Reti, Spielmann and Teichmann, The portraits of Euwe and Walter are missing. Teichmann and Bernstein (whose names are on slips pasted over 2 other original names in the contents list) were not participants in the 1923 Ostrava international tournament on which the idea for the portfolio was first based. Various print-outs of articles and references to the portfolio, including letters from Friedmann's daughter about other copies, are included in the lot.
Genesis Publications.- Kirchherr (Astrid) When We Was Fab, number 369 of 750 copies signed by the author, photographic illustrations, loose print of George Harrison signed by Kichherr verso and on portfolio, together with letter from the publisher and handling gloves, original drop-back box, mint, housed in original publisher's cardboard box, folio, Guildford, Genesis Publications, 2003.
Genesis Publications.- May (Brian), Mick Rock & Roger Taylor. Killer Queen, number 11 of 350 deluxe copies, from an edition of 2500 signed by Brian May, Mick Rock, and Roger Taylor, photographic illustrations, original black and white goatskin, spine gilt, g.e., photographic print of Freddy Mercury signed by Mick Rock loosely inserted into front pocket as issued, original drop-back box, together in original publisher's cardboard box, folio, Guildford, Genesis Publications, 2003.⁂ Scarce with the signed print of Freddy Mercury, not issued with all deluxe edition copies.
Genesis Publications.- Simon (Kate) Bob Marley: Rebel Music, number 145 of 350 deluxe copies signed by Eric Clapton, from an edition of 2000 signed by the author, photographic illustrations, loose photographic print of Marley signed by Kate Simon, original brown morocco with coloured blind-stamped lettering to cover and gilt spine, original sliding silk-screened wooden box, mint, housed in original publisher's cardboard box, folio, Guildford, Genesis Publications, 2004.⁂ Contributors include Junior Marvin, Family Man Barrett, Neville Garrick, Chris Blackwell, Patti Smith, Eric Clapton.
Donaldson (Julia) A Squash and a Squeeze, first edition, illustrations by Axel Scheffler, original pictorial boards, spine faded, otherwise fine, 4to, 1993.⁂ The author's first book, rare in commerce. Due to the infrequency of its appearance in commerce, is likely to have had a very limited print run. It also marks the first collaboration between the author and illustrator, whose partnership would later go on to create The Gruffalo, Stick Man, Zog and Room on the Broom amongst others.
Lewis (C.S.) The Great Divorce, first edition, signed presentation inscription from the author dated June 1946 with 5-stanza autograph poem "The Meteorite" to front free endpaper, original cloth, spine slightly darkened, some light marking to covers, 8vo, 1945.⁂ Lewis' Christian novella, with his allegorical poem "The Meteorite", first published in journal form in 1946. The version of the poem here contains a few differences to those found in print and indicates that Lewis continued to tinker with the poem after publication.
After Heywood Hardy (British 1842-1933) "Mare and Foal" Engraved by Joseph Bishop Pratt (1854-1910), signed by both the artist and engraver in the margin, engraving.94 x 72.5cm (framed 110.5 x 89cm)The print is in good, original condition. The paper has browned in areas across the sheet and there are some spots of foxing and other stains. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
After Rembrandt van Rijn (Dutch 1606-1669) Two figures at a table Signed and dated 1636 in the plate, inscribed in pencil "hand printed by Rae Boer" in the margin, etching.13 x 12cm (framed 47 x 34.5cm)The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
After Frederick Tayler (British 1802-1889) "Weighing The Deer" Engraved by T.L. Atkinson, published April 24th 1856 by Henry Graves & Co. & Thomas McLean, engraving.79 x 104cm (framed 100 x 123cm)The print is in good, original condition. The paper has browned across the sheet and there are numerous stains across the paper together with some spots of foxing and browning. The print is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
*ESME DOROTHEA TINNE (1899-1985) A study of deer in a landscape signed lower left, watercolour, 16.75cm x 31cm (unframed but mounted); together with three further watercolours by various hands and a print depicting various animals sheltering under umbrellas, inspired by a Robert Louis Stevenson poem 'Rain' (5) (all unframed, most mounted)
"Toby Remote Control Electric Train Set" - British made train set circa 1950 comprising simplistic O Gauge curved and straight rails, with 2 x green aluminium Railcars, made to be powered by a battery and includes a camouflage coloured tinplate tunnel - Good to Good Plus for display and comes in a Fair card box with colourfully illustrated label (edges of lid torn). Also included is a wooden Fort with a quantity of Crescent plastic Knights with ramp and drawbridge, unchecked for completeness otherwise Fair, together with a "Train Set" coloured print, professionally framed by Warwick Studios - Good. (3)
Loading...-
315251 Los(e)/Seite