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Preisdatenbank abonnierenWoolley (H., 20th c.,). A set of six original watercolours for 'The Piggy-Wiggies', written and illustrated by H. Woolley, pub. Raphael Tuck, [1948], six orig. watercolours on board, depicting Percy the naughty little pig who hates going to school, two approx. 230 x 155 mm, remainder approx. 175 x 120 mm (6)
Greene (Graham). The Virtue of Disloyalty, privately printed in an edition of 300 for the author and publisher, Bodley Head, 1972, orig. plain wrappers in d.j., slim vo. Inscribed on title by Greene in a frail hand: "For Sir Edward Muir, from a grateful patient who hardly knew he had been operated on, with all good wishes for Christmas, Graham Greene, King Edward VII's Hospital". (1)
Harris (Frank). The Bomb, published by the Author, New York, 1920, b & w plts., several leaves with closed tears, mostly to lower blank margin, upper hinge split, lacking rear free endpaper, orig. cloth gilt, spine darkened and rubbed, 8vo. Inscribed by the author on the front free endpaper: 'To dearest Paddy from "Pat" the author Frank Harris who loves her dearly June 1920'. Frank Harris was one of the most infamous characters of the late 19th and early 20th century. He made his name as a journalist and author, and was a key figure of the literary and political scene. He was a friend to both Bernard Shaw and Oscar Wilde, and amongst many others he also knew H.G. Wells, Max Beerbohm, Winston Churchill, Aleister Crowley, George Moore and Arnold Bennett. He was notably outspoken and candid, which did not suit the tenor of the times, but it was the publication of his autobiography in 1922 'My Life and Loves' which finally destroyed his reputation. This work immediately scandalised the society of his day with its unshrinking depiction of sexual matters. 'The Bomb', Harris's first novel, is set among the anarchist victims of the events surrounding Chicago's Haymarket Square bombing of 1886. It evoked a chorus of praise amongst reviewers, for example, 'The Times': "'The Bomb' is highly charged with an explosive blend of Socialistic and Anarchistic matter, wrapped in a gruesome coating of 'exciting' fiction... Mr. Harris has a real power of realistic narrative... The tense directness of his style, never deviating into verbiage, undoubtedly keeps the reader at grips with the story and the characters." First published in 1908, this edition was a small print run published by the author. (1)
Lawrence (David Herbert). Apocalypse (Lungarno Series no. 6), 1st ed., Florence, 1931, port. frontis., partly uncut, orig. red boards with black phoenix motif to upper cover and leather label to spine, in orig. green d.j., somewhat faded and spine lightly darkened with small waterstain towards head, one or two small chips and sl. tears, 8vo (Roberts A57), together with The Man who Died, 1st ed., 1931, (three copies), t.e.g., remainder untrimmed, orig. buckram gilt in frayed and torn d.j.s, tall 8vo, each printed in a limited edition of 2000 copies, plus Assorted Articles, 1st ed., 1930, orig. maroon cloth gilt in d.j., a little rubbed to extrems. and two others (Pornography and Obscenity, Criterion Miscellany No. 5, 1st ed., 1929 & The Ladybird, The Fox: The Captain's Doll, 1st ed., 1923, first title in orig. printed wrappers, sewn as issued, in clean condition, the second work with a little foxing to prelims., binding rubbed and marked, all 8vo (7)
Tolkien (J.R.R.). The Fellowship of the Ring / The Two Towers / The Return of the King, 1st ed., pub. George Allen & Unwin, 1954/5, Richard Adams's copy, with his ms. ownership signature and bookplate to each vol., and a few pencilled annotations in his hand, folding map to each, a.e.g., recent scarlet crushed morocco for Asprey, with orig. cloth covers bound in at rear of each vol., spines with gilt dot dec. raised bands, gilt lettered direct on a seme dot ground in second and third compartments, remainder with art nouveau flower tool surrounded by seme dots within double fillet frame, covers with gilt single fillet border, inner dot-filled double fillet border, with stylised flowers at corners, central single fillet panel filled with dots and roundels, with scabious flower at centre of each side, single fillet to board edges, gilt dec. turn-ins, 8vo. With six pages of important manuscript notes by Richard Adams, in which he pours out his thoughts about Tolkien's work and compares it to his own, in a free-flowing hand, with numerous additions and underlinings. He calls Gollum a 'marvellous conception... the awful, unacceptable outsider, who nevertheless is of huge value', and compares him to others who he sees as similar figures, such as Van Gogh, Shelley, Nelson, Emmeline Pankhurst and John Wesley. He goes on to say that Tolkien did not influence his own work, but changes his mind as he writes: 'I don't care for Magic and don't resort to it at all... I can't think of any respect in which Tolkien has influenced me. Afterthought. What about "The Girl in a Swing?" Supernatural. M.R. James?'. Adams expresses his disappointment that there are only two female characters in "Lord of the Rings" - Galadriel and Eowen - neither of whom, he says, exactly represent real Womanhood: '(I'm sure that Women's Lib. don't care for the overwhelmingly masculine tone of the conflict and the characterisation.) "Ask Germaine Greer?" (And "Watership Down" has been criticised for this. But the whole W.D. story hinges on the necessity of the female to a true society.)' Adams concludes that his feelings about "Lord of the Rings" echo Dr. Johnson's about "Paradise Lost": '"No man ever wished it longer"'. (3)
Wheatley (Dennis). Curtain of Fear, 1st ed., Hutchinson, 1953, orig. black cloth gilt in frayed d.j., with a little loss to head and foot of spine, partly cracked to upper inner joint, author's presentation copy, inscribed to title 'for John Wilson and his family With best wishes from his old friend Dennis Wheatley', together with Pripad Roberta Prentice [Who Killed Robert Prentice?], Prague, 1939, inserts and facsimiles as issued, orig. plain wrappers in d.j., sl. frayed to extrems., generally without loss, signed by the author to title, and inscribed 'My own copy of the Second Murder Dossier, and the first to be published in Czech (being my 3rd Czech translation). Published the day before Hitler entered Prague. March 1939', with four handwritten letters to the author from different readers, all dated 1944, loosely inserted, plus Faked Passports, a novel, 1st ed., pub. Hutchinson & Co., [1940], orig. black cloth in chipped d.j., with a little loss to extrems., and the author's own copy of Camille Flammarion's Death and Its Mystery, 3 vols., 1921-23, with his bookplate to front pastedown of first vol., and signed inscription by the author to half-title of each vol., stating that this work was used when writing his books with supernatural or occult backgrounds, all orig. uniform maroon cloth gilt, generally in clean condition, all 8vo (6)
*Tuke (Maurice). A fathers blessinge to his motherless, and (as farre as the world can make hir) fatherless, Deare and onely Daughter Dorothie Tuke, orig. manuscript, dated 1641, title with decorative partly genealogical border, two page signed dedication to his Aunt, Mrs Katherine Betenson pp. 3-33, being an essay of pious homilies by way of a conduct book, the whole written in a very neat hand within double ruled red borders, signed again at rear, final page blank with This book was found at Scadbury in the closet by the Chapell, July 1737, lacks first page of main text, a little soiling and damp staining, contemp. stitched wrappers with Maurice Tukes ownership inscription to upper wrapper and a later inscription stating that this was found among Mr Williamss papers in December 1805, soiled and chipped at edges, slim 8vo. Maurice Tuke of Layer Marnui in Essex married Amy Kempe (baptised 1598), and their daughter, Dorothie, who inherited a portion of the Kempe property at Eastwell in Kent, who eventually married Sir Robert Filmer, baronet. (1)
*Churchill (Winston S., 1874-1965). Autograph signature Winston S. Churchill, dated 6th December 1923, written in red ink on an album leaf with related magazine cuttings taped below the album with other misc. drawings, quotes, and signatures of family and friends of the album compiler, stitching broken and contents largely loose, orig. cloth, oblong 8vo, together with a TLS with printed signature from Winston Churchill to Miss [Florence ?] Smith, who was presumably the album compiler, a letter dated 18th December 1923 thanking Miss Smith for her valuable help and support during the recent general election, one page, 8vo (2)
HANNINGTON, S. – A collection of letters addressed to Mrs S. Hannington, circa 1850 and later, contained within an early 19th Century leather-covered dome-top box, signed to the bottom of the box with Brighton address (box with section of leather lacking from side). Note: Mrs S. Hannington is a relative of Bishop Hannington who was killed in Africa.
Sheng Qi, B.1965 UNTITLED (MY LEFT HAND SERIES) signed and dated 2006 on the reverse oil and collage on canvas 90 by 80cm. 53.5 by 31.5in. To accurately draw ones own left hand has long been seen as a qualifying mark of an accomplished artist, but in the case of Sheng Qi, images of his four fingered left hand means infinitely more than that; they are the iconic works that sum up the entire life and Ïuvre of one of Chinas most celebrated contemporary artists. Sheng Qi emerged in the 1980s as one of Beijings key performance artists. Using himself as his artistic material he focused on the body as a lived existence of impulse and passion freed from the constraints of rational thought. The modest artistic freedom that was allowed in China during the 1980s came abruptly to an end with the events in Tiananmen Square in June 1989 leading the government to respond with reinforced suppression and state control. Sheng Qi, who took part in the protests, found himself forced to flee his country but before his departure he committed what could be read as an extreme act of performance art: he cut off the little finger on his left hand and buried it in Chinese soil so that a part of him would always remain in his homeland. The present and previous lots portray the artists left hand with a found image placed in his palm. When Sheng Qi places a found photograph in his mutilated hand, he is playing at the sudden rush of memories that is often evoked when one looks at a scar or an old photograph. A young boy with a Communist Party uniform and a propaganda image of a muscular party cadre are images of bygone times. With a sense of nostalgia they represent an era quickly dwindling away for the Chinese. In Sheng Qis hand, their sense of na•ve idealism contrasts with the bitter reality that led him to injure himself and therefore become startlingly sensitive and powerful examples of the artists most poignant work. Provenance Acquired directly from the artist by the present owner
German Evgenevich Dontsov, 1916-2001 On the New Lands signed in Cyrillic l.r. and dated 69; further signed, titled and inscribed Riga, Gorkogo 77-1 on reverse. oil on canvas 141 by 153.5cm., 51.5 by 60.5in. Provenance Acquired by the present owner from the son of the artist Literature The offered lot will be included in the forthcoming book Historical Painting in Russian Art due to be published by Bely Gorod in 2007 The offered lot was exhibited in Riga and also included in the International Exhibition of Artists of the Soviet Union in the 1970s. German Dontsov studied in Kharkov like Alexander Deineka, and was greatly influenced by the latter's bold, stylised technique. The offered lot depicts university students who would spend their summers in Altai helping to cultivate new lands.
A porcelain covered water pitcher, Imperial Porcelain Manufactory, period of Catherine II (1762-1796) cylindrical body decorated with gilt crowned initials Z.V. in Latin, the rim with scrolling gilt frieze, the domed lid with similar ornament surmounted with bud finial, with impressed marks E. and G. and blue Imperial cypher of Catherine II height: 25.5cm., 10in. The initial 'G' possibly refers to Christopher Grunger who worked at the Imperial Factory during the period of Catherine the Great.
a Victorian scratch built model of the Chiltern at anchor with rowing boat in the foreground and a panoramic hand drawn vista behind, 26 inches long in a glazed case on a stand. The Chiltern was a cable laying ship belonging to the Eastern Telegraph Company. By repute this model was crafted by a crew member and presented to the captain who is an ancestor of the vendor.
Attributed to Tommaso Redi, Italian 1665-1726- Christ on the cross with the Virgin Mary and Mary Magdalene; lead point/graphite on paper, possibly after Raffaello da Urbino 1483-1520,36.5x23cm: with separate inscription in ink by a different hand "Di Mano Di Tommaso Redi Da Raffaello Da Urbino", attributed to the collector and art historian Francesco Gabbari 1676-1742. Note: Tommaso Redi was a late Baroque painter apprenticed to the Florentine painter Anton Domenico Gabbiani 1652-1725, who also studied in Rome at the studios of Carlo Maratti, 1625-1713 and Carlo Ferri 1634-1689, before returning to Florence to paint in the Palazzo Pitti.
FRAGMENT OF A SIXTEENTH-CENTURY ITALIAN TRANSLATION OF VITRUVIUS.The lot comprises eight sheets of paper of varying sizes containing fragments of an illustrated Italian translation of Vitruvius' Ten Books on Architecture. Both the drawings and the writings are in the same brown ink, and appear to be by a single hand, mid sixteenth-century in character. Part of a watermark on Fragment 2 appears to be an anchor in a circle with a six-pointed star, a very common type in Italy throughout the sixteenth century. There is no other watermark evidence. Shreds of paper and glue stains towards the corners and edges of several fragments (such as 1r and 8v) indicate that after cutting down they were laid down in an album. Frag. 1 appears to retain the full width of the original page (c. 275 mm), while the height can be estimated from frag. 6 and frag. 7 to be about 400 mm (see below).Vitruvius' Ten Books, written c. 30-20 B.C. is the only substantive classical text on architecture, and became of critical importance in the Italian Renaissance when architects strove to revive architecture all'antica. This was not an easy task since Vitruvius looked to Greece for many of his exemplars and used many Greek architectural terms, which were not always applicable when understanding Roman ruins, as became apparent with the publication of the first illustrated edition by Fra Giovanni Giocondo of Verona in 1511. Giocondo's humanist scholarship is impeccable and his interpretation of Vitruvius' temple types follows the text to the letter, and yet the result for the in antis temple is nothing like the reality we know from the physical evidence. Already by 1520, the manuscript translation, prepared by the humanist Fabio Calvo for Raphael, included a plan correctly interpreting the in antis temple, and others appear in the drawings by Giovanni Battista da Sangallo added to a 1486 first edition of Vitruvius around 1530. Had the great project outlined in the famous letter of 1542 by Agostino de'Landi for a Vitruvian Academy to prepare a multi-volume critical edition, translation and commentary of the Ten Books been realised, Giocondo's errors may have been exposed sooner. However, the fact that his interpretations were followed in the great Italian translation and commentary of Daniele Barbaro of 1556, with illustrations by Andrea Palladio, ensured that they became virtually canonical until the eighteenth century.The present fragments all belong to the first three books of Vitruvius, and the drawings of the in antis temple are similar to those in Giocondo and Barbaro, although it is not clear if our fragments pre- or post-date the latter. That the artist was translating from the Giocondo edition or one of its successors is confirmed by the tree labeled 'suera' on frag. 5r, since it is the cork oak or quercus suber, which does not occur in printed editions earlier than 1511.Of particular interest are the views of Alexandria and Athens on frags 2v and 4v, both clearly modelled on ancient Rome, with buildings like the Colosseum and the Pantheon figuring in each. What at first sight appears to be the Castel S. Angelo on frag. 2v is probably intended to represent the Pharos at the harbour of Alexandria. The many apparent obelisks in the surrounding countryside are really pyramids. The artist certainly seems to have had direct knowledge of Rome, judging from the views of the in antis and prostyle temples in frags 6r and 7r. Vitruvius gives as his exemplar of a prostyle temple one dedicated to Jupiter and Faunus on the Tiber Island. Our artist labels the in antis 'Fauno' and the prostyle 'Giove' and among the buildings in the background are recognizable the two bridges to the island, the Ponte Cestio and the Ponte Fabricio.Of the seven temple types described in Vitruvius Bk. 2, chap. 3, four are represented here. Because the text for the prostyle temple appears on frag. 6r and the drawings on frag. 7r, while the drawings and text of the peripteral temple extend across frags 6v and 7v, we can be confident that the fragments originally formed part of the same folio. Equally, the absence of drawings of the amphiprostyle and pseudodipteral temples (for which the texts are at the bottom of frags 7r and 7v respectively) allows us to infer that the lower part of the folio is missing, while the last temple type, the hypaethral, would probably have been below the present frag. 8r.One feature of the style of architectural representation to which attention should be drawn is the use of perspective in the plans on frag. 6r and frag. 8v. Baldassare Peruzzi (who is said to have begun a commentary on Vitruvius himself) had experimented with perspectival plans in his project drawings for New St Peter's and his pupil, Sebastiano Serlio, gives instructions for constructing them in his Second Book: On Perspective, published in 1545. Another associate of Peruzzi, Antonio Labacco, makes use of them in his Libro appartenente all'architettura of 1552, before orthogonal plans became normative. It is possible, therefore that the artist may belong to the circle of Peruzzi, although there is nothing to prove a direct connection.We are grateful to Ian Campbell, Professor of Architectural History and Theory, Edinburgh College of Art for the research and catalogue entry of the above lot.
A fine Arts and Crafts four fold needlework screen, 1890s silk thread on a silk damask ground, each panel elaboartely worked with birds amongst fruiting foliage, in glazed mahogany panels, with blind fret cresting and apron and panelled reverse each panel 217cm. high by 80cm. wide Provenance The needlework in this piece is believed to have belonged to Lady Ella R. Durand (1852-1913), who is the author of the travel journal Autumn Tour in Western Persia, London, 1902.
German Coastal Artillery Badge of bronze colour, consisting of two rows of oak leaves in the form of a wreath, inside this, a depiction of a coastal artillery piece with the sea in the background, to the top an eagle above a swastika. Designed by the sculptor Otto Placzek of Berlin, this is marked to the back of the piece. Awarded to soldiers with the coast artillery who displayed significant leadership qualities or an an act of worth in action. Missing pin and possible alteration to the fitting. The medal is in reasonable condition. The gold coloured plating has worn off in several places, and the medal has a number of scratches and dints to its surface. Despite this, the detail of the design is all still clear and unrubbed. The pin on the back has broken off. The back is marked with the name of the sculptor who designed the medal, Otto Placzek, but this mark is partially obscured by a large patch of solder which could indicate that a repair has taken place.
Italian CSIR white enameled cross with metal twist border suspended from a black and white ribbon. Probably instituted in 1942 for troops who participated in the initial campaign of Operation Barbarossa, the code name given for the German Nazi invasion of the Soviet Union during WWII. The writing to the reverse is as follows: Top; 'DNJEPR, DONETZ', Bottom dates: 'LUGLIO 941, LUGLIO 942', Sides: 'BUG' and 'DON', Centre: 'C.S.I.R.'. Also marked with the makers name and address, 'LORIOLI MILANO ROMA A PICOZZI MILANO'. The medal is in reasonable condition. The enamel on the front is chipped and cracked, and there are surface scratches and discolouration to the metal on the back. The engraved writing is all clear though. The ribbon is a bit dirty and the top is slightly frayed.
A First World War Trio awarded to 58550 Gunner H Thomas RFA comprising 1914-15 Star, 1914-18 Medal and Great War Medal 1914-19. Also a framed Discharge Certificate 27th October 1917. The medals that make up this trio are the 1914-15 Star, the British War Medal 1914-20, and the Victory Medal 1914-19. Virtually all service men and women received one or more of them. The Star was awarded to anyone who saw service in a theatre of war between 5th August 1914 and 31st December 1915. The British War Medal was awarded to commemorate the successful end of the war, and was issued to those who had served up to and including this in 1920. The reverse of the medal shows St George on horseback trampling the shield of the central powers. The Victory Medal was issued to commemorate the Allied victory, mostly to those who had served on the establishment of a unit in a theatre of war between 5th August 1914 and 11th November 1918. It shows Victory holding a palm leaf. All three medals are in good condition. The British War Medal is made of silver, and the other two are bronze. They all have slight surface scratches and dints, and the British War
An assortment of twelve military medals to include a victory medal inscribed 'The great war for civilisation 1914-1919', South Africa: Queen Victoria's 1899-1902, several First World War medals dated 1914-1918, a George V medal engraved 'For faithful service in this special Constabulary', a selection of four medals issued to soldiers who served in Berma; the Burma Star, the 1939-1945 Star, The Defence Medal and the Victory Medal.
(ES487/1) JOHN QUINTON PRINGLE (1864-1925) TENDING THE DUCKS Oil on canvas, inscribed on the stretcher verso 'I believe this to be a genuine painting by John Quinton Pringle possibly c.1908, James Meldrum' 26cm x 31cm (10.25in x 12.25in) Note:The present owner inherited the painting from his grandfather, who had a stained glass shop in the Saltmarket, Glasgow, near Pringle's own optician's shop. The painting was most likely a gift from the artist, who is known to have been very interested in stained glass.
Gerrit Schouten (1779-1839), 'The waterfront at Paramaribo, Surinam', a painted papier mache diorama, signed and dated 1820 on label, in gilt wood and stained case, 60cm high, 90cm wide, 34cm deep. Provenance: By descent from William Leckie, an English merchant who settled in Surinam in the early 19th century. Surinam in South America was originally settled by the British in 1630 and in 1650 Paramaribo was declared the capital. The port was established as a major centre of trade for the export of gold, sugar, rice and tropical woods to the European market. By 1815 Surinam was under Dutch rule and remained so until independence in 1975. The architecture depicted in the diorama clearly shows this Dutch influence and provides an interesting historical record as a large part of the waterkant was destroyed by fire in 1832. William Leckie settled in Surinam after eloping with a married woman, Mrs Jane Ann Gill. Presumably, he considered Surinam to be distant enough to avoid the scandal that no doubt would have ensued. According to his will, Leckie had a daughter, Ann, with Jane Gill, to whom he bequeathed two thousand pounds. He also made provision for his two slaves, Bruno and Henry, granting them freedom after a period of seven years service to Mrs Gill. Of Dutch descent, Gerrit Schouten was a native of Surinam. He was primarily a botanical illustrator, though also constructed dioramas presumably to commission. William Leckie is depicted in this diorama in conversation with another gentleman to the right of the scene. Many of Schouten's dioramas are on a small scale illustrating village festivals and festival life; large scale works such as this are unusual. There are a number of Surinam dioramas in the Rijksmuseum, Amsterdam, and Teylers museum, Haarlem.
A carved and painted half model of a 38 lb salmon, mounted on a mahogany plaque, length of the salmon 101.5cm, the plaque indistinctly inscribed '38 lb, salmon caught on the Restigouche River, July 7th 1930 by Grace Amory', and with the maker's name 'Roland Ward Ltd of London'. Note: Though supplied by Roland Ward Ltd, the fish was carved by John Tully (d. 1931) at Fochabers Studio, Gordon Castle, Scotland. The fish was caught on the Restigouche River, New Brunswick, Canada by all round sportswoman Grace Amory, who was a champion golfer in the 1920s. Grace married Alan A Ryan, son of the tycoon Thomas Fortune Ryan, one of the richest men in America at the time.
A Derbyshire black marble 'desk thermometer' with pietra dura inlaid decoration of flower sprays, mounted with ivory scale signed Tomlinson Bakewell, with mercury level, 23cm high, 13.5cm wide, 7.5cm deep. Ashford black marble is a bituminous limestone that is found in the hills surrounding Ashford-in-the-Water. In the early years of the 19th century after craftsmen in the area realised that it made a suitable base material for their inlay work, the industry of Ashford black marble began. The Buxton Museum and Art Gallery's collection is recognised as one of the best collections in public ownership. Literature: See John Michael Tomlinson, who wrote a key book on the trade, in which he lists the major collections.
A George III window seat, circa 1775, mahogany, with upholstered rectangular seat, continuing to rolled arms with conforming rolling frame, scrolled up the arms, the serpentine seat rail centred by a circular disc, continuing to moulded cabriole legs with floral sprays to the knees and leaf carved toes (with repairs), 104cm wide, 67cm high, 39.5cm deep. Note: This stool, designed in the French taste, has elegantly formed moulded cabriole legs following a design that first appeared in France in the early 1750s. The first documented example of this style is seen on a suite of furniture, which included a pair of card tables, fourteen armchairs and two sofas, which were supplied by Thomas Chippendale for the Drawing Room at Dumfries House in 1759. The stool is executed in carved mahogany, a timber seldom used in France by chair makers who preferred to use the softer walnut or beech, painted or gilded. It probably formed part of a larger suite of furniture that would have been placed in a drawing room, either in window bays or tiers, being drawn into the centre of the room as necessary.
(ER739/1) A Masonic ceremonial mounted wooden mallet, LONDON 1929 BY WAKELY AND WHEELER London 1929, by Wakely and Wheeler, the turned oak mallet with applied rose plaque, Celtic knot and boss decoration, the slender handle with thistle engraved finial, collet set with a citrine 22cm high by repute this item was presented to the master stone mason who worked on the Princess Margaret Royal Infirmary in Edinburgh.
Fleming, Ian. Casino Royale, first edition, London 1953. Cloth; Live and Let Die, second impression, London 1954. Cloth; Moonraker, first edition, London 1955. Cloth; Diamonds are Forever, first edition, London 1956. Dust wrapper, rubbed and creased at edges with small loss to head and foot of spine; From Russia With Love, first edition, London 1957. Cloth; Dr No, first edition, London 1958. Cloth; Goldfinger, first edition, London 1959. Dust wrapper, worn around edges; For Your Eyes Only, first edition, London 1960. Dust wrapper, worn at edges; Thunderball, first edition, London 1961. Dust wrapper, repaired and worn; The Spy Who Loved Me, first edition, London 1962. Dust wrapper with loss to top front; On Her Majesty’s Secret Service, first edition, London 1963. Dust wrapper; You Only Live Twice, first edition, London 1964. Dust wrapper; The Man With the Golden Gun, first edition, London 1965. Dustwrapper, chipped; Octopussy and the Living Daylights, first edition, London 1966. Dustwrapper. All octavo, with a custom wooden bookcase (14)
The British Turf and the Men Who Have Made It, compiled by The Sporting Life, The Biographical Press, London 1906. Full dark green morocco, plate and text illustrations, large quarto. Association copy: Bears the bookplate for Douglas Dawson, successively Master of Ceremonies at the Royal Court (1903), Comptroller in the Lord Chamberlain’s department (1907) and State Chamberlain (1920)
Three awards to Alexander McCaskie, comprising 1914-18 British War Medal and 1914-19 Victory Medal to 'S-11032 Pte. A. McCaskie. Sea. Highrs.' and the medal for Faithful Service in the Special Constabulary, George VI issue, detailed 'Alexander McCaskie', with its original box, together with three associated postcards and a service leaflet for Lesmahagow Church, commemorating those who fell in the Great War.
KATHARINE BRIGGS: ABBEY LUBBERS BANSHEES AND BOGGARTS A WHO’S WHO OF FAIRIES, ill Yvonne Gilbert, 1979, 1st edn, orig cl d/w + CLAIRE BOOSS: SCANDINAVIAN FOLK AND FAILY TALES, NY, 1984, orig cl d/w + KATHLEEN KILLIP: TWISTING THE ROPE AND OTHER FOLK TALES FROM THE ISLE OF MAN, 1980, 1st edn, orig cl d/w + WALTER DE LA MARE: A PEACOCK PIE, ill Louise Brierley, 1989, 1st edn, orig cl d/w + MARTIN H BRICE: THE WITCH IN THE CAVE, 1986, 1st edn, orig cl d/w + THE HOUSE IN THE WOOD AND OTHER OLD FAIRY STORIES, ill L Leslie Brooke, 1952, reprint, orig cl d/w (6)
THE PROPERTY OF ANDREW PENDREY, PRINCESS DIANA’S CHILDHOOD RED AND CHROME “TRACKER” BICYCLE NO 153079, PRODUCED BY THE TRUSTY MANUFACTURING COMPANY GREAT BRITAIN; FORMERLY THE PROPERTY OF THE LATE MAUDIE PENDREY WHO WAS HOUSEKEEPER AT ALTHORP FOR 29 YEARS AND PURCHASED THE BICYCLE FOR £20 WHEN LORD JOHNNIE AND RAINE HELD AN AUCTION; TOGETHER WITH A PRINCESS DIANA AUTOGRAPHED 1994 CHRISTMAS CARD WITH ORIGINAL ENVELOPE AND AN AUTOGRAPH LETTER SIGNED DATED MARCH 2ND 1982 WITH ORIGINAL AUTOGRAPH ENVELOPE + A COPY OF “HELLO” MAGAZINE AUGUST 29 1998 CONTAINING A LENGTHY ILLUSTRATED ARTICLE ON MAUDIE PENDREY AND HER TIME AT ALTHORP; THE CHRISTMAS CARD AND AUTOGRAPH LETTER WERE RETAINED BY MRS PENDREY WHEN WE SOLD IN THESE ROOMS LOT 1200 ON MARCH 22ND 2000, HER LARGE COLLECTION OF AUTOGRAPH LETTERS AND AUTOGRAPH CHRISTMAS CARDS WHICH REALISED £24,200
Wood (Anthony). Athenae Oxonienses. An Exact History of all the Writers and Bishops who have had their Education in the most Ancient and Famous University of Oxford..., 2 vols. in one, 2nd ed., corrected & enlarged, 1721, titles printed in red & black, contemp. calf, joints and spine split, extrems. worn, folio, together with Wood (Anthony), Athenae Oxonienses. An Exact History of all the Writers and Bishops who have had their Eductaion in the University of Oxford..., 4 vols., new edition, with additions, and a continuation by Philip Bliss, 1813-20, edges untrimmed, recent qtr. cloth, 4to, with Tanner (Thomas), Notitia Monastica: or an Account of all the Abbies, Priories and Houses of Friers, heretofore in England and Wales, and also of all the Colleges and Hospitals founded before A.D. MDXL, 1744, eng. port. frontis and three heraldic plts., some spotting and light browning throughout, worm hole to fore-edge margin of initial 30 leaves and worm trail to fore-edge margin of final 50 leaves, endpapers renewed, contemp. calf, rebacked, board edges rubbed, folio (6)
Jardine (Sir William). The Naturalist's Library, 13 vols. (Mammalia), Edinburgh, 1833-42, eng. port. frontispieces, addn. eng. titles (some hand-col.), numerous eng. plts. (mostly hand-col.), bookplate of John Kerr Butter to each, occ. minor spotting, contemp. half sheep, slight wear to joints & extrems., small 8vo. Dr. John Kerr Butter (1856-1920), was a medical doctor in Cannock, who had his own private menagerie, consisting of monkeys, ostriches, emus, geese, ocelot & kangeroo etc. He was known for visiting his patients in a trap drawn by a zebra. He was a member of the London Zoological Society, and wrote for specialist journals. He was particularly regarded as an expert on large cats and provided animal welfare advice to travelling menageries. (13)
Ackermann (R.). Poetical Magazine, vols. 1, 3, & 4 (of 4), 1809-11, eng. title-pages and thirty-nine aqua plts., all but two hand-col., many after Thomas Rowlandson, vol. 1 with G1-G3 torn to lower margin (affecting last four lines of text to G2), some scattered foxing, late 19th c. red half morocco gilt, , 8vo. Abbey, Life, 214. Bound without the original printed wrappers, this magazine is chiefly remarkable for the first appearance of the famous Doctor Syntax, who under the title of 'The School Master's Tour', ran through the whole of the publication, to be reprinted in volume form under the title of 'Doctor Syntax in Search of the Picturesque'. (3)
Blackstone (William). Commentaries on the Laws of England... , a New Edition with the Last Corrections of the Author... , ed. John Frederick Archbold, 4 vols., 1811, half-titles, analyses and plts. correct as binder's list at rear, ownership signature of T.T. Hawkey to titles and front endpapers, uncut, orig. boards with paper labels, slightly rubbed and soiled, upper joint and head of spine to vol. 2 slightly split, large 8vo. The owner of these volumes appears to have been T.T. Hawkey who completed his articles in about 1817 with Francis Paynter at St. Columb Major in Cornwall. (4)
Burnet (Gilbert, Bishop of Salisbury). Some Passages of the Life and Death of the Right Honourable John Earl of Rochester, who died the 26th of July, 1680, 1st ed., 1680, lacks first & last blank leaves (A1 & N8), lacks. port. frontis., small hole to title, old vellum, 8vo, together with The Abridgment of the History of the Reformation of the Church of England, vol. 1 (of 2), 1719, eng. frontis., some browning, bookplate of Birket Foster to front paste-down, contemp. calf, joints & extrems. slightly worn, 12mo, together with Brevis Tractatus de Officio Notariatus, Eiusque Authoritate, & Dignitate Tironibus Praesertim Perutilis, & Necessarius cum Indice locupletissimo. Antonii Stabilis Recinetensis et Romani Civis..., Macerate, 1654, woodcut armorial to title, annotations to title and throughout volume, contemp. boards, 4to, with Silius Italicus (Tiberius Catius), Caji Silii Italici Punicorum libri septemdecim / cum excerptis ex Francisci Modii Novantiquis lectionibus, et Casp. Barthii Adversariis, tum Danielis Heinsii crepundiis Silianis, et postumis notis Nicolai Heinsii, nunc primum editis ; curante Arnoldo Drakenborch, cujus etiam annotationes passim additae sunt, Trajecti ad Rhenum, 1717, eng. frontis. and plts., slight damp staining, contemp. half calf, joints cracked and extrems. worn, 4to, plus six other 18th/19th c. antiquarian (10)
Post Office. Report from the Committee who were Appointed to Consider the Agreement made with Mr Palmer [John Palmer, 1742-1818] for the Reform and Improvement of the Post Office, and its Revenue, Etc., 1797, 260 pp., several folding tables, contemp. half calf gilt, rear cover detached, folio, with a small group of twentieth-century publications on stamps, postmarks and related (a carton)
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