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Click here to subscribeRackham (Arthur, illust.). The Ingoldsby Legends, or Mirth & Marvels, by Thomas Ingoldsby, Dent, 1907, twenty-four col. plts. mounted on dark green paper (two with small crease), captioned tissue guards, twelve tinted plts., numerous b & w illusts. to text, occ. spotting to margins, t.e.g., remainder untrimmed, orig. gilt dec. vellum, a few marks silk ties detached (but present),4to. Limited Deluxe Edition 80/560 copies, signed by Rackham. (1)
Rackham (Arthur, illust.). Peter Pan in Kensington Gardens, by J.M. Barrie, 1st ed., 1906, 50 tipped-in col. plts., with captioned tissue guards, one plt. with diagonal crease, b&w illusts. to text, t.e.g., remainder untrimmed, orig. gilt dec. vellum, some dust-soiling, covers bowed, lacking ties, 4to. Riall p.114. Deluxe limited edition, 437/500 copies, signed by the artist. (1)
Rackham (Arthur, illust.). The Rhinegold & the Valkyrie, by Richard Wagner, New imp., 1914, thirty-four tipped-in col. plts. (as list), orig. gilt dec. cloth, some fading to covers, in d.j., lacking spine, torn and frayed, 4to, together with The Ingoldsby Legends or Mirth & Marvels, by Thomas Ingoldsby, 1912, twenty-four tipped-in col. plts (as list), corner creases to a couple of plts., orig. gilt dec. blue cloth, spine slightly faded, rubbed, 4to, plus Arthur Rackham’s Book of Pictures, 1913, forty-four tipped-in col. plts. (as list), orig. gilt dec. cloth, some splitting and fraying to spine, 4to, plus three others similar (6)
Rackham (Arthur, illust.) Peer Gynt, A Dramatic Poem by Henrik Ibsen, 1st ed., 1936, twelve col. plts. (as list), b&w illusts. to text, orig. brown cloth gilt, slightly rubbed, 4to, together with Robinson (W. Heath, illust.), Hans Andersen’s Fairy Tales, pub. Hodder & Stoughton, [1913], sixteen tipped-in col. plts. (as list), b&w illusts. to text, slight weakening to binding, orig. red cloth gilt, rubbed, 8vo, plus Anderson (Anne, illust.), Tub Time Tales, by Madeline Barnes, n.d., c. 1940’s, eight col. plts. (as list), b&w illusts., orig. cloth-backed pict. boards, spine faded, wear to edges, 4to, plus eight other early 20th c. childrens books, incl a defective copy of Tinker, Tailor, illustrated by Louis Wain, c. 1920 (11)
Rackham (Arthur, illust.). Peter Pan in Kensington Gardens, by J.M. Barrie, pub. Hodder & Stoughton, 1906, 50 tipped-in coloured plates, captioned tissue guards, scattered light spotting, original red decorative cloth, rebacked preserving original spine, a little rubbed, 4to (1)
Robinson (W. Heath, illust.). Bill the Minder, 1st ed., Constable, 1912, sixteen tipped-in col. plts., incl. frontis., with captioned tissue guards, b & w letterpress illusts., some full-page, endpapers browned and foxed, t.e.g., remainder untrimmed, orig. gilt dec. vellum, spotted, yellow silk ties detached (but present), 4to. Limited edition 5/380 copies, signed by Heath Robinson. (1)
Routledge (George, pub.). Routledge’s Nursery Tales: Containing the Alphabet of Flowers, the Three Bears, Little Red Riding Hood, Mother Hubbard, Cock Robin, n.d., 1869, twenty-four chromo. litho. plts. (complete), some marks, binding near-detached, orig. cloth, worn and soiled, 4to, together with Kanos (Ignacz), Forty-Four Turkish Fairy Tales, n.d., c. 1914, sixteen tipped-in col. plts., b&w illusts., orig. dec. cloth, rebacked preserving orig. spine, rubbed, 4to, plus Le Mair (H. Willebeek), Hollandsche Kinderliedjes, [1917], col. illusts. throughout, orig. pict. cloth gilt, rubbed, oblong 4to, plus six other childrens books incl. Kleines Volk, by Oscar Pletsch, n.d., c. 1881; ‘Gallant and Dopey’, by Marjorie Turner, [1948], etc., and Greenaway (Kate, illust.). A Day in a Child’s Life, 1st ed., [1881], col. illusts. throughout, orig. cloth-backed pict. boards, slightly rubbed, 4to (Schuster & Engen, 66.), together with Under the Window, 1st ed., [1878], col. illusts., one page repaired, orig. cloth-backed pict. boards, rubbed, 4to Schuster & Engen, 201. (11)
Wain (Louis). Merry Times with Louis Wain, Stories in Prose & Verse by Dorothy Black, Grace C. Floyd, Norman Gale & Others, pub. Raphael Tuck & Sons, [1916], col. frontis., b & w and duotone illusts., margins browned, orig. pictorial boards with cloth spine strip, spine faded and slight wear to boards, slim 4to, together with Archer (Thomas), The Book of Pussy Cats, pub. Griffith Farran & Co., [1890], b & w frontis.and illusts., endpapers frayed and hinges worn, orig. pictorial boards with cloth spine strip, extrems. rubbed, slim 4to, with Frederick Warne & Co (Publishers), Aunt Louisa’s London Toy Books, Home Pets, [1881?], chromo litho plts., (text and plts. linen backed), orig. pictorial covers, spine worn, slim 4to, plus four others (7)
Wood (Lawson). Lawson Wood’s Merry Monkeys, pub. Birn, c. 1940, sixteen coloured plates, b & w illustrations, original cloth, coloured illustration to upper cover, a little rubbed and bowed, d.j., some tears and losses, 4to, together with Kidnapped, by Robert Louis Stevenson, pub. OUP, 1930, 12 coloured tipped-in plates by Rowland Hilder, folding map, a few light spots, original cloth, a little rubbed, d.j., some tears and losses, 8vo, plus The Lost Princess. A Fairy Tale by Marie, Queen of Roumania, 1924, six coloured tipped-in plates by Mabel Lucie Attwell, scattered light spots, small previous owner signature, original cloth, a little rubbed and faded, 4to, with other illustrated books, including Sir W.S. Gilbert’s The Mikado, or the Town of Titipu, 1928, with coloured plates by W. Russell Flint, J.M. Barrie’s The Admirable Crichton, with coloured plates by Hugh Thomson, c. 1914, Lullabies and Night Songs, illustrations by Maurice Sendak, 1969 and The Flowerpot Men, A Twirly Book, c. 1955 (20)
* Brock (Charles Edmund, RI, 1870-1938). Eight original drawings for Mansfield Park by Jane Austen, pub. Dent, 1908, together eight pen & ink and watercolour drawings, comprising title-page and seven illustrations, each within decorative border, all but title-page signed and dated 1908, each approx. 380 x 265 mm (15 x 10.5 ins), tipped-in to card folders, together with a publisher’s file copy of the book for which they were produced, orig. gilt dec. cloth, in bright condition. The seven illustrations are titled: “The kind pains you took to.. persuade me out of my fears”; “Indulged with his favourite instrument”; “While Fanny cut the roses”; “He walked to the gate and stood there without seeming to know what to do”; “A ranting young man who appeared likely to knock him down backwards”; “‘Good, gentle Fanny!’”; and “The joyful consent which met Edmund’s application”. (9)
* Burroughs (Dorothy Mary, d.1963). Three original gouache illustrations, as printed in ‘The Coral Island’, published by Dent, c.1930, signed, each approx. 300 x 210 mm, each pasted onto artist’s board with captions, together with five pieces of original artwork by Valerie Littlewood (b.1952) including two designs for the published book covers to Castle Gryffe (Viking, 1995) & The With that Wasn”t (Hamish Hamilton, 1991) (8)
* Children’s artwork. A set of fifty-three drawings for Peeps from Pepys, Illustrated by “Griff”, 1904, together fifty-three pen & ink drawings, incorporating text in red ink, variously on card and paper, all signed “Griff”, title-page drawing browned, each approx. 345 x 260 mm (13.5 x 10.25 ins) A set of accomplished drawings for a work apparently never published. (53)
* Children’s Annual artwork. A collection of approx. 85 original art pages from Look & Learn, Jack & Jill, Treasure, Tina, World of Wonder, Once Upon a Time, Teddy Bear’s Playtime, etc., 1960s-1980s, pen and ink illustrations and storyboards, most coloured with gouache, watercolour, or felt tip, incl. illusts. by Dan Escott, Michael Hubbard, Peter Woolcock, Graham Coton, D.A. Forrest, Roger Payne, etc., approx. 620 x 450 mm (24 x 18 ins) and smaller (approx.85)
* Tute (George William, R.E., R.W.A., b. 1933). A set of illustrations for Country Matters by Duff Hart-Davis, pub. Weidenfeld and Nicolson, 1988, together twenty-four orig. pen & ink illustrations on paper (complete), of birds, animals, farming pursuits, deer stalking, etc., twelve illustrating the months of the year (head-pieces), full-page illusts. approx. 210 x 150 mm (8 x 6 ins), head-pieces approx. 100 x 150 mm (4 x 6 ins)^, together with a copy of the book in which the illustrations appear, orig. boards in d.j. George Tute is a printmaker, wood engraver, painter, illustrator and teacher. He studied at Blackpool School of Art, at the Royal Academy School (under Sir Henry Rushbury), where he won silver and bronze medals for mural painting, and the Courtauld Institute. Tute taught at the York School of Art and then at the University of the West of England where he became Principal Lecturer in Graphic Design. He was elected Member of the Royal Society of Painter Etchers and Engravers and was the first Chairman of the revived Society of Wood Engravers. His work has been exhibited at the Royal Academy, the Bristol City Museum and Art Gallery, Kew Gardens and Newport Art Gallery. He has undertaken many projects as a freelance book illustrator, mainly working with wood engraving and he has worked several times for the Folio Society. He has also worked for the Readers Digest Association, Batsford and Penguin. Work by George Tute is in the Victoria and Albert Museum. (25)
* Dr. No, dir. Terence Young, 1962, with Sean Connery and Ursula Andress, folded U.K. quad poster, a little marginal creasing and light toning, two-inch vertical paper tear with loss to blank area of right margin at foot of image, sellotape adhesion mark remains to all four corners and three of the marginal centre folds, the adhesion marks touching the printed yellow border in each case, United Artists “coffin” logo lower right and “Stafford & Co., Limited, Netherfield, Nottingham and London” to lower margin, 30 x 40 ins (76 x 102 cm), B (1)
Burne-Jones (Edward). The Beginning of the World, Twenty-Five Pictures by Edward Burne-Jones, Longmans, 1902, b&w illusts., printed at the Chiswick Press, orig. cloth-backed printed boards very sl. rubbed to extrems. (generally in very good condition), slim folio (1)
Golden Cockerel Press. Matthew Flinders” Narrative of his Voyage in the Schooner Francis: 1798 Preceeded and Followed by Notes on Flinders, Bass, the Wreck of the Sidney Cove &c., by Geoffrey Rawson, 1946, illustrations by John Buckland Wright, t.e.g., original green full morocco gilt by Sangorski & Sutcliffe, spine faded to brown, slipcase, small folio. Limited edition, 78/100. (1)
Matrix. A Review for Printers and Bibliophiles, vols. 6-10, 12-26, pub. Whittington Press, 1986-2006, numerous illustrations, fine printing and paper samples etc., original stiffened wrappers or boards, d.j.s, folio. Limited editions of between 760 & 975 copies in fine condition. (20)
Whittington Press. Knipton. A Leicestershire Village, by John O”Connor, 1996, coloured wood-engraved illustrations, original cloth-backed boards, folio, limited edition, 39/200, signed by the artist, together with Craig (John), Britten’s Aldeburgh, 1997, coloured and b & w illustrations, original boards, slipcase, folio, limited edition, 277/440, signed by the artist, plus Portraits of Presses, 1997, half-tone plates, original cloth-backed boards, slipcase, oblong folio, limited edition, 12/500, with ten others including Margaret Bruce Wells. The Complete Wood-Engravings and Linocuts, Wood Lea Press, 2000, Edward Gordon Craig: The Last Eight Years 1958-1966, 1983 and Poems for Alan Hancox, 1993 (13)
Beaton (Cecil, 1904-80 ). Ashcombe, The Story of a Fifteen-Year Lease, 1st ed., 1949, col. frontis., b & w plts. and illusts., author’s signed presentation inscription to front free endpaper (somewhat browned), “To dearest Rosemary [Olivier] with loving memories of Edith [the books dedicatee], Blessings from Cecil”, orig. cloth in d.j. (sl. trimmed), together with Cecil (David), The Young Melbourne and the Story of His Marriage with Caroline Lamb, reprint, 1939, b & w plts., author’s signed presentation inscription to Edith, orig. cloth, spine sl. browned, plus The English Poets, by Lord David Cecil, 1931, author’s signed presentation inscription to Edith Olivier, orig. cloth in chipped and browned d.j., all 8vo, plus four Elinor Wylie books including two with author’s presentation inscriptions to Edith Olivier, plus three others with Olivier family associations. See also Sassoon, Tennant and Whistler lots 436, 445, 454, 455 & 456 in this section for other Olivier association items. (10)
* Eliot (Thomas Stearns, 1888-1965). The Cultivation of Christmas Trees, illustrated by David Jones, Aerial Poem, [1954], two illustrations including one full-page col. illust. after David Jones, signed and dated Christmas presentation inscription to title, “To Miss Maud Armstrong with best wishes for Christmas from T.S. Eliot 1954”, and a typed letter signed “T.S. Eliot” to Miss Armstrong pasted to rear pastedown, saying that he is glad that his Christmas card reached her and hoping her health is still good, continuing that after an illness and convalescence he is now in much better health, one page, oblong 8vo, orig. sewn printed wrappers, covers a little rubbed and marked, slim 8vo, together with five further Christmas cards signed by T.S. Eliot including Faber & Faber Christmas card for 1955 and 1956, the remaining three cards (?1957-59) with reproductions of artworks and additionally signed by Eliot’s wife Valerie, a little soiling, various sizes (6)
Eliot (Thomas Stearns, 1888-1965). Murder in the Cathedral, 3rd ed., Faber & Faber, 1937, signed and inscribed on title, “T.S. Eliot, inscribed for Miss Maud Armstrong”, newscutting illustration of Thomas Becket pasted to half-title, orig. cloth gilt, sl. rubbed and soiled, together with Little Gidding, 2nd imp., 1943, pages uncut, signed by author to title, pencil ownership inscription of J. Armstrong to front free endpaper, orig. printed wrappers, spotted and a little soiled, upper cover detached, slim 8vo. (2)
* Eliot (Thomas Stearns, 1888-1965). Three typed letters signed “T.S. Eliot”, Faber & Faber Ltd., 20th March 1946, 7th December 1948 and 26th June 1959, all to Miss (Maud) Armstrong at Lee, Ilfracombe, Devon, each pasted or partly pasted to the front endpapers of three Eliot books, the first letter thanking Miss Armstrong for her kind comments about the broadcast, saying he has no news of either Margaret or the Mirrlees and hoping to return to Lee, “as most people seem to do”, the second letter writing that he has only just returned from the United States where he found her charming letter and the delightful birthday gift, “I fear it is more likely to be used as an ash-tray than for the purpose for which it was designed - yet it may be that we shall continue to have a little wine after we have ceased to have tobacco. The former is certainly more important for civilisation: and if I ever have the wine to be tasted, and the guests for whom to taste it, you may be sure that your taster will figure in the ceremony. I am most interested to know that some of your recipes have a place in ‘Wishful Cookery’ which we intend to publish”, and the third letter apologising for the delay in replying to her letter, “If it is not too late and if you”ll forgive me we should be very glad to inspect your friends “Bed Time” book of verses. I must say that juvenile literature is not my department and I have to accept the opinion of the experts, but I would certainly pass it on with my recommendations. In any case it was a great pleasure to hear from you, and I should like you to know that I remember you as clearly as you can possibly remember me. I wish that I might at some time revisit Lee and introduce my wife to you”, each a little creased, one page, 4to. The letters are pasted in to the following books, in order: Four Quartets, 3rd imp., 1945; T.S. Eliot, A Symposium, pub. Editions Poetry, 1948; T.S. Eliot, A Symposium, 1958, all orig. cloth, rubbed and soiled, 8vo. Also included is a damp-stained copy of “The Cocktail Party” and Christopher Armstrong, “Backalong, The Story of Lee Bay and Chapel Cottage”, 1972. One of the letters and the six Christmas cards in the adjoining lot are referred to on pp. 80-81. Provenance: From the family. (5)
Eliot (T.S.). Old Possum’s Book of Practical Cats, 1st U.S. ed., pub. Harcourt, Brace, New York, 1939, rear endpaper excised, original cloth, a couple of small tears along joints, slightly soiled, !st U.K. Faber d.J., one or two marginal tears, 8vo, plus Hughes (Ted), Meet My Folks!, 1st ed., 1961, b & w illustrations by George Adamson, previous owner signature, original pictorial boards, chipped at spine ends, d.j., a few chips and losses, 8vo, plus Auden (W.H.), About the House, 1st ed., 1966, previous owner isncription, original cloth, light edge wear, d.j., 8vo, with other poetry including T.S. Eliot’s The Dry Salvages, 1st ed., 1941, Mary Webb’s Fifty-One Poems, 1946 and The Collected Poems of Roy Campbell, 1949 (34)
Harris (Frank & Lord Alfred Douglas). New Preface to ‘The Life and Confessions of Oscar Wilde’, 1st ed., pub. Fortune Press, 1925, original buckram, joints splitting, a little rubbed, 8vo. Presentation copy, inscribed to front endpaper: ‘Harry de Windt, from his old pal Alfred Douglas. Nice, January 1926’. Harry de Windt (1856-1933) was a travel writer and intrepid explorer, a Fellow of the Royal Geographic Society and along with fellow Long Rider Roger Pocock, a member of the Legion of Frontiersmen, a patriotic militia formed in 1905, other members included Arthur Conan Doyle, Erskine Childers and Henry Rider Haggard. (1)
James (P.D.). Innocent Blood, 1st ed., 1980, text block slightly toned, original cloth, price-clipped d.j., 8vo, signed by the author, together with The Children of Men, 1st ed., 1992, text block slightly toned, original cloth, d.j., 8vo, signed by the author, plus Le Carre (John), Single & Single, 1st ed., 1999, original cloth, d.j., 8vo, signed by the author, with eight others including Sebastian Faulks” Charlotte Gray, 1998, signed by the author, A.S. Byatt’s Angels and Insects, 1992, signed by the author and Julian Barnes” Arthur & George, 2005, signed by the author (11)
Johns (Captain W.E.). ‘Biggles’ of the Camel Squadron, c. 1936, coloured frontispiece, three b & w plates, 14 ‘Ace’ titles listed to Rhodes of the 94th, 35pp. adverts. at end dated Autumn 1936, previous owner inscription dated 1937 to front blank, original light blue cloth, sundial device at foot of spine, slightly rubbed, d.j. priced 3/6, tears and chips, 8vo. (1)
Johns (Captain W.E.). Spitfire Parade, 1st ed., 2nd issue, 1941, coloured frontispiece, b & w illustrations, a few light spots, original blue cloth, a few stains, d.j., repairs to verso, some light stains, 8vo, together with Biggles “Fails to Return”, 1st ed., 1943, coloured frontispiece, illustrations, previous owner inscription, original cloth, a few stains, d.j., repairs to verso, a little rubbed, 8vo, plus Biggles in the Orient, 1st ed., 1944, coloured frontispiece, illustrations, one leaf with closed tear, original cloth in repaired d.j., 8vo, with two others by W.E. Johns (5)
Lawrence (David Herbert, Matilda Berry & John Middleton Murry). The Signature, Numbers 1-3 (all published), 04 October - 01 November 1915, small rust marks around staples, original wrappers, edges slightly rubbed, 8vo. First and only printing of ‘The Crown’ by D.H. Lawrence. (3)
Sassoon (Siegfried, 1886-1967). The Old Century and Seven More Years, 1st ed., 1938, half-title incorporating the author’s pencil and watercolour presentation inscription, the words in pencilled capital letters, double-spaced within pencil rules and a dot between each word, “Edith Olivier, with love from Siegfried Sass.ooooooo.oon, St. Methodius Day, Sept 18 1938”, over-washed in green and pink watercolour with a violet border, orig. cloth in chipped and browned d.j., together with The Heart’s Journey, 1st ed., 1928, initialled presentation copy from Edith Olivier to her niece Rosemary, “For her birthday - & in memory of an afternoon with SS”, pencil notes to front pastedown, orig. cloth gilt, sl. rubbed and marked, plus Siegfried Sassoon, The Augustine Books of Modern Poetry, 4th imp., 1930, author’s unsigned presentation inscription to front free endpaper, “Edith Olivier, former tenant of Fitz House, from the present occupant, Aug 1932” plus other amusing textual graffiti and seemingly all the handiwork of Sassoon, namely a b & w real photo postcard of a young boy pasted to title with the word “observer”on his apron, two humorous col. illusts. pasted to title verso and to final blank, a small circular floral watercolour tail-piece design at end of text, Sassoon has added the words “Died about 1986” in ink to his brief printed biography at front and on page 27 underscored one line, “I have sat silent; angry at what they uttered”, some spotting, orig. cloth, rubbed and partly faded, all 8vo. See also lots 347, 445, 454, 455 & 456. (3)
* The Simpsons. Production Script No. 7F07 ‘Bart vs. Thanksgiving’, [Second season, 7th episode], 1990, original production script of the voice actress Maggie Roswell, with her characters” dialogue highlighted (Nurse, Neighbour Aunt, Neighbour Grandma, Neighbour Woman), 45 pp., orig. pale blue wrappers with b & w illustration of The Simpsons family to upper wrapper, two brass paper fasteners to hole punches at left margin, a few minor marks, the upper wrapper with a long signed presentation inscription, “Adam - you are real?? Are you our no. 1 fan Aberfoyle? - Scotland?? - Remember this episode? Love, Maggie Roswell” and further listing six of the Simpsons characters she did voices for, Miss Hoover, Maude Flanders, Helen Lovejoy, Luann Van Houten, Princess Kashmir, Sheree Bobbins, A4, together with an accompanying letter and airmail envelope (August 1998), plus a colour publicity photo for The Simpsons and a photograph of the young Adam with the sender of the letter and script, Liz Beerman. Provenance: From Adam Carter, the recipient of the script. Liz Beerman, had stayed at Adam’s bed and breakfast in Scotland and learning of Adam’s infatuation with The Simpsons was able to persuade her friend, the voice actress Maggie Roswell, to send Adam this copy of an early Simpsons script. (5)
Tennant (Stephen, 1906-87). Exhibition of Paintings and Fantasies by Stephen Tennant at the Sagittarius Gallery, Rome, 1st-10th April 1956, printed catalogue, orig. pict. wrappers after a design by Tennant, additionally inscribed by Tennany in green ink to lower blank area of upper cover, “Rosemary [Olivier] from S, with love, you would love Mexico - especially Acapulco”, together with Some Poems for the Friends of Stephen Tennant, 1962, Tennant’s presentation inscription and other jottings in purple ink to front endpaper, title, margin of page 12 and with one text correction, orig. printed pict. wrappers after a design by Tennant, the blank areas of the upper wrapper inscribed “For Rosemary Olivier from the author, Spring 1963, with much love to you”, both slim 8vo, plus two unrelated books with signed inscriptions by Tennant, the first a copy of “Lucy Gayheart” by Willa Cather, 1st ed., 1935, signed pencil inscription for Rosemary to half-title verso, orig. cloth gilt, sl. rubbed and soiled, the second a copy of “Ivan Ilych and Hadji Murad” by Leo Tolstoy, 1934, signed presentation inscription from Stephen (Tennant) to Edith (Olivier) dated Christmas 1934, orig. buckram in chipped and browned d.j., both 8vo. See also lots 347, 436, 454, 455 & 456. (4)
Verne (Jules). Adrift in the Pacific, parts 1 and 2, later issue, 1889, two titles, ten b & w plates, some light spots, lower hinge cracking, previous owner inscription, original green pictorial cloth, slight lean, lightly rubbed, 8vo, together with Wells (H.G.), In the Days of the Comet, 1st ed., 1906, adverts. at end, a few spots, t.e.g., original cloth, a little rubbed and faded, 8vo, plus The History of Mr. Polly, 1st ed., 1910, coloured frontispiece, previous owner signature, a few light spots, original cloth, flaking to spine label, 8vo, with Robert Graves’s I, Claudius, 1934 and other by H.G. Wells, including Experiment in Autobiography, 2 vols., 1934 (10)
Waugh (Evelyn). Brideshead Revisited. The Sacred and Profane Memories of Captain Charles Ryder, pub. Chapman & Hall and the Book Society, May 1945, small ink mark to front endpaper, original pink/red cloth, price-clipped d.j., small stain to rear panel, slight lean, 8vo. (1)
Whistler (Reginald John “Rex”, 1905-44). Ornamental pen and ink design incorporating the words “For Darling Edith [Olivier] with love from Rex, Christmas 1939”, drawn onto the front free endpaper of a copy of “My Royal Past” by Baroness Von Bulop, as told to Cecil Beaton, 1st ed., Batsford, 1939, col. frontis., b & w plts. and illusts., the attractive rococo cartouche design incorporating foliage, crowns, a mace and sceptre measuring approx. 20 x 15 cm (8 x 6 ins), orig. cloth, faded on spine, large 8vo. The British novelist Edith Olivier (1872-1948) was born in Wilton, Wiltshire, and educated at St. Hugh’s College, Oxford. She produced her first novel, “The Love Child”, in 1927 at the age of 55. Her life had been changed by a deep friendship with Rex Whistler whom she met in 1925 when Whistler was a 20-year-old art student. At her Wiltshire home she became a confidante and hostess to notable literary friends, including Siegfried Sassoon, Stephen Tennant (son of her friend Pamela Grey) and Cecil Beaton. For further Olivier association items see Beaton, Sassoon, Tennant and other Whistler lots in this section. See also lots 347, 436, 445, 455 & 456. (1)
Whistler (Reginald John “Rex”, 1905-44). Fairytales and Legends by Hans Andersen, illustrated by Rex Whistler, 1st ed., 1935, b & w illusts. and designs to text, signed presentation inscription to half-title, “For my dearest friend Edith, with much love from Rex, Christmas 1935”, pen and ink floral decoration to the inscription in Whistler’s hand, a.e.g., orig. richly gilt-dec. white buckram, spine darkened, together with The Complete Poems of Emily Dickinson, 1924, sepia port. frontis., signed presentation inscription from Whistler to front free endpaper, “Edith, from Rex, with his very best love, Christmas 1926”, with a small decorative pen and ink floral display, orig. cloth with printed paper label to spine, sl. rubbed, both 8vo, plus Whistler (Laurence and Fuller, Ronald), The Work of Rex Whistler, 1st ed., 1960, col. and b & w plts. and illusts., signed presentation inscription from Laurence Whistler “Laurie” to Rosemary [Olivier, niece and amanuensis to Edith Olivier], some photographs and other printed ephemera tipped in (with blue tack) often affecting text and including one loose postcard and one loose note from Laurence to Rosemary, hinges weak, orig. cloth gilt, sl. rubbed and soiled, 4to, plus Whistler (Laurence), The Laughter and the Urn, The Life of Rex Whistler, 1st ed., 1985, b & w plts. and illusts., signed presentation inscription from the author to Rosemary to front free endpaper, related ALS loosely inserted, orig. cloth, sl. rubbed and faded, 8vo, plus four related items, two with presentation inscriptions for Edith, one from Cecil [Beaton] and one from Laurie [Whistler] (10)
* Whistler (Reginald John “Rex”, 1905-44). Original but unsigned pen and ink and watercolour bookplate for Edith Olivier, 1926, drawn onto the front pastedown of Elegy on Dead Fashion, by Edith Sitwell, illustrated by Thomas Lowinsky, 1st ed., 1926, four full-page b & w illusts. plus title vign., head-piece and tail-piece, the exquisite watercolour bookplate on the front pastedown depicting an outdoor scene with an elegant red-headed lady dressed in yellow nonchalently leaning on a small brick column surmounted by an urn, a young red-headed boy with a hoop in front of and facing her, “Edith Olivier, 1926” inscribed in the upper left sky area, within a yellow and sepia border, 102 x 73 mm, orig. cloth with purpose-made protective decorative silk chemise (lacking spine), 8vo.Limited edition, 181/225, signed by Edith Sitwell. Rex, who though some thirty-three years younger than Edith, struck up a lifelong close friendship after they first met in 1925. The age difference and Rex’s love for Edith is clearly to be seen in the figures of this bookplate. Rex’s career as a book illustrator had virtually began that same year with Edith Olivier’s “Mildred”, a memorial book published to commemorate the life of Edith’s sister who had died at a relatively young age. Also, during 1926, Whistler had begun his mural at the Tate, “The Expedition in Pursuit of Rare Meats”, the subject of which was made in collaboration with Edith. (1)
Wilde (Oscar). Works, 15 vols., Methuen, 1908 & 1922, one volume slightly dampstained, t.e.g., remainder untrimmed, orig. cloth gilt, slightly marked and spines darkened, 8vo. Limited edition of 1000 copies printed on hand-made paper. “For Love of the King” published in 1922, (15)
Wilde (Oscar). De Profundis, 14th ed., Methuen & Co., 1909, t.e.g., remainder untrimmed, orig. cloth gilt, 8vo. Front free endpaper with manuscript note by Robert Ross, ‘This is the 14th edition of De Profundis & contains additional matter. The introduction explains why this was omited from the 1st edition (from which the pirates have taken the text). On page 9 will be found a letter from Oscar Wilde describing the M.S. of De Profundis & his wishes in regard to it, Robert Ross’. Robert Baldwin ‘Robbie’ Ross (1869-1918) was a Canadian journalist and art critic. He is best known as the executor of the estate of Oscar Wilde, with whom he had been lifelong friends. He was also responsible for bringing together several great literary figures, such as Siegfried Sassoon. (1)
* Williamson (Henry, 1895-1977 ). Autograph letter signed “Henry Williamson”, Georgeham, North Devon, 27 September 1928, to Siegfried Sassoon, addressed as Sir, beginning “Fifteen months ago you bought a copy of a book I wrote called Tarka, and ever since then I have been dreading that you might think it rotten, as it is in parts. This letter, however, is not about my book, nor is it about yours, which I have not yet finished reading. By the way, there is a misprint on page 252, last line “not” should be ‘shot”, I fancy. I found another earlier on, but I have mislaid its place. I am hoping to give the book [“Memoirs of a Fox-Hunting Man”, first published September 1928], a good long notice in the Daily Telegraph; I like it much, and consider you have done well to cast it in that form. There are a very few, very slight marring dry-touches, which may have been put in in proof or revision - but they don”t matter, except that the excrescences (very slight & scarcely noticeable). Eg. on page 248, bottom, you add “However inhumane its purpose, it was a kindly country scene”, continuing praise Sassoon’s prose, talking about the word “inhumane” in connection with digging out foxes, “But you know all this. They bring up their children to be bloodied on the face: has not enough blood flowed on the face of the earth already, etc.”, then referring to the proof of one of his books (The Pathway, published 1928) which he is sending to Sassoon and which he refers to in the first postscript, “[It] is about an ex-soldier who tries to redeem humanity by getting rid of the parasite “virtues”(?) or narrowness. I have tried to be impartial, but I may not have succeeded”, the letter ending with the comment that he heard that Sassoon had sat near him at the Hawthornden Award, “I wish I”d known at the time, then I would have risked speaking to you. It would have been a risk, as I felt at the time that most people may have been disappointed that the prize was given to an “animal story”, 2 pp. in red ink, with a second postscript saying that he has asked Will de la Mare to keep one of the signed copies of The Fox-Huntingman for him and “would you write something in it for me? I would be extra proud to possess such a copy. But if you don”t want to, don”t do it; I shall understand”, 4to. Curiously, while Henry Williamson shows some coyness about being the recipient of the Hawthornden Prize for “Tarka the Otter” in 1927, it was Sassoon himself who won the Prize the following year for “Memoirs of a Fox-Huntingman”. (1)
* Williamson (Henry, 1895-1977 ). Autograph letter signed “Henry Williamson”, Skirr Cottage, Georgeham, North Devon, 24th January 1929, to Lady Cynthia [Mosley], “You will see by the careful script that I have turned over a new leaf. I send 2 sketches: both 2nd. rate. You may have either or both, if they won”t tarnish the Silver Ship. Don”t hesitate to reject. I am not sensitive, thank heaven, anymore: quite crusty. I am going to write stories for children in 1933 probably, when I”ve cleared off tons of loose & dusty masonry”, with a concluding paragraph that she can have his preface to the forthcoming “The Star-Born”, one page with integral blank, somewhat soiled and a little creased, 8vo, together with a later autograph letter signed to Mr. Etheridge, 23rd July 1963, thanking him for his Decade poems and the Welsh costume book, continuing with recent news, sl. creased and marked, one page, 8vo, plus an initialled personal postcard in green ink, postmarked 20th January 1930, to Eni Osborne, “I think the impression given to Mr. T.T. Bond was unique: usually I am merely rude & stupid on all occasions. It is nice to think that work which is so distasteful to oneself might give slight pleasure here & there to some other human beings, particularly to the children you mention. I know those places. No one is superhuman. Don”t despair over your own work. I assure you there is more than enough in production of my own”, a little creased and soiled (3)
* [Wodehouse, Pelham Grenville]. A family photo album, formerly belonging to John Wodehouse, 3rd Earl of Kimberley (1883-1941), the album containing approx. 200 mounted b & w snapshots from 1900 to 1902, showing Wodehouse and his family at the family home at Witton Park, North Walsham in Norfolk, at Eton College, on holiday in Scotland, including photographs of his father Lord Wodehouse (first Labour peer in House of Lords), his grandfather the 1st Earl of Kimberley (Liberal politician and one time Foreign Secretary), his siblings Babe (Lady Isabel), Edward and Philip and his mother, the Eton photographs showing the Eton College Rifle Volunteers, various sports including the Wall Game, Fives, steeplechase and the Field Game, a few images now missing, mostly numbered and neatly captioned on mounts throughout, images mostly approx. 8 x 8 cm, album leaves with some browning and edgewear and several leaves detached, contemp. half morocco, disbound with upper cover present, oblong folio. Lord Wodehouse, 3rd Earl Kimberley, was a cousin of the novelist P.G. Wodehouse and is sometimes cited as the basis for the character of Bertie Wooster. Clearly, P.G. Wodehouse based a lot of his characterisation on his personal experiences and including his many uncles and aunts, this album providing a Wodehouse family snapshot at a time Pelham was enjoying his first publishing successes. (1)
Yeats (W.B.). The Secret Rose, with Illustrations by J.B. Yeats, 1st Irish ed., Dublin, Maunsel and Co., 1905, b & w frontis. and six plts., lightly toned throughout, orig. qtr. linen gilt, spine darkened, boards a little faded, 8vo. Wade 23. From the sheets of the London edition; 400 copies were issued with a cancel title-page. (1)
A minute repeating hunter chronograph in a plain 14k gold case by Audemars Frères, Brassus & Geneve having a plain white enamel dial with Arabic numerals and subsidiary seconds dial at 6 o`clock, the curvette with signatures and medallions, No 156090, the lever movement striking the hours, quarters and minutes on two gongs, 6cm (2.5") diametersee illustration
A BLUE PRINTED EARTHENWARE PORTER MUG. with a continuous fox hunting scene before a village, 14cm h, c1840; a John Rogers & Son blue printed earthenware Elephant pattern stand with pierced border; a Henshall & Co blue printed earthenware lozenge shaped dish with a floral sheet pattern and a pair of blue printed pearlware Greek pattern plates, all c1820 (5). ++ The lot in good condition, no restoration
A DAVENPORT BLUE PRINTED EARTHENWARE MEAT DISH. with the Cows Crossing Stream pattern, 52cm w, impressed mark; a Hicks & Meigh blue printed Stone China meat dish with a Japan pattern, printed octagonal mark, both c1830 (2). ++ Both in fine condition; the Davenport dish with slight fading of the printed image in the centre visible in the illustration
A STAFFORDSHIRE GROUP OF THE PRODIGAL`S RETURN AND A STAFFORDSHIRE GROUP OF A FISHERBOY AND GIRL. both in colours with gilt detail, 35 & 36cm h, 19th c . ++ Prodigal`s Return - hairline crack across the man`s right hand, vertical hairline crack in the back. Fisherboy group - part of the boy`s right foot missing. Neither group with any restoration
EIGHT STAFFORDSHIRE FIGURES AND GROUPS. including TURKEY ENGLAND FRANCE, GOING TO MARKET and RETURNING HOME, DICK TURPIN and a pair of a shepherd and shepherdess, six well coloured, two sparsely so, 28cm h & smaller, 19th c. ++ Turkey England France - extensively damaged and with old restoration, the seven other figures in good condition
A STAFFORDSHIRE FIGURAL HOLY WATER STOUP OF CHRIST FLANKED BY ANGELS AND A STAFFORDSHIRE SPILL HOLDER OF THE FLIGHT INTO EGYPT. the first sparsely enamelled and gilt, the second well coloured, 33 & 24cm h, 19th c; an earthenware figure of John Wesley (3). ++ The lot in good condition
A STAFFORDSHIRE FLATBACK GROUP OF A MILLER AND WIFE AND TWO STAFFORDSHIRE SPILL HOLDER GROUPS OF A MILKMAID AND COW OR GIRL ON A BRIDGE WITH FOX AND SWANS. all well coloured with gilt detail, 25cm h & c, 19th c. ++ Windmill - one of the sails broken and cleanly glued back into position with glue residue. Milkmaid spill holder - one of the cow`s horns with old restoration and some localised flaking of the enamels. Second spill holder group - small restoration to the fox`s head
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