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VIII: Original struck gold Medals by Simon, Lord Protector, c. 1655-8, a struck gold medal by T. Simon, armoured and draped bust left, signed tho:simon:f below, olivervs dei gra reipvb angliæ sco et hib & protector, rev. pax qværitvr bello, lion séjant displaying arms, 39mm, 29.68g (Lessen, BNJ 1977, type 1 and pl. xii, 1, this piece; Nathanson p.25; MI I, 409/45; E 188a). Numerous surface and rim marks and scratches, otherwise about extremely fine with reflective fields, extremely rare and important £10,000-£15,000 --- Provenance: R. Huth Collection, Part II, Sotheby Auction, 8 April 1927, lot 15; SCMB M311, March 1940 (64049); bt Spink 1966. In Simon’s archive there are invoices for five medals and their recipients, namely two English officers and three ambassadors. The officers were Major Daniel Redman (August 1655) and Colonel John Sadler (September 1655); the ambassadors were the Swedish Agent, who would be either Christer Bonde or less likely Peter Coyet (between June and October 1656), James, Duke of Courland, Rudolf von Strauch (July or August 1657) and the Portuguese ambassador, Adelino José Rodrigues de Mello (January 1657/8). In the 17th century it was normal for a ruler to give out precious awards to diplomats in the form of such items as miniature pictures in jewelled mounts, or gold medals and chains, and Cromwell employed both methods. Hence the bust has drapery to give it an imperial look (like the later crown, where Simon, on paper, originally had Oliver in a plain coat, but the Council altered that to a Caesarean image on the coin). There are two enigmas with this important historical, artistic and numismatic medal. The first is the unsuccessful attempt to correlate the surviving examples with the known recipients (BNJ 1977, p.121). Simon’s invoice and a separate petition for payment covers five medals and their weights with chains: Courland was added to the 1657 Simon account also in the same year, but the Portuguese was in a subsequent petition of his on 13 July 1658. So it is possible that there were other separate official requests for medals and payments. We can only rely on the extant paper records, and these five are all that are known. The surviving medals are: 1. Gold. The present specimen. The lettering is absolutely not bifurcated, meaning a collar was used, and there may possibly be evidence of a witness line, but this is not certain for the edge is scored all round. There is certainly no trace of a loop having been removed. 2. Gold. British Museum, illustrated by Henfrey (pl. i, 6). No discernible witness line and apparently flat letter bases. 3. Gold. Montagu Collection (lot 234), present location unknown. With loop and ring and bifurcated letters. 4. Gold. Murdoch Collection (lot 152), present location also unknown. With bifurcated letters but no loop. 5. Silver. British Museum, ex Hawkins. Bifurcated letters and, with its badly cracked reverse, would have been made by Simon for the record when it was too late to do anything further. Had it been necessary, he could have made a new reverse die. It was made without a collar, which is somewhat surprising, because a collar could have prevented a broken die from completely destroying itself. It is possible that the Montagu and Murdoch specimens are one and the same, if mention of the loop and ring was omitted by the Murdoch cataloguer. The Montagu specimen sold to Spink and the Murdoch to Whelan for £9 more. The Murdoch catalogue annotated by Jacques Schulman implies that the medal was in fact ex Montagu, so there may only be three examples with just the Montagu/Murdoch medal being untraced. The second enigma is the problem of how these medals were made, what the dies looked like and how the chains were handled, for all had chains, which was their main monetary value. Assuming that the two gold medals known today were made with collars, as must have been the case with no fish-tail letters, then the dies had to be circular with no integral loop, as was true for many of Simon’s oval medals on round dies. The Montagu or Murdoch examples with bifurcated letters would simply have been struck without using collars, and that is acceptable. But what about the Montagu with a loop? This loop does not appear integral to the dies, and could simply have been gold soldered on - we do not know. Regardless of all this, the question remains – how were the expensive chains attached? Always, other Simon medals had loops and rings and the chains threaded through the ring (for example the 1653-4 naval rewards). The missing Montagu specimen might tell us if this bifurcated striking without a collar does or does not have an integral loop in the die(s). A separate surround mount with ring could have been supplied with the medal to take the chains, for the chains most certainly would not have been given with the medal with no method of attachment. Thus the type of dies, the question of bifurcation or not, and the ring to hold the chains, all tie in to these unanswered questions. This medal is sometimes incorrectly called an ‘Inauguration Medal’, which it was not. The inauguration of the Lord Protector was in December 1653, but no medal was made for the occasion or later; the term Lord Protector medal, too, is simply a modern composed designation

IX: Original Naval Rewards (and Electrotypes), Naval Reward, 1650, a gilt electrotype of the gold medal, unsigned, from the same dies as previous, but all within a wide wreath border, 58 x 48mm, 50.04g (cf. Platt II, p.335, type A; cf. MI I, 390/11; cf. MH 36). Very fine,exceptional with the wreath border; with clip and ring for suspension £100-£150 --- Provenance: A.P. Adams Collection, Part I, Glendining Auction, 16 March 1989, lot 125. While this is not considered to be by Simon, it is not clear who else was available to make a Commonwealth medal at the time. The original of this struck medal, issued to Capt. Wyard, is known only in three examples (British Museum, Royal Collection, Windsor and the Hermitage Museum, St Petersburg), all in silver, and none with a border, so what the master was for this electrotype is unknown. The Tyssen example was said to be in gold, but was actually gilt and no mention was made of a border

X: Personal Medals by the Simon Brothers, John Campbell, Earl of Loudoun, 1645, a cast silver medal by A. Simon, bust left wearing skull-cap, signed a s on truncation, no legend, rev. iohan com lovdovn svmmvs scotiæ cancellarivs in five lines, 36mm, 13.08g (Platt II, p.63, type A; MI I, 321/157; E 148a, and pl. 17, this piece illustrated). Surface crack by front of skull-cap, otherwise very fine and very rare £800-£1,000 --- Provenance: C. Humphris Collection, Morton & Eden Auction 4, 21 May 2003, lot 1153; C. Foley Collection, Woolley & Wallis Auction (Salisbury), 16 October 2014, lot 276. John Campbell, 1st Earl of Loudoun (1598-1662), Covenanter, arrested for treason in 1640 but subsequently pardoned, was one of the Scottish commissioners who sought to mediate between the two sides in the Civil War, ultimately without success because King Charles refused to consider escaping the country while under the protection of those commissioners

X: Personal Medals by the Simon Brothers, Earl of Southampton, 1664, a cast silver-gilt medal by A. and T. Simon, bust left in cap and gown, no legend, rev. thomas comes southamptoniæ svmmvs angliæ thesavrarivs in four lines, date below, 43mm, 20.53g (Platt II, pp.326-7, type A; MI I, 502/137; E 227a). Good very fine, very rare £1,000-£1,500 --- Provenance: P. Spence Collection, Sotheby, 31 March-1 April 1947, lot 372; O.F. Parsons Collection, Baldwin Auction 12, 27 May 1997, lot 982 [from Baldwin]. Thomas Wriothesley, 4th Earl of Southampton (1607-67), staunch supporter of Charles I who received permission to hold a vigil by Charles’ body in Banqueting House, Whitehall, on the night of his death, was appointed Lord High Treasurer in September 1660

XII: Machine-made Coins of Charles II, Crown, undated [1663], a uniface trial striking on thin silver of the obv. die of the Petition and Reddite Crowns by T. Simon, laureate bust right, the details minutely and delicately stippled and shaded, signed simon in script below, carolvs ii dei gra, mounted on a later (19th century?) silver disc, engraved (A proof in thin silver of the finest coin ever engraved in England by T. Simon), edge plain, 16.41g/253.4gr (Lessen, BNJ 2005, pp.102-4 and pl.7, 7, this piece; L & S 9; cf. ESC 435 [–]). Extremely fine but slightly crimped, UNIQUE; of considerable numismatic importance £4,000-£5,000 --- Provenance: T. Wakley Collection, Sotheby Auction, 6-8 December 1909, lot 157; Helen Farquhar Collection, Glendining Auction, 25 April 1955, lot 191; A Collection of English Milled Silver Coins, Glendining Auction, 4 October 1962, lot 14; F. Willis Collection, Glendining Auction, 4 March 1981, lot 148; H.E. Manville Collection, Spink Auction 140, 16 November 1999, lot 595; L.M. LaRivière Collection, Spink Auction 166, 12 November 2003, lot 26. This is believed to be the earliest striking from this famous die, with no trace of a flaw visible by the c of carolvs. Since the Farquhar sale this piece has been erroneously catalogued as a cliché, which it patently is not. Regrettably, the black shagreen case, in which it and other contemporary patterns was housed at the time of the Wakley and Farquhar sales, no longer survives. Early in 1662 Simon submitted drawings for the new coinage, as he had been instructed to do. However, he failed to follow these up with a pattern, although he may have made the new obverse drawing later that year. He may have made the crowns in 1663 (as they are dated) or conceivably even later, intending them to showcase his talent and as a way of registering his annoyance at the turn of events. He still called it his 'tryall piece', as in the original order. He seems to have retained some hope that he could still win the order to strike crowns long after the competition with the Roettiers had made such hopes illusory. In point of fact his coins must have been produced after 8 April 1663, when the new shield types were specified for the reverse, unless he had anticipated the required change. His final accounting of c. April 1665 did not include the crown, but it was specified on a later supplemental sheet. That, and all the related papers which have survived, specify a crown and make it clear that there had been an official warrant for it, that Simon had turned the dies in to the Mint (where they were formally receipted) and that years later the bill was allowed and his widow paid for the work. This would appear sufficient to justify the claim that these crown dies resulted from the official order of 7 February 1662/3 to make patterns, even though they were in fact produced too late to affect the decision as to who should strike the currency issue (BNJ 2005, p.106)

XII: Machine-made Coins of Charles II, Pattern ‘Reddite’ Crown, 1663, by T. Simon, in pewter, laureate bust right, signed simon in script below, carolvs ii dei gra, rev. mag bri fr et hib rex, crowned cruciform shields, conjoined Cs in angles, Order of the Garter in centre, edge inscribed reddite qvæ cæsaris cæsari & ct post, followed by clouds with sun emerging, 21.46g/331.6gr/12h (Lessen, BNJ 2005, pl. 7, 5 and 8, this coin; L & S 7A; ESC 432 [74]). A few light obverse surface marks, otherwise about extremely fine, excessively rare £10,000-£15,000 --- Provenance: S.S. Spiller Collection; N. Asherson Collection, Spink Auction 6, 10 October 1979, lot 169 [from Spink May 1956]; SNC November 1997 (5616); L.M. LaRivière Collection, Spink Auction 166, 12 November 2003, lot 24. That the production of the new coinage by the Roettiers was well under way by early 1663 (NS) is clear from the following entry in Samuel Pepys’ diary for 9 March 1662/3: ‘There dined with us today Mr. Slingsby of the Mint, who showed us all the new pieces, both gold and silver (examples of them all), that are made for the King by Blondeaus way, and compared them with those made for Oliver – the pictures of the latter made by Symons, and of the King by one Rotyr, a German, I think, that dined with us also. He extolls these of Rotyrs above the others; and endeed, I think they are the better, because the sweeter of the two; but upon my word, those of the Protectors are more like in my mind then the King's - but both very well worth seeing. The Crownes of Cromwell's are now sold it seems for 25s and 30s. a-piece.’ (BNJ 2005, p.95, footnote 23)

XV: Dutch and French Medals, Cromwell and Tommaso Aniello, c. 1665, a cast hollow silver medal or plaquettepenning, unsigned (by O. (Wouter) Muller [?]), bust of Cromwell three-quarters right, supporters at sides holding wreath above his head, olivar cromwel protector v engel schotl yrlan 1658 in cartouche below, rev. bust of Aniello three-quarters right, two fishermen at sides holding coronet above his head, masaniello visschr en coninck v napel 1647 in cartouche below, 71mm, 78.70g (Platt I, p.345, type A; MI I, 432/78, Henfrey pl. v, 1; E 198). Made of two cast repoussé plates joined by a rim, very fine and toned, rare £1,200-£1,500 --- Provenance: T.O. Mabbott Collection, Part IV, Hans Schulman Auction (New York), 26-7 May 1970, lot 1177. In the style of many Dutch medals of the period, especially naval medals. Tommaso Aniello (1620-47), aka Masaniello, a fisherman from Naples with a reputation for smuggling, was chosen to lead a protest against a new tax on fruit, levied by the Neapolitan nobility in July 1647 to raise money to pay the tribute demanded by Spain. The insurrection against the nobles was successful, and Masaniello’s mob of almost 1,000 citizens ransacked the armouries and opened the city’s prisons. Despite reaching an agreement with the viceroy of Naples, the Duke of Arcos, who confirmed upon him the title ‘captain-general of the Neapolitan people’ on 13 July 1647, Masaniello continued to sir unrest and was arrested three days later, only to be assassinated by a group of grain merchants said to be in the pay of the nobles. His head was cut off and brought by a band of roughs to the viceroy and his body buried outside the city. But the next day the populace, angered by the alteration of the measures for weighing bread, repented; his body was dug up and given a splendid funeral, at which the viceroy himself was represented. Masaniello shared no obvious similarities to Oliver Cromwell, other than a rapid rise to power at about the same time (Platt I, p.347)

XV: Dutch and French Medals, Subservience of France and Spain, after 1680 (?), a struck silver medal, unsigned, laureate bust of Cromwell left, olivar d g r p ang sco hiberniæ protector, rev. retire toy l’honnevr appartiet av roy mon maister, in exergue, lovis le grand, Britannia seated left, Cromwell kneeling with his head in her lap, presenting his buttocks to the French and Spanish ambassadors who wait to pay him homage, 46mm, 42.75g (Platt I, p.351; MI I, 420/60; v. Loon II, 395). Collector’s number painted on edge, otherwise about extremely fine and toned, very rare £600-£800 --- Provenance: SCMB April 1952 (M 683); R.E. Ockenden Collection; bt R.E.O. The Dutch medallist has not been identified. The reverse refers to the negotiations of 1655, but the armoured bust is taken from the 1658 funeral medal. It is generally agreed that the figure of Britannia was not revived before c. 1672, so this medal must have been struck after that date. The reverse legend quotes the French ambassador as he pushes his Spanish counterpart aside: ‘Get back. The honour belongs to the King, my master, Louis the Great’

XVI: Later Cromwell Medals, Cromwell and Elizabeth Cleypole, a cast, chased and engraved oval silver medal, probably 18th century, unsigned, bust of Cromwell left, as on the Dunbar medal, olivar cromwell ang sco hib protect, rev. eliz cleypole ol cromwell fil dilect, bust of Elizabeth Cleypole right, as on her Memorial medal, all within an ornate leaf and floral border, 44 x 39mm, 45.51g (Lessen, BNJ 1981, p.126 and pl. xv, 33, this piece; Platt II, pp.39-40, type D; cf. MI I, 392/14 obv./MI I, 431/76). An elaborate high relief medal of unusually fine quality, the hand-engraved legends apparently niello-filled, extremely fine; possibly UNIQUE £500-£700 --- Provenance: R.E. Ockenden Collection; SNC August 1966 (4276). Elizabeth Claypole (1629-58) was the second and favourite daughter of Oliver Cromwell. She married John Claypole in January 1646 and they had four children, the youngest of whom died an infant. Elizabeth herself became very ill and her premature death undoubtedly hastened that of her father, who succumbed less than a month later

XVI: Later Cromwell Medals, Cromwell and Thomas Fairfax, after 1658 (?), a struck silver medal, c. 1740, unsigned (possibly by J. Stuart), after T. Simon, bust of Cromwell left, olivar d gr ang sco hib & prot, rev. genneral fairfax, bust of Fairfax left, 30mm, 17.38g (Platt I, pp.343-4, type A; cf. MI I, 411/48; Vertue pl. xi, 50). Extremely fine and toned, excessively rare £300-£400 --- Provenance: From an un-named Sotheby Auction; R.C. and O.M.W. Warner Collection; R.E. Ockenden Collection [from O.M.W.W. 1964]; bt R.E.O. This is an unpublished later copy of the ‘original’, represented by single specimens in the British and Hunterian Museums, by the same author who made various other copies in the 18th century, either as commercial ventures or by special order for connoisseurs of the day

XVI: Later Cromwell Medals, Abraham and Thomas Simon, a pair of uniface cast silver portrait medals, c. 1750, probably by J. Stuart for Vertue, bust of A. Simon right, wearing a medal of Queen Christina of Sweden suspended from a chain around his neck, 50 x 38mm, 37.90g (cf. Jones p. 70, 169); bust of T. Simon three-quarters left, 50 x 38mm, 42.82g (Nathanson p.9; Vertue p.57, pl. xxv; MI I, 512/154-5) [2]. Good very fine and toned, both with faded ink inscriptions on reverse, extremely rare £500-£700 --- Provenance: ‘Strawberry Hill Sale’ [Horace Walpole], Part I, George Robbins (London), 25 April-21 May 1842, lot unspecified; R.M. Foster Collection, Sotheby Auction, 3-5 November 1903, lot 333; Helen Farquhar Collection, Glendining Auction, 25 April 1955, lot 299 (part) [from Spink February 1905]; A.P. Adams Collection, Part I, Glendining Auction, 16 March 1989, lot 152; Spink Auction 119, 4 March 1997, lot 247; bt CNG May 1997. The bust of Abraham Simon is apparently copied from the wax-on-glass self portrait in the British Museum. The likeness of Thomas is not attributable. The name ‘Stuart’ as the possible maker of this and some of the other medals in the collection, refers to an eighteenth century London medallist whose style of Cromwell and related medal copies is fairly distinct, and unrelated to those of Kirk or Pingo. James ‘Athenian’ Stuart was a well-known archaeologist, architect and figure in the art world, best known for his central role in pioneering Neoclassicism, who designed and sponsored medals, but current opinion suggests that Stuart was not a medallist himself. The possibility that some of these medals were struck in the Netherlands in the 18th century cannot be completely dismissed

XVII: Copies of Cromwell Coins, Sixpence (or Ninepence), 1658, laureate bust left, liberty cap and anchor below, rev. crowned shield, i-x at sides, edge plain, 5.37g/83.1gr/6h (Lessen, SNC December 2006, p.327, this coin; cf. ESC 260ff [1504ff]; cf. N 2748; cf. S 3229; cf. St James’s 35, 52). An 18th century cast after the Dutch copy, good fine, very rare £600-£800 --- Provenance: Bt Baldwin 1978. Several interesting additions were made to the mould for this cast. They are a ‘Liberty cap and anchor’ under the bust, while the reverse has ‘IX’ for ninepence in the field. Because of the obverse symbols, this concoction is most likely to have been sponsored by the republican Thomas Hollis (1720-74), who employed Kirk, Yeo and Pingo on various projects. See Francis Blackburne, Memoirs of Thomas Hollis, 1780

HARO HODSON, THE VISITOR - POEMS BY HARO HODSON, signed to the title page by author, with dedication 'This is a present from Gertrude Cullen who called me to write in it', along with a letter to Mrs. O. Warburg from Hodson dated 9th January 1952, the envelope with illustration

* Biddenden Maids. Commemorative biscuit, late 18th-early 19th century?, rectangular biscuit, moulded with relief image of a pair of conjoined twin girls in medieval dress, lettered above 'Biddenden', broken, with horizontal break and some loss, especially to edges, 8.5 x 5.3cm (3.5 x 2ins),Qty: (1)NOTESA rare and curious survival: known as Biddenden Cakes, examples of these hard commemorative biscuits can found in the Pitt Rivers Museum, Oxford, and the Wellcome Collection, London. Mary and Eliza Chulkhurst, known as the Biddenden Maids, are said to have been conjoined twins born in the village of Biddenden, Kent, in 1100, who lived until the age of 34. Tradition has it that when one of the twins died the other refused to be separated from her dead twin saying,“As we came together we will go together”, and died six hours later. The twins are reputed to have bequeathed land to the village, known as the 'Bread and Cheese Lands', the rent from which was used to pay an annual dole of food and drink to the poor at Easter. Since at least 1775 the dole included Biddenden Cakes bearing the effigy of the conjoined maids. The earliest biscuits made are thought to have been lettered only 'Biddenden', as here, with later examples showing the names of the twins and their date of birth and age at death.

Darton (William & Son, publisher). The Wonders of the Telescope, by the author of "The Wonders of the Microscope", c.1830, 14 engraved plates, including frontispiece, most folding, all but 2 dated (1823), 4 with a closed handling tear, 1 a little edge-frayed, final plate nearly detached, front pastedown with early ink manuscript inscription, contemporary red quarter sheep, spine lettered in gilt with title and price (2s.6d), rubbed, board edges showing, 12mo, together with: Harris (J., publisher), Mother Bunch's Fairy Tales, published for the amusement of all those Little Masters and Misses who, by duty to their parents, and obedience to their superiors, aim at becoming Great Lords and Ladies, London: printed for J. Harris, successor to E. Newbery, c.1802, engraved frontispiece, scattered spotting, original printed stiff wrappers, rebacked with paper (coming away), rubbed with a little wear to edges, 12mo, plus: Tabart and Co. (publishers), The Book of Trades, or library of the useful arts, part II, 1 volume (only, of 3), 1st edition, London, 1804, 21 uncoloured engraved plates (complete), an additional (defective) plate 'Brazier' loosely inserted, possibly from part I, 1 plate close-trimmed at foot (affecting imprint), 1 opening with minor surface damage at gutter (affecting a few words), pp.3 publisher's advertisements at rear, contemporary red quarter morocco, gilt-lettering to spine, rubbed with a little wear to extremities, 12mo, with one other similar: The Garden; or, Familiar Instructions for the Laying Out and Management of a Flower Garden, 2nd edition, London: John Harris, 1832Qty: (4)NOTESFirst item: Darton H1605 (2). Second item: this edition not in Gumuchian or Osborne. Mother Bunch: although some editions of this title have several plates (as implied by the title page), this copy appears to follow the edition dated 1802, of which the British Library copy can be examined online, in having a frontispiece only. Book of Trades: this title when first published in 1804 comprised of two volumes or parts. In 1805 a third volume was published.

Manuscript. An illustrated book of limericks, circa 1865, 32pp., each with large illustration and limerick beneath in brown ink, some spotting and marks, paper watermarked 'T & J H 1865', sheet size 14 x 23cm (5.5 x 9ins), stitching broken and page block loose in original lilac wrappers, worn and frayed, gilt title within volute border to upper cover, slim oblong 8voQty: (1)NOTESProbably drawn by an older girl or young lady, the limericks and their illustrations appear to be original works rather than copies, though no doubt inspired by Edward Lear's Book of Nonsense first published in 1846, for example: 'There was a young girl of Avignon, who wore a tremendous big chignon/When they cried, "That's too big!" She exclaimed "O my wig!"/They all wear them this size at Avignon', and 'There was a young lady from Bruges, who adorned herself largely with rouge/But they said, Don't you fear, twill be set down to beer/Which affronted that lady of Bruges".

[Onwhyn, Thomas, illustrator]. Recollections of the Water Cure, [cover-title], circa 1860, 12 comic lithographed plates, each with humorous caption, bound concertina-style, original cloth-backed black boards, upper cover gilt blocked, rubbed, mainly to edges, 13.7 x 12cm (5.5 x 4.75ins)Qty: (1)NOTESA rare (pirated?) edition of Thomas Onwhyn's Pleasures of the Water Cure, by a Patient who has been Well Drench'd and Wrench'd and restored to Health, published by Rock & Co. around 1857. Curiously some of the plates are a reverse of the original, whilst others are not. The only copy we have traced is that held by the J. Paul Getty Museum.

Album. An album of flower collages, circa 1830s-1840s, 39 leaves, each with a flower collage to recto, carefully composed of cut-out pieces of painted pith and coloured paper layered to form identifiable flowers, including fuchsias, sweetpeas, pelargoniums, wisteria, primroses, pansies, forget-me-nots, lily-of-the-valley, narcissi, snowflakes, cornflowers, dog roses, anemones, etc., occasional fox spots and very minor damage to some collages in places, sheet size 19.3 x 16.3cm, engraved bookplate 'Friederici Nicolai et Amicorum' to front pastedown, original half calf, rubbed, slight loss to head of spine, 4toQty: (1)NOTESAn unusual album, with artwork imitating pressed flower specimens, perhaps inspired by the floral collages of Mary Delany (1700-1788) who was known for her realistic botanical 'paper-mosaicks'.

Dickens (Charles). Little Dorrit, 1st edition, London: Bradbury and Evans, 1857, etched frontispiece, additional title and 38 plates by H.K. Browne, pp. 171-72 with small tear in text (small loose piece retained), usual browning to plates, contemporary half calf gilt, joints and edges a little rubbed, 8vo, together with Fyfe (Thomas Alexander, compiler). Who's Who in Dickens. A complete Dickens repertory in Dickens' own words, 2nd edition, Hodder and Stoughton, 1913, some light spotting, order form loosely inserted, original buckram-backed boards, a little rubbed with some fading, 8vo, inscribed by the author, with three others including The Personal History of David Copperfield, 1st edition, 1850 (lacking 2 plates)Qty: (5)

Henty (G.A.) Rujub, the Juggler, 3 volumes, 1st edition, London: Chatto & Windus, 1893, 32 pp. catalogue at end of volume III (dated October 1892), volume III lacking half title (half titles present in volumes I & II), occasional light spotting and fingermarks, volumes I & II front hinges a little tender, Parry's Public Library labels to volumes I & II front pastedowns, original blue patterned cloth blocked in bronze, spines lettered in gilt, spines darkened and rubbed at ends, some edge wear, slight lean, 8voQty: (3)NOTESNewbolt 56.1. Scarce, only 500 copies published, and one of the last 'triple-deckers' to be published in Britain. By the mid 1890's the triple-decker, an expensive format, was being replaced by the single volume novel at the demand of the buying public who wanted more books at cheaper prices.

Kipling (Rudyard). Quartette, The Christmas Annual of the Civil & Military Gazette, by four Anglo-Indian writers, [i.e. John Lockwood, Alice, Rudyard & Alice Macdonald Kipling], 1st edition, Lahore: The "Civil and Military Gazette" Press, 1885, title printed in red and black, closed tear repair to outer margin without loss, a little dust soiled, pencil markings to Contents leaf, two closed tears without loss to pp. 37/38, marginal repair with no text loss to pp. 41/42, two words ('Ilbert Bill') circled in ink on p. 53, small closed tear repairs to outer margins of final two leaves not touching text, top edge gilt, original printed wrappers and advert leaves discarded, engraved armorial bookplate of M.C.D. Borden, contemporary crushed brown half morocco over marbled boards, gilt-titled spine with five raised bands, rubbed, 8voQty: (1)NOTESLivingston 5; Martindell 4. One of Kipling's earliest publications, comprising 8 poems and 8 prose pieces by the Kipling family, including the first appearance of 'The Phantom Rickshaw'. Matthew Chaloner Durfee Borden (1842-1912) was a textile leader from Fall River, Massachusetts who in 1880 reorganised the failed American Print Works into the American Printing Company.

Lever (Charles). Davenport Dunn, or the Man of the Day, 22 parts in 21 (as issued), 1st edition, London: Chapman and Hall, July 1857 - April 1859, 44 etched plates by 'Phiz' (H. K. Browne), including frontispiece and additional title (issued in final double-part), numerous advertisement leaves throughout on pink, yellow, white, green, and blue papers, very scarce minor spots, sewn as issued, 2 parts unopened, original pictorial printed pink paper wrappers, somewhat faded and dust-soiled, few minor marks, part III front cover with early ink manuscript signature at head, contained together in brown cloth-covered portfolio with matching morocco-backed slipcase (rubbed with some marks), gilt-lettering to spine, 8voQty: (1)NOTESSadleir 1401; Wolff 4084 both for the bookform. Sadleir regarded Davenport Dunn as the rarest of the octavo novels first published in parts, and this is a rare survival of the original parts in excellent condition. The character of Dunn is loosely based on the notorious Irish financier, politician and swindler John Sadleir, who eventually fell into ruin and committed suicide on Hampstead Heath. Charles Dickens also made use of the character in his novel Little Dorrit, basing Mr. Merdle on Sadleir.

Stevenson (Robert Louis). Travels With a Donkey in the Cevennes, 1st edition, London: C. Keegan Paul & Co., 1879, wood-engraved frontispiece by Walter Crane, a little slight marginal toning, light spotting to endpapers, bookplate of bibliophile Oliver Nowell Chadwyck-Healey (1886-1960), original blue-green cloth gilt, spine a little darkened and rubbed at ends, a few tiny marginal flecked marks, 8voQty: (1)NOTESPrideaux 3. Robert Louis Stevenson's humorous account of his journey in the Cevennes region of South-Central France, accompanied by a donkey called Modestine, who he had bought to carry his belongings.

* Joseph (Jenny, 1932-2018). English Poet. A group of three autograph letters signed and three 1st edition volumes of poetry signed, the autograph letter signed addressed from Minchinhampton, 2000-2006, all to Gill and Ralph, mentioning a visit to Iceland, American friends who have since left, discussing a proposed visit to Dorset, informing friends of her new book, etc., 3 pages, 2 pages, and one postcard, the signed and inscribed paperbacks are Rose in the Afternoon and Other Poems (1974), Extreme of Things (2006), and Nothing Like Love (2009), all 8vo, VGQty: (6)NOTESJenny Joseph's poem Warning was voted as the 'UK's most popular post-war poem', in a poll taken by the BBC in 1996. In 2016, she deposited her manuscripts with the Bodleian Library, Oxford.

* Leader (Benjamin Williams, 1832-1923). English Artist. A good series of 7 autograph letters signed, 'B.W. Leader, Burrows Cross, Gomshall, Guildford, 1892-1920, to Frederick Dolman, Miss Hazel and Mr Cubitt, including mention of his painting 'The Sandpit', '... I am pleased to consent to your having a reproduction made of my picture 'The Sandpit'...' (26 April 1904), and further explaining the subject matter of the picture; lauding Betws-y-Coed as the most 'beautiful spot for a landscape painter' (6 November 1901), mentioning David Cox; further mentioning an article he wrote for the Strand Magazine and in another letter (2 February 1920) that '... I can only say that I am quite in favour of women being elected members of the Royal Academy...' ..., a total of 12 pages, 8vo (one neatly laid down)Qty: (7)NOTESFrederick Dolman (1867-1923) was a British journalist and Progressive Party politician, who was an elected member of the London County Council from 1901 to 1907. George Cubitt, 1st Baron Ashcombe (1828-1917) was a British politician and peer, and the son of Thomas Cubitt (1788-1855), the leading London builder and property developer of his day.

* Martinu (Bohuslav, 1890-1959). Czech Composer. Autograph Letter Signed, 'Bohuslav Martinu', no place, 29 December 1958, in English, to Mr Schweighofer, sending an old example of his handwriting, 'Thanks for your letter. As I am having now what's called a writer's cramp, I am sending you a page of the old handwriting', one page, 8vo, together with the long and informative example of his earlier handwriting, no place, no date, written in French on lined paper, to an unnamed conductor [probably Charles Munch], one page, 4toQty: (2)NOTESProvenance: Originally from the collection of Christopher Hogwood. In the accompanying example of his handwriting Martinu writes [in translation], 'You must have thought that I had forgotten my promise to write a work for you to thank you for the beautiful moment you have given me with the execution of my score in New York. I apologise for the long delay, but you know well what is the life of a composer, who needs always to earn money for the next month. Since I have received the Grand Prix I have had a bit more time, and I have taken advantage of this to write a new score for you, in 3 movements... I have employed a new perspective of the orchestra...'. Martinu may well be referring to his sixth symphony, begun in New York City in 1951, which is quite unlike the previous five symphonies. It is also a good surmise that the recipient was the conductor Charles Munch (1891-1968).

Morrell (Harriette Anne, née Wynter, 1845-1924). Manuscript journal, 1885 & 1890, autograph manuscript in blue or black ink on ruled paper, [178] pp. + blanks, 19 lines to the page, ownership inscription 'Harriette Anne Morrell, Brussels, March 29th 1885' to front free endpaper, Brussels stationer's ticket and pen-and-ink sketch of a man in profile to front pastedown, contemporary green half vellum, marbled sides, rubbed, 8vo (16.2 x 10.5 cm)Qty: (1)NOTESHarriette Morrell was the mother of Philip, and consequently the mother-in-law of Lady Ottoline Morrell, who identified her as Henry James's inspiration for Adela Gereth in The Spoils of Poynton (see Rintoul, Dictionary of Real People and Places in Fiction, p. 687). An accomplished artist in her own right, she was the daughter of Philip Wynter (1793-1871), president of St John's College, Oxford and for a time university vice-chancellor; her husband was Frederick Parker Morrell (1839-1909), another St John's man and sometime mayor of Oxford. The journal records a leisured pre-Bloomsbury life of social engagements (and notably regular Catholic worship) at Lindfield (Sussex), Oxford and London and in Cornwall, and a European tour which takes in Brussels, Milan, Florence and Venice. In Florence Morrell enters a circle which includes the Duke and Duchess of Teck and lesser nobility such as Scottish baronet Sir Thomas Dick Lauder.

* Murdoch (Iris, 1919-1999). Irish and British Novelist and Philosopher. Autograph letter signed, 'Iris Murdoch', Steeple Aston, Oxford, 5 December, no year, circa 1980s, to Richard, in blue ink, stating, in part, 'Most writers are influenced by other writers, I have been (or hope to have been) influenced by Homer, Shakespeare, Tolstoy, Dostoevsky, Dickens, Jane Austen, Emily Bronte, Henry James, Proust, Kafka, and others... I hope that you will read all or many of the above writers, who are really good', 2 pages on light blue paper, minor creases, oblong 8voQty: (1)

* Sassoon (Siegfried, 1886-1967). English Poet, Writer and Soldier. Autograph Poem signed with his distinctive monogram 'SS' of the humorous poem 'Out of Date', circa 1925, 12 lines, beginning, 'A noon edition said / "Lord Out of Date is dead"...', written in light purple pencil on a Reform Club Pall Mall correspondence card, 14 x 9 cm, address side blank, preserved in a purpose-made red cloth book box with gilt-titled spine, together with three autograph letters signed by Sassoon, the first to Colin [Fenton], Heytesbury [House], 10 April 1954, declaring that some of his poems depress him and are not worth printing, mentioning his great friend Max Beerbohm lamenting the effects of solitude and disparaging the dons of All Souls, in particular A.L. Rowse, '... the other poems in the M.S. I sent to John [Sparrow] give me a feeling of depression, and I don't think many of them are worth printing. I imagine people finding them too solemn and unstimulating...', written in a close hand in blue ink to upper half a page of light blue paper with monogram signature, 8vo; an earlier autograph letter signed to Mr Horsley, London, 20 July 1926, offering to meet with members of Horsley's College Library Society, and asking him to leave it open, in blue ink on a small correspondence card with verso blank, oblong 16mo; the last and undated letter to Horsley, cancelling a proposed visit to Cambridge and sending his apologies, a little marginal toning, one page, 8vo; plus a printed decorative card featuring Sassoon's poem Another Spring with signed presentation inscription from Siegfried Sassoon to C.F. [Colin Fenton] to lower margin, verso blank, 10 x 16 cmQty: (5)NOTESThe autograph poem is apparently unpublished. It may date from circa 1920/21 if the reference to '... Caruso's grave condition...' is contemporary with the poem. In his biography of the poet, Max Egremont draws attention to the fact that Sassoon's poetry returned to satire in 1920. It was at this same time that Caruso became seriously ill, suffering a throat haemorrhage on 11 December, the news of which would have crossed most of Europe and America. Colin Fenton (1929-1982) was a student at Christ Church College Oxford, and was believed to have been John Sparrow's lover. For a time, Fenton shared Sparrow's accommodation at C1 Albany and it was Sparrow who introduced Fenton to Sassoon in 1953. Fenton was to write Sassoon's obituary for the Times in 1967. The autograph poem and letters are all apparently unpublished.

* Tennyson (Alfred, Lord, 1809-1892). Poet Laureate. Concluding part of an autograph letter signed, 'A Tennyson', 1882, to Sir Alfred Lyall, '... I trust we shall learn that India is advancing and that there are dawnings of hope that England has a last found her way to the Eastern heart. Glad as one must be of the victories in Egypt, we cannot but look anxiously toward the settlement', recipient's name and date in the hand of Tennyson's son Hallam, a few light spots, light mounting remains to verso, one page, 8vo, together with: Tennyson (Emily, 1813-1896). Wife of Alfred Lord Tennyson. Autograph letter signed, 'Emily Tennyson', Farringford, 21 February 1867, to her son Lionel, mentioning her other son Hallam and her pleasure that her two children are corresponding with one another, further mentioning the American poet Bayard Taylor (1825-1878) who was about to visit, plus Queen Victoria and Prince Albert, etc., 4 pages, the conclusion and signature written vertically across top of first page, a few minor marks and one annotation in blue pencil, 8voQty: (2)NOTESSir Alfred Comyn Lyall (1835-1911) was an administrator in India and author of an important book about Tennyson published by Macmillan in 1902. He was also a trusted friend of the poet.

Wittgenstein (Paul, 1887-1961). One-armed pianist who commissioned works for the left hand and who was the only brother of the philosopher Ludwig Wittgenstein. Ammianus Marcellus, with an English translation by John C. Rolfe, Loeb Classical Library, volume 3 (of 3), 1939, Paul Wittgenstein's copy, signed in pencil on the front free endpaper ('P.W. / N.Y. / August 1941'), and with annotations to a further 12 pages and numerous underlinings, side marks and punctuation on other pages, plus hand-drawn staves and music notation in Wittgenstein hand to front and rear pastedowns, plus verso of final ad leaf and recto and verso of rear fly leaf, all in pencil, original red cloth gilt, a little rubbed and soiled with minor fraying to extremities, 8voQty: (1)NOTESThe hand-drawn staves and musical notation represent ideas and passages for the left hand, many of which have the fingering added. An unusual and uncommon item.

Wittgenstein (Paul, 1887-1961). One-armed pianist who commissioned works for the left hand and who was the only brother of the philosopher Ludwig Wittgenstein. Signed and inscribed printed score of Parergon zur Sinfonia Domestica Op. 73 [by] Richard Strauss, first piano reduction by Otto Singer, Vienna, 1926, 46 pp., original printed wrappers with some wear and loss to spine, signed and inscribed in blue ink to upper wrapper, 'To Mr Douglas Fox as a remembrance Mai 31 1927, Paul Wittgenstein', slim folio, together with a copy of the book Douglas Fox (D.G.A.F.), A Chronicle by Winifred Fox, privately printed, Bristol, 1976, Winifred Fox's copy with three annotations to the index and an autograph note written before the epilogue (dated 1979), regarding her brother's pianos and the person and establishment to whom they were left, original cloth, a little rubbed, 8voQty: (2)NOTESThe final form of the Perergon to the Sinfonia Domestica was written in 1925 for Paul Wittgenstein, for whom Strauss also wrote his Op. 74 Panathenäenzug. As one of the wealthiest musicians in Austria, Wittgenstein (who lost his right arm during the First World War) commissioned works for the left hand from composers that included Ravel, Prokofiev, Korngold, Franz Schmidt, Britten and Richard Strauss. The dedicatee of this particular score was the one-armed pianist Douglas Fox, (who also lost his right arm during the First World War) for whom Frank Bridge wrote his Three Improvisations for the Left Hand. According to his sister Winifred Fox, her brother and Wittgenstein met in Oxford and corresponded occasionally.

Woolf (Virginia, 1882-1941). English Author. Really & Truly: a book of literary confessions: designed by a late-Victorian, [C.F.], published Arthur L. Humphreys, 1915, a confession album with 25 pre-printed double-page questionnaires with spaces for 39 answers, plus signature and date, questionnaires 1-9 completed in ink with author's names additionally signed to initial recto and each second leaf verso blank, the autographs and autographed answers completed by (in order) Rose Macaulay (1881-1958, English writer), Robert Lynd (1879-1949, Irish writer), Virginia Woolf, Edwa[rd] Clodd (1840-1930, English banker, writer and anthropologist), Rebecca West (1892-1983, British author), Hilaire Belloc (1870-1953, British-French writer), Stella Benson (1892-1933, English feminist and writer), Dominick Spring-Rice (1891-1940, financial adviser and husband of Marjorie Spring-Rice, British social reformer), and Margaret Irwin (1889-1967, English historical novelist), and Margaret Kennedy (1896-1967, English novelist and playwright), the earliest dated 16 December 1923 and the last 22 December 1927, each questionnaire originally sealed at margins with red wax or tape and since opened with a little see-through of red wax to a few pages and marginal tear without loss of text to final Margaret Irwin entries, lacks half-title, title a little soiled and chipped at edges, original floral-decorated lower board with edge wear, lacks spine and upper cover, small 4to (20.5 x 16.5 cm)Qty: (1)NOTESA wonderful confessions book revealing the literary likes and dislikes of several well-known authors, notably Virginia Woolf, who has answered all 39 questions in her distinctive purple ink. Among her mostly single-word or two-word answers are answers to the printed questions: 22. The best living English novelist: Thomas Hardy; 23. The worst living English novelist: Thomas Hardy; 26. The most overrated English writer living: Belloc; 27. The most underrated English writer living or dead: Walter Scott; 28. The best deceased English novelist: Jane Austen; 38. A deceased man of letters whose character you most dislike: I like all dead men of letters; 39. A contemporary poet or prose writer whose work is likely to be read twenty-five years hence: None, except Max Beerbohm, as a whole; many in parts. There appears little consensus on anything, except perhaps that most think Shakespeare the greatest genius among writers who ever lived (except for Belloc voted for Homer and Macaulay didn't know). The most reference-writers after Shakespeare are James Boswell (thanks to 'best biography'), and Thomas Hardy. Also doing well were Max Beerbohm (admired across 4 categories), Jane Austen, Plato, Catullus, Cervantes, Dostoevsky, Milton and Bernard Shaw. Chaucer, Dickens, George Eliot and Henry James only appear once, while Virgil and Donne do not appear at all. The courtesy book was discovered among the effects of the owners' grandmother, the novelist Margaret Kennedy. Hers is the last entry, and the only one unsealed and follows the incompleted tenth questionnaire for unknown reasons. The University of Leeds Library has a copy with six of the questionnaires completed by Arthur Ransome, John Drinkwater, Algar Labouchère Thorold, Harold Williams, Perceval Gibbon and Hamilton Fyfe. Both Virginia Woolf and Margaret Irwin list John Drinkwater as the worst living English playwright in the copy offered here.

Aldin (Cecil, illustrator). Dogs of Character, written and illustrated by Cecil Aldin, 1st edition, London: Eyre & Spottiswoode and New York: Charles Scribner's sons, 1927, numerous illustrations, a few spots at front and rear, original pictorial cloth, corners lightly rubbed, large 8vo, together with: The Dog who wasn't what he thought he was, by Walter Emanuel, London [etc.]: Raphael Tuck & Sons, [1914], 24 full-page colour illustrations, occasional light finger-soiling or scarce minor spotting, stitching showing in places (but firm), original pictorial cloth, a trifle rubbed and lightly marked, spine browned, large 8vo, with 10 others illustrated by Aldin, including: The Bunch Book, by James Douglas, 1st edition in dust jacket, 1932; Hotspur the Beagle, by John Vickerman, 1st edition in dust jacket, 1934, and one other dog-related: Thy Servant a Dog, by Rudyard Kipling, 1st edition (in book form) in dust jacket, 1930Qty: (13)

* Potter (Beatrix). A large collection of Border Fine Arts figures, comprising Peter in the Wheelbarrow (764/9500), boxed with certificate; Benjamin Bunny Eating Lettuce, boxed; Peter Rabbit Running, boxed, Flopsy, Mopsy and Cotton Tail, boxed; Peter Rabbit Standing, boxed; Hunca Munca and the Babies, boxed; Peter Rabbit Trinket Pot, boxed; Peter Rabbit and the Onion Bag, boxed; Jemima Puddleduck Sets Off, boxed; Hunca Muca and the Babies, boxed; Peter Rabbit in the Garden, boxed; Mrs Rabbit, Peter, Flopsy, Mopsy and Cotton Tail (clock), boxed; Peter Rabbit with Radishes, boxed; Peter Rabbit in Watering Can, boxed; Mrs Rabbit and Peter, boxed; Old Woman Who Lived in a Shoe, boxed; Peter Rabbit with Wheelbarrow, boxed; The Tale of Peter Rabbit, boxed; Jeremy Fisher, boxed; Timmie Willie sleeping in a Pea Pod, boxed; Tailor of Gloucester, boxed; Old Mrs Bunny, boxed, together with 12 figures in each in a presentation tin, plus related itemsQty: (approximately 50)Amendment: The Wedgwood Jasperware has been withdrawn from the lot/description

Cameron (John Jackson, 1872-1951). A pair of albums, filled with approximately 180 humorous scenes, drawings, and illustrated letters with vignettes in pen & ink (some with wash), circa 1925-50, comprising approximately 125 original watercolour or gouache, and 55 pen & ink, a few loosely inserted, mostly of a humorous nature, including golfing subjects (approx. 13) and other sports, parties, holiday scenes (mainly in Scotland) and other outdoor activities, home life (including card playing etc.), shopping, pictorial maps, some World War II related, etc., most inscribed and dated, some signed, occasional spotting (mainly affecting support leaves in 2nd volume), 2nd volume with a few oversize items with edge-chipping and fraying, and approx. 3 items with some insect damage to surface (mostly towards edges), approx. 32 x 26cm and smaller, 1st volume containing a photograph of the artist at work (some surface damage), also a loosely inserted envelope containing correspondence and notes by a person researching the artist and his work, modern brown half morocco, gilt spines with green morocco labels to each, folioQty: (2)NOTESThese two albums comprise letters and correspondence sent by John Jackson Cameron (who often describes himself as 'Uncle John') to his close friends Lucy Oppenheimer and Nora Robbins between the years 1925-1948. The illustrations feature the two women, their husbands, and family pets in many of the scenes, which were often sent to celebrate birthdays, Christmas or New Year, or to recall other incidents in their lives, usually portrayed in an amusing manner. Cameron studied at the Académie Julian in Paris and worked as an illustrator before joining the army in 1914. Awarded the Distinguished Service Order in 1918, he retired from the army in 1920 with the rank of Lieutenant Colonel. After Lucy died in 1935, Cameron lived with her surviving husband Albert 'Bertie' Oppenheimer in London.

Chandler (Raymond). The Long Good-Bye, 1st UK edition, London: Hamish Hamilton, 1953, a little minor spotting, original cloth, dust jacket, spine ends chipped, small split along one fold, repairs to verso, 8vo, together with Tolkien (J.R.R.) Tree and Leaf, 1st edition, London: George Allen & Unwin, 1964, advertisements at end, a little light spotting, original cloth, dust jacket, spine faded, small nicks and light spotting, 8vo, plus Eliot (T.S.) The Confidential Clerk, 1st edition, London: Faber & Faber, 1954, 1st issue with 'Ihad' to p. 7, original cloth (some fading), dust jacket, spine toned, small tear, 8vo, with others including Hand and Flower Press. Poems in Pamphlet. A New Anthology for 1951, designed and edited by Erica Marx (with Charles Causley's farewell Aggie Weston inscribed by the poet to Victor Bonham Carter (1913-2007, author and publisher), with a typed letter from Causley to Bonham Carter dated 1955, enclosing the poem and discussing other literary matters, loosely inserted, H.M. Bateman's The M.F.H. Who Ran Riot!, [1930], two original cartoons by Thomas Bert, 1930's signed, plus some Curwen Press publications including The London Music Festival 1939 designed by E. McKnight Kauffer, Curwen's Modulator folding proof design, limited edition 2/6, 1994 and others by Stuart McMinn, Edward Bawden etcQty: (25)

Douglas (Norman). D.H. Lawrence and Maurice Magnus: A Plea for Better Manners, 1st edition, privately printed, [Florence], 1924, portrait frontispiece (some spotting), a few marginal pencil lines, author's signed and inscribed dedication to Julian Street, dated November 1925 to title, 'In memory of certain days at Capri, twenty years ago', together with a tipped-in Autograph Letter Signed from Norman Douglas to Julian Street, c/o Thomas Cook, Florence, 7 November 1925, sending him this copy of the pamphlet he mentions, 'It was written in a devil of a hurry (and a hell of a rage, I should add); there is a better version of it now appearing in a book of mine called Experiments', saying that he well remembers their life on Capri, referring to Coleman and Miss Neville, before asking whether he will ever come to Europe again, one page, 4to, publisher's printed pink slip tipped-in at front, original printed wrappers in original mailing envelope addressed to Julian Street in Princeton, New Jersey, plus a second Autograph Letter Signed from Douglas to Mrs Andrews, Florence, 12 October 1927, asking her to welcome Julian Street to Capri who she may 'remember meeting, in the good old Booth Tarkington days', one page, 4to, plus: [Magnus, Maurice], Memoirs of the Foreign Legion by M.M., with an Introduction by D.H. Lawrence, 1st edition, Martin Secker, 1924, rough-trimmed, a little spotting, original cloth (a little marked) in rubbed and soiled dust jacket with tape repair at foot of spine verso, 8vo, the items in a purpose-made cloth chemise and red quarter morocco gilt book box, cloth sides somewhat damp marked, plus a second copy of the Douglas pamphlet (privately printed, 1925), original printed wrappers, some soiling and slight wear, spine crudely taped, 8voQty: (4)

Fleming (Ian). The Spy Who Loved Me, 1st edition, London: Jonathan Cape, 1962, original cloth, dust jacket, slight marginal dust soiling to rear panel, 8voQty: (1)

Fleming (Ian). The Spy Who Loved Me, 1st edition, London: Jonathan Cape, 1962, small ink stamp at head of half title, original cloth, price-clipped dust jacket, later price sticker to front flap, short closed tear at head of rear panel, spine a little toned, light spotting to rear panel, 8voQty: (1)

Le Carre (John). The Spy Who Came in From the Cold, 1st edition, 5th impression, London: Victor Gollancz, September 1963, a few light stains, original blue cloth (spine slightly faded), dust jacket, some fading to spine, small chips at ends and folds, short closed tear at foot of front panel, slight dust soiling to rear panel, 8voQty: (1)NOTESSigned by the author to title.

Tolkien (J.R.R.) The Hobbit, 2nd edition (5th impression), London: George Allen & Unwin, 1951, colour frontispiece, illustrations, map endpapers, top edge green, original green pictorial cloth, dust jacket, spine a little toned, a few small chips and tears, 8voQty: (1)NOTESA good copy of the 2nd edition, the 5th printing overall, and notable for the revisions by Tolkien to chapter 5, 'Riddles in the Dark'. As Tolkien was writing The Lord of the Rings he became aware of the inconsistencies in the character of Gollum, who originally was less demented and corrupted by his association with the Ring, and therefore at odds with his desperate obsession with the Ring in Lord of the Rings, hence the substantial revisions to chapter 5 in this present edition.

Waugh (Evelyn). Officers and Gentlemen, 1st edition, London: Chapman & Hall, 1955, top edge blue, original blue cloth (a few faint marks, slight lean), dust jacket, repaired tears to verso, some fading to spine, rear panel with light dust soiling, a few chips and tears, 8voQty: (1)NOTESPresentation copy, inscribed to front endpaper 'For Beverley, Souvenir de voyage from Evelyn'. Possibly inscribed to Beverley Nichols (1898-1983), author of Crazy Pavements (1927), a novel about the 'Bright Young Things' of the Roaring Twenties, which drew many parallels with Waugh's Vile Bodies (1930) and who was described as 'the original Bright Young Thing' by Osbert Sitwell.

Wilde (Oscar). Vera; Or, the Nihilists. A Drama in a Prologue, and Four Acts, privately printed, 1902, a few minor spots, rear board detached, original upper wrapper only (lacking lower wrapper, some wear to spine, some stains, clear tape marks and creases to upper wrapper), 4to, limited edition 173/200, together with Wilde v Whistler. Being an Acrimonious Correspondence on Art between Oscar Wilde and James A McNeill Whistler, privately printed, 1906, a few light spots, endpapers toned, original wrappers, tear and loss to rear wrapper, some wear to spine and small chips to edges, 8vo, limited edition of 400 copies [Bloxam, John Francis]. The Priest and the Acolyte, privately printed for presentation only, [1902], some staple rust, light spotting to endpapers, original printed wrappers, a few splits and losses to spine, small stains, 4toQty: (3)NOTESSecond work Mason 625, third work Mason pp. 14-17. The Priest and the Acolyte, by Uranian author John Francis Bloxam first appeared in the magazine The Chameleon, edited by Bloxam in 1894 and wrongly attributed to Oscar Wilde who had only contributed to the publication. The story was used against Wilde during his libel suit against the Marquess of Queensbury in 1895.

THE HEROIC AGE OF POLAR EXPLORATION; a rare Second Arctic Medal for the British Arctic Expedition 1875-76, VICTORIA REGINA 1876 with bust to obverse (des. G. C. Adams), ice-bound vessel to reverse (des. L. C. Wyon), eng. J. Pinches, silver, diameter 35mm, 155 originally issued and 12 duplicates later issued; also a Polar Medal (first type) with 'Antarctic 1907-09', '1910-13', '1914-16' and '1917' clasps, EDWARD VII REX IMPERATOR with bust to obverse (des. G. W. de Saulles), HMS Discovery in winter quarters to reverse (des. E. G. Gillick), bronze, diameter 33mm; both unnamed so possible Proof issues (2). Provenance: These medals have been in the possession of a charitable organisation for many years; The organisation was established during WWI to provide treatment to the thousands of soldiers returning from the trenches and has since evolved into a dedicated charity and nursing home for veterans living their remaining years amongst friends and a team committed to serving those who served us.

FILM/CINEMA & PROJECTION INTEREST; a collection of Charlie Chaplin film reels in 8mm, 9.5mm and 16mm formats including Charlie the Champ, The Cure, Dough and Dynamite, The Count, Shoulder Arms, The Fireman, Easy Street, Modern Times, a Dog’s Life, The Kid, etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent, his projectors and reels were well cared for although not tested, no guarantee of working order, cases/packaging worn.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; thirty 16mm and 9.5mm film reels of mixed interest including Delores, Blackmail, A Study in Change, Getting in Deep […] Vauxhall Motors, Polar Tempest, El Alamein to Tunis, Legend of the Birds of New Zealand, Angkor Images of the East, G.P.O. Transatlantic Air Race, Indian Cotton Growing, Americas Wonderland and Shanghai, The River Boy etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent, all his projectors and reels were well cared for although not tested, no guarantee of working order, cases/packaging worn.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; thirty 16mm and 9.5mm film reels of mixed interest including including Disney Land (technicolour), The Air My Enemy, Castles in Cambria, Wild Life of the Forest, Design for Today, Europe’s Golden Skaters (ice skating), Electric Arc Steel Making, Spring Time in Spain, Mirror of Oil, Nonsense, In The Name of the Law (part 1 and 2) etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent..Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care

FILM/CINEMA & PROJECTION INTEREST; thirty predominately 16mm format film reels of mixed interest including including Alpine Car Rally, The Whoopee Party, The Foundations of Wealth, Polar Pests, Chilly Willy Cartoon, Monte Carlo ‘Rally’ Controle, Be Safe with Gas, Puss in Boots, Quick Freeze, The Iron Mule, Playing Trains, Gun Town, Bucky and Pepito, People of the Mountains, Rocket and Roll etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care. Unfortunately the films are undated and there is no further information upon removing the lid of each cannister.

FILM/CINEMA & PROJECTION INTEREST; thirty 16mm film reels of mixed interest including Rockabye The Hard Way, The Animal World, The Calculated Risk, Bank on Us, Cromford and High Peak Railway 1967, Dodging the Column, Bath Day (Disney), Mickey Mouse, Lion and the Mouse, Refining in Esso, Slowback Fairy Tales, Romeo and Juliet, Terryton, The Poseidon Adventure, Round the London Zoo, Doing Dun etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; thirty 16mm and 9.5mm format film reels of mixed interest including Havana, Beautiful Switzerland, Felix Cartoons, Woody Woodpecker, The Boston Strangler, Goldilocks and the Bears, Penguin Love Parade, The Dessert Rider, Popeye, Betty Boop (A Little Soap and Water), Walter the Progable, Trooping the Colour, Hopalong Cassidy, Zoo Interest etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.Cases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.Cases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.Cases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; thirty-one predominately 16mm format film reels of mixed interest including Alpine Experience Motor Car Rally, Pipeline Alaska, The Peace Game, Oil Age Norway, Power Boat 1966, Tarka the Otter, Zoo Quest to Madagascar, Hunchback of Notre Dame, Knights of the Bath, Angel with a Scar, Hollywood Bound, Spring Fever etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; thirty 16mm format film reels of mixed interest including Bugs Bunny in Hare Lift, Cheese Nappers, Playful Pluto, Father Christmas Muffin, Merlin and the Toothless Knights, Tom and Jerry Cat Fishin’, Dominica, Chip N Dale, Energy in Orbit, Escape from Astragard, Peter Pan Meets Captain Hook, When Winter Comes, So You Won’t Squawk (Buster Keaton), Animals on Parade, etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent..Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; thirty 16mm format film reels of mixed interest including Tom and Jerry, Hic Cup Pup, The Christmas Visitor, Chimp the Aviator, Lil Whooper, Rollo the Squirrel, The Voyage of the Mayflower, Brer Rabbit and the Tar Baby (Disney), The Postman, Guns of the West, Ride Me Cowboy, The Golden State Route, Operation Noah’s Arc, Grease, Speeding Skates etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; thirty 16mm format film reels of mixed interest including Dare Devils on Ice, Beethoven and his Music, Chimps Jamboree, The Bargain, Doc’s Last Stand, Life in a Mediterranean Climate, Iberian Peninsula, Don Giovanni, Laurel and Hardy Leave’em Laughing, High Flyers, Swiss Tapestry Zurich to Lucerne, Santa Claus, Punch and Judy, Summertime in Venice etc. PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; approximately forty film reels of mixed format and interest including the Wizard’s Apprentice, Demons of the Deep, Circus Days (Bingo Cartoon), Shadows over Europe, Easy Street, Billy the Sea Dog, Natures Curiosities, A Dog Gone Story, The Rhone Route, Trooping the Colour 1958, Laurel and Garden from Soup to Nuts, Woody Woodpecker Monster of Ceremonies, Champion Whopper Teller, Monty’s Hair Raising Train Rescue, Ask a Policemen, Teddy at the Throttle, Winston Churchill, Steam and a Little Diesel, The Finishing Touch etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; approximately forty film reels of mixed format and interest including the Coronation Procession, Carnivorous Plants, Conjurer James, Betty Boop Swat the Fly, Dumbo (Disney), War at Sea, Micky Cow-Boy, Micky Papa, Little Red School Mouse, Getting the Goat, The Great Train Robbery, On the Fourth Day, A Harem Knight, Lure of the Surf, Keystone Cops Crazy Carry On, Moscow Travel, Law of the Timber, Vacant Possession etc. PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; approximately forty predominately 16mm format film reels including Fishing Fun, Jack Frost Cartoon, Dick Whittington’s Cat, The Black Emperor, Popeye I Eats My Spinach, Snub the Skating Ace, Gunning for Cassidy, Court in a Cabaret, Passport to Adventure,  Whirl O’ The West, The State Visit to Paris 1938, North American Common Animals of the Woods, Concert Waltz, Golden Spare Tournament etc. PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; approximately forty 16mm and 9.5mm format film reels of mixed interest including Romeo and Juliet, Daffy Duck (Disney), Lambeth Boys, The Balloon, People of Mexico, Workshops of Old Mexico, Britain in Stewart Times, Woody Woodpecker The Giant Killer, The Invisible Woody, Young and Handsome, Junior Bronc Busters, Glamour Films, The Lion Tamer, Oliver Twist (parts one and two), The Life of Christ, a Little Bit of Fluff, Maiden of Morocco, Saint Joan the Maid.  PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good careCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.

FILM/CINEMA & PROJECTION INTEREST; over thirty-five 16mm format film reels of mixed interest including Oswald Rabbit in Brat Cat Cartoon, Operation Cold Feet, Hopalong Cassidy, Hoppy Sets a Trap, Ten Thousand Feet Deep, Riders of the Timberline, Tree Top Daredevils, The Adventures of a Young Eagle, Fishing Thrills, Boy Meets Dog, Sea Going Thrills, The Blue Room (glamour), Pacific Sky Ways, Roaring Wheels, The Honey Bee, Whale Hunt, Phoney Express, Flying Cinders Motor Cycle Race etc.PROVENANCE:  The private single owner collection of Trevor Charles Thomas of Stoke on Trent.Additional InformationCases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.Cases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.Cases/boxes in worn condition, none of the reels have been tested by us but are from a single owner private collection who took good care.