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Amanda Denny Untitled from the 'Meanwhile Series' 2020, 2021 Photographic Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Amanda Denny is a London based visual storyteller and photographic artist working with both analogue and digital image making processes. All of her practice now deals with the interplay of image, literature and archival documentary material in order to create new narratives. That 'fickle friend' memory, the imbrication of time and connections co-joined by chance circumstances tend to be at the start of her projects. Her practice explores issues of our mental spaces, including urban living, solitude versus loneliness, social stigmas and conflicted choice. She is also concerned with the pressures of achievement - 'happiness' too seems to have entered the fray and something to judge by, it misses the point. She believes that stories can help you exist in the world and by producing narrative spaces you can respond to everyday life and the social environment. There is the story and then there is the meaning to be got from it through the gaps, juxtapositions and conversations. The photo book and the development of photo-text are core to her practice as is creating tangible, tactile artwork that is designed to be viewed in person not on screen, and are not quick reads. Amanda's work is held in private collections and she has been exhibited in group shows worldwide.   Education   Amanda holds a BA (Hons) in Literature and History and graduated from the University of Westminster in 2019 with a BA (Hons) in Photography. 'The Book as Frame' workshop at the ICP in New York, 2020.   Exhibitions/Awards   She is currently part of the Modern Art Oxford "Activating our Archives: Community Dialogues" group project responding to the COVID-19 lockdown Exhibitor at the Royal Academy Summer Exhibition 2020 (6 October 2020 - 3 January 2021) Featured in the 'Yearbook 2020' online exhibition, organised by Shutter Hub in partnership with BenQ, Exposure Photography Festival, Fujifilm Original Photo Paper and Newspaper Club. Exhibitor in the 'Everyday Delight (Windows) Edition' exhibition running nationwide (from 1 August 2020).   Joint recipient of the Dentons Art Prize 2020 and Winner of the Dentons Arts Committee Prize 2020.   Exhibition at Dentons Law Firm, London, (December 2019 - December 2020). 'No Place Like Home' 2018 photo book displayed at La Biblioteca Nacional de España during the PHotoESPAÑA Festival 2019 Exhibitor in the 'Time to Think' Shutter Hub exhibition at Festival Pil'Ours, France 4th Edition. 1st July - 30 November 2019 and 2020 Cold Cases, Brighton Fringe, The Old Police Cells, Brighton 29 September 2018 City to Sea Coney Island* 2018 Wall Ortiz Gallery, NY 13th September 2018 to 15th November 2018 Peckham 24 Photography Festival 2018 - featured in the slideshow projection of works at the Overhaul exhibition. Friday 18th May - Sunday 20th May, Safehouse 1, 139 Copeland Road, London, SE15 3SN. 'Intrusion' 2017 group show at Paddington Central, London Crossrail's Street Hoardings Photography Display Dean Street W1 since 2011   Her book 'No Place Like Home' (2018) was shortlisted for the La Fabrica and Photo London Book Dummy Award 2019 and was nominated for the First Book Award 2018.   About the postcard artworks   The images selected are all part of an ongoing work in progress entitled 'Meanwhile' particularly the 'Down, down, down and still the weeds prevail' series. As Rhiannon Lucy Cosslett says, "so much femininity is unspoken. Moving through the world as a woman - the way you are viewed and treated, your emotions, your approach to your body - involves subtleties and complexities that are often unarticulated, sometimes even between women themselves." All suffering is unique to ourselves and not having the mental resilience, coping mechanisms or support structures to enable a safe space for self validation is detrimental to our wellbeing and sense of place in the world. Often society is too quick and too keen to label and judge. Habitually erroneous assumptions, based on the slightest details and often fleeting physical and environmental associations, lead to abhorrent stigmatisations and instantly deny the recipient any positive audience. Amanda's work continues to deal with the real estate of mental spaces and questions inherited prejudices and biases and memory associations. More than ever this is a time for reflection and reassessment. Her work offers a space for this personal revaluation and a space to create new narratives in. Condition Report:   Condition Report Disclaimer

Amanda Denny Untitled from the 'Meanwhile Series' 2020, 2021 Photographic Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Amanda Denny is a London based visual storyteller and photographic artist working with both analogue and digital image making processes. All of her practice now deals with the interplay of image, literature and archival documentary material in order to create new narratives. That 'fickle friend' memory, the imbrication of time and connections co-joined by chance circumstances tend to be at the start of her projects. Her practice explores issues of our mental spaces, including urban living, solitude versus loneliness, social stigmas and conflicted choice. She is also concerned with the pressures of achievement - 'happiness' too seems to have entered the fray and something to judge by, it misses the point. She believes that stories can help you exist in the world and by producing narrative spaces you can respond to everyday life and the social environment. There is the story and then there is the meaning to be got from it through the gaps, juxtapositions and conversations. The photo book and the development of photo-text are core to her practice as is creating tangible, tactile artwork that is designed to be viewed in person not on screen, and are not quick reads. Amanda's work is held in private collections and she has been exhibited in group shows worldwide.   Education   Amanda holds a BA (Hons) in Literature and History and graduated from the University of Westminster in 2019 with a BA (Hons) in Photography. 'The Book as Frame' workshop at the ICP in New York, 2020.   Exhibitions/Awards   She is currently part of the Modern Art Oxford "Activating our Archives: Community Dialogues" group project responding to the COVID-19 lockdown Exhibitor at the Royal Academy Summer Exhibition 2020 (6 October 2020 - 3 January 2021) Featured in the 'Yearbook 2020' online exhibition, organised by Shutter Hub in partnership with BenQ, Exposure Photography Festival, Fujifilm Original Photo Paper and Newspaper Club. Exhibitor in the 'Everyday Delight (Windows) Edition' exhibition running nationwide (from 1 August 2020).   Joint recipient of the Dentons Art Prize 2020 and Winner of the Dentons Arts Committee Prize 2020.   Exhibition at Dentons Law Firm, London, (December 2019 - December 2020). 'No Place Like Home' 2018 photo book displayed at La Biblioteca Nacional de España during the PHotoESPAÑA Festival 2019 Exhibitor in the 'Time to Think' Shutter Hub exhibition at Festival Pil'Ours, France 4th Edition. 1st July - 30 November 2019 and 2020 Cold Cases, Brighton Fringe, The Old Police Cells, Brighton 29 September 2018 City to Sea Coney Island* 2018 Wall Ortiz Gallery, NY 13th September 2018 to 15th November 2018 Peckham 24 Photography Festival 2018 - featured in the slideshow projection of works at the Overhaul exhibition. Friday 18th May - Sunday 20th May, Safehouse 1, 139 Copeland Road, London, SE15 3SN. 'Intrusion' 2017 group show at Paddington Central, London Crossrail's Street Hoardings Photography Display Dean Street W1 since 2011   Her book 'No Place Like Home' (2018) was shortlisted for the La Fabrica and Photo London Book Dummy Award 2019 and was nominated for the First Book Award 2018.   About the postcard artworks   The images selected are all part of an ongoing work in progress entitled 'Meanwhile' particularly the 'Down, down, down and still the weeds prevail' series. As Rhiannon Lucy Cosslett says, "so much femininity is unspoken. Moving through the world as a woman - the way you are viewed and treated, your emotions, your approach to your body - involves subtleties and complexities that are often unarticulated, sometimes even between women themselves." All suffering is unique to ourselves and not having the mental resilience, coping mechanisms or support structures to enable a safe space for self validation is detrimental to our wellbeing and sense of place in the world. Often society is too quick and too keen to label and judge. Habitually erroneous assumptions, based on the slightest details and often fleeting physical and environmental associations, lead to abhorrent stigmatisations and instantly deny the recipient any positive audience. Amanda's work continues to deal with the real estate of mental spaces and questions inherited prejudices and biases and memory associations. More than ever this is a time for reflection and reassessment. Her work offers a space for this personal revaluation and a space to create new narratives in.

Amanda Denny Untitled from the 'Meanwhile Series' 2020, 2021 Photographic Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Amanda Denny is a London based visual storyteller and photographic artist working with both analogue and digital image making processes. All of her practice now deals with the interplay of image, literature and archival documentary material in order to create new narratives. That 'fickle friend' memory, the imbrication of time and connections co-joined by chance circumstances tend to be at the start of her projects. Her practice explores issues of our mental spaces, including urban living, solitude versus loneliness, social stigmas and conflicted choice. She is also concerned with the pressures of achievement - 'happiness' too seems to have entered the fray and something to judge by, it misses the point. She believes that stories can help you exist in the world and by producing narrative spaces you can respond to everyday life and the social environment. There is the story and then there is the meaning to be got from it through the gaps, juxtapositions and conversations. The photo book and the development of photo-text are core to her practice as is creating tangible, tactile artwork that is designed to be viewed in person not on screen, and are not quick reads. Amanda's work is held in private collections and she has been exhibited in group shows worldwide.   Education   Amanda holds a BA (Hons) in Literature and History and graduated from the University of Westminster in 2019 with a BA (Hons) in Photography. 'The Book as Frame' workshop at the ICP in New York, 2020.   Exhibitions/Awards   She is currently part of the Modern Art Oxford "Activating our Archives: Community Dialogues" group project responding to the COVID-19 lockdown Exhibitor at the Royal Academy Summer Exhibition 2020 (6 October 2020 - 3 January 2021) Featured in the 'Yearbook 2020' online exhibition, organised by Shutter Hub in partnership with BenQ, Exposure Photography Festival, Fujifilm Original Photo Paper and Newspaper Club. Exhibitor in the 'Everyday Delight (Windows) Edition' exhibition running nationwide (from 1 August 2020).   Joint recipient of the Dentons Art Prize 2020 and Winner of the Dentons Arts Committee Prize 2020.   Exhibition at Dentons Law Firm, London, (December 2019 - December 2020). 'No Place Like Home' 2018 photo book displayed at La Biblioteca Nacional de España during the PHotoESPAÑA Festival 2019 Exhibitor in the 'Time to Think' Shutter Hub exhibition at Festival Pil'Ours, France 4th Edition. 1st July - 30 November 2019 and 2020 Cold Cases, Brighton Fringe, The Old Police Cells, Brighton 29 September 2018 City to Sea Coney Island* 2018 Wall Ortiz Gallery, NY 13th September 2018 to 15th November 2018 Peckham 24 Photography Festival 2018 - featured in the slideshow projection of works at the Overhaul exhibition. Friday 18th May - Sunday 20th May, Safehouse 1, 139 Copeland Road, London, SE15 3SN. 'Intrusion' 2017 group show at Paddington Central, London Crossrail's Street Hoardings Photography Display Dean Street W1 since 2011   Her book 'No Place Like Home' (2018) was shortlisted for the La Fabrica and Photo London Book Dummy Award 2019 and was nominated for the First Book Award 2018.   About the postcard artworks   The images selected are all part of an ongoing work in progress entitled 'Meanwhile' particularly the 'Down, down, down and still the weeds prevail' series. As Rhiannon Lucy Cosslett says, "so much femininity is unspoken. Moving through the world as a woman - the way you are viewed and treated, your emotions, your approach to your body - involves subtleties and complexities that are often unarticulated, sometimes even between women themselves." All suffering is unique to ourselves and not having the mental resilience, coping mechanisms or support structures to enable a safe space for self validation is detrimental to our wellbeing and sense of place in the world. Often society is too quick and too keen to label and judge. Habitually erroneous assumptions, based on the slightest details and often fleeting physical and environmental associations, lead to abhorrent stigmatisations and instantly deny the recipient any positive audience. Amanda's work continues to deal with the real estate of mental spaces and questions inherited prejudices and biases and memory associations. More than ever this is a time for reflection and reassessment. Her work offers a space for this personal revaluation and a space to create new narratives in.

Suzanne Moxhay Pines, 2021 Print Hand Finished with Gouache Signed verso 15 x 10cm (5¾ x 3¾ in.) Moxhay (b.1976, Essex) lives and works in London.   Education   After completing a BA Hons in Painting at Chelsea College of Art she went on to The Royal Academy Schools where she graduated with a Post Graduate Diploma in Fine Art in 2007.   Exhibitions/Awards She has exhibited widely, both nationally and internationally since 2002 and her work is held in many significant public and private collections including the University of the Arts Collection, The Royal Academy of Arts, The Cooper Union New York, the FSC, the Lodeveans Collection and Oxford University. She has featured in numerous publications including The Guardian, The FT, A-N Magazine and Art World Magazine and has been profiled and interviewed on the BBC Culture Show.   Exhibitions include 'GSK Contemporary: Earth Art of a Changing World' and 'Constructed Landscapes' at the Royal Academy of Arts, 'Saatchi's New Sensations/ The Future Can Wait' at Victoria House, London and 'Human Made Things' at Aspex Gallery, Portsmouth and 'Modell-Naturen' which toured public museums in Germany in 2019. Her animation work has been shown as part of the programme 'Do Billboards Dream of Electric Screens?' on BBC public screens in cities across the UK and she has had three prints commissioned by the Royal Academy of Arts. BA Hons Fine Art: Painting, Chelsea College of Art, 2001-2004 Post Graduate Diploma Fine Art, Royal Academy Schools, 2004-2007Solo Exhibitions: 2020 Tableaux Vivants Galerie G, La Garde, France 2019 Conservatory James Freeman Gallery, London 2017 Tableau Vivant Anderson Gallery, Bridgewater State University, MA, USA 2016 Selected Works START with The LOFT at Lower Parel, Saatchi Gallery 2016 Tableau Vivant Anima-Mundi Gallery, St Ives 2014 Finta Realta TEN Gallery, Milan   Group Exhibitions: 2021- High Art Orchestra, Galerie Jean-Louis Ramand, Aix-en-Provence, France 2020- Electric Avenue, James Freeman Gallery, London, online 2020- The Birds are Singing in the Distant Woods, The Violet Hour, London, online 2020- Royal Academy Winter Exhibition, Royal Academy of Arts, London 2019- RA Schools 250, Royal Academy of Arts, Exhibition of prints commissioned by the RA 2019- Modell- Naturen, Alfred Ehrhardt Stiftung, Berlin. Touring public galleries in Germany 2019-20 2019- STRATA, 1PROJECTS Bangkok, part of Photo Bangkok 2019- Expanded Landscapes, Galerie Jean-Louis Ramand, Paris 2019- In Edition, Bo Lee Gallery, London 2018- ABSRACT : REALITY, Saatchi Gallery, London 2018- Adventitious Encounters- Open Space Contemporary at Whiteleys, London 2017- Mixed Winter Exhibition- Anima-Mundi, St Ives 2017- Nature's Alchemy, Bo Lee Gallery, London 2017- You See Me Like a UFO, Marcelle Joseph Projects, Berkshire 2017- Nocturne, James Freeman Gallery, London 2017- Arles Summer Show / Voies Off, Arles, France 2017- Royal Academy of Arts Summer Exhibition, London 2017- Jamais on n'a vu..., Galerie Jean-Louis Ramand, Paris 2017- Traces, Bo Lee Gallery, London 2017- Selected Works, Galerie Jean-Louis Ramand, MIA Art Fair, Milan 2016- Trace Elements, James Freeman Gallery, London 2016- Liminal Space, The Loft at Lower Parel, Kochi, India 2016- Merge Visible, Mall Galleries, London 2016- Royal Academy of Arts Summer Exhibition, London 2016- Hinterlands and Pleasure Gardens, James Freeman Gallery, London 2015- Somewhere in Between- curated by Huma Kabacki, Karavil Contemporary, London. 2015- Brilliant Creatures, The Violet Hour at Strand Gallery, London 2015- Multiplied, Christies, London 2015- Royal Academy of Arts Summer Exhibition, London 2015- Progetto Pompeii- Andrea Ingenito Contemporary Art at MIA Art Fair Milan 2015- Eccentric Spaces- curated by Futurecity, The Gallery At Foyles, London 2014- Noir/ Blanc, The Loft at Lower Parel, Mumbai, India 2014- Vanitas, Karin Janssen Project Space, London 2014- The Combinational, Studio 1-1, Shoreditch, London 2014- Archaeologies, The Griffin Gallery, London 2014- Under Nature / Andrea Ingenito Contemporary Art, Naples, Italy 2014- Up and Coming Award/ Kids of Dada, Hoxton Art Gallery, London (Joint winner) 2013- Human Made Things, ASPEX Gallery, Portsmouth 2011- Saatchi's New Sensations/ The Future Can Wait, Victoria House, London 2011- Afternoon Tea, 54th Venice Biennale, Italy 2011- Royal Academy Editions (Print Commissioned), Royal Academy of Arts 2011- Constructed Landscapes, Royal Academy of Arts 2009- Earth: Art of Changing World, Royal Academy of Arts, London   Awards: 2019 Print Commission- Royal Academy of Arts (RA Schools 250) 2015 Print Commission- Royal Academy of Arts (RA Editions) 2014 BNL BNP Paribas Group Award Finalist (MIA, Milan) 2014 Kids of Dada Up and Coming Award (Joint winner) 2011 Print Commission- Royal Academy of Arts (RA Editions) James Freeman Gallery, London/ The Contemporary London/ Galerie Jean-Louis Ramand, France   About the postcard artworks   Drawing from an archive of collected material, Suzanne Moxhay creates intricate and complex photomontages. Her method was derived in part from the early filmmaking technique of matte painting, where backdrops were painted on sheets of glass and integrated by the camera with the live-action on set. She builds up the image in her studio using cut-out fragments of source material, which she makes into small stage sets on glass panels. She then re-photographs the sets and manipulates the images digitally, an act of reprocessing which takes them further away from their original context and broadens the narrative potential. Her source material is drawn from an archive of collected imagery, which includes her own photographs of abandoned buildings as well as material collected from old books and magazines and fragments of paintings. She works intuitively with the material, finding points of connection between details, either through shared subject matter or formal considerations such as following the path of light from one image through another to create spaces, which at first may appear real but on closer inspection begin to dissolve. She plays with anomalies - of texture, surface, depth, space, scale, movement and architecture - to involve the viewer in the construction of the image, and to make them question it. In the finished work there is often an uneasy sense of a space that does not quite fit together - either formally or conceptually, but possesses a reality of its own. One which we are unable to pinpoint as factual or fictitious.  

Delphine Lebourgeois Spring Quarantine Study 1, 2021 Ink, Watercolour and Acrylic on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) "Delphine Lebourgeois is a French artist based in London She works in various medium including digital, collage, pencil, pen, ink, watercolour and screenprint but her working process always starts with an initial collage of found elements. Her most recent work draws from various stylistic sources (ranging from Botticelli to comics) mixing symbols and cultural references in a playful and sometimes irreverent way. In 2014, Lebourgeois created a whole series of original drawings on the power of crowds "The Girl has a Gun" that was launched at the Other Art Fair in October 2014. The works explored the realm of power relations and female emancipation. Lebourgeois' latest series are her most feminist to date, as her armies of women have progressively taken on a deeper meaning. Her 2019 Pink Collection explores both erotica, the power to assert one's sexuality, and Mania, a look back on female repression. Lebourgeois has also collaborated with The New Yorker, The Guardian, Le Monde, L'Obs, Amnesty International, Soho House and The Other Art Fair, where she continues to exhibit her work yearly. In 2019, several of her works were featured as street art in the latest edition of Need For Speed Heat, produced by EA Games. She is exhibited around the world, including in the UK, Paris, New York, Hong Kong and Singapore.   Education   BA Fine Art, Ecole Des Beaux-Arts, Lyon, France MA Illustration, Central St Martins, London, UK   Exhibitions   UPCOMING 10-14th March 2021 - The Other Art Fair Virtual Edition   SELECTED SOLO EXHIBITIONS 2019 - Prélude - Jealous Gallery, London 2017 - Rebels - Gas Gallery, London 2013 - Fall / Gas Gallery / London 2011 - Over the Cover / Frameless Gallery / London   SELECTED GROUP EXHIBITIONS 2020 - Women by Women / Liberty Gallery / Royal Over Seas League, London 2020 - Hang Up new gallery launch / Hoxton / London 2020 - The Big Issue, Ben Eine and Our Types charity exhibition / Jealous Gallery / London 2020 - London Art Fair / Jealous Gallery / London 2019 - Salon Des Beaux Arts / Carrousel du Louvre / Paris , France 2019 - Speculative Fiction / Candid Art Trust / 6 artists show / London 2018 - The Other Art Fair / Brooklyn, USA 2017 - Unforeseen / Art Bastion Gallery / Miami, USA 2017 - Art Wynwood / Amnesty International / USA 2017 - The Other Art Fair / Collaboration with Elisabeth Lecourt / London 2017 - London Art Fair / Liberty Gallery / London 2016 - Hibernate / Hang-up / London 2016 - Drawing Lines / group exhibition on drawing / Jealous Gallery / London 2016 - Smoke / Duo show with Andrew Wenrick / Last Supper Gallery / London 2016 - People on the Move, Art for Amnesty / Art Bastion / Miami, US 2015 - Multiplied / Eyestorm / Christies / London 2015 - Dog Days / Hang-up / London - HANG-UP Gallery, JEALOUS, Liberty Gallery.   About the postcard artworks:   One year ago, in March 2020, it was the first lockdown in the UK. I used to run early in the mornings when London was at its quietest. Blooming magnolias, luscious flowers and almond green buds were literally exploding from front gardens. The lockdown meant that these moments were brief and really precious. This lead to me starting a series of works ""Spring Quarantine"" about our relationship with nature, as individuals and as a society."

HARRY POTTER AND THE ORDER OF THE PHOENIX HARD BACK BOOK FIRST EDITION

Books, mainly childrens, including first edition of The House at Pooh Corner 1928, Jennings, Just William, Billy Bunter, Barbar, etc

Corgi 1:50 and 1:64 scale models, mostly buses, comprising 79064 Blackpool bus set, Limited Edition No.2223 of 5,428, boxed; 97068 AEC Routemasters in Exile ‘The North’ bus set, Limited Edition No.2428 of 5,000, boxed; Corgi Classics, The Connoisseur Collection 36501 Bartons Burlingham Seagull & Morris Traveller set, Limited Edition No.2,555 of 4,100, boxed; CC13302 Austin 4 wheel platform lorry, boxed; Classic Commercials from Corgi 97211 Leyland Tiger Bartons, No.8803 of 9,500, boxed; Classic Road Transport from Corgi 98458 White Brewery truck Jacob Rupperts, Limited Edition No 47 of 6,500, boxed; The Original Omnibus OM42515 East Lancs Sanders Coaches Ltd, boxed; Creative Master 1:76 UKBUS1012 Alexander ALX400 bodied Dennis Trident, Stagecoach in Manchester, Limited Edition, boxed; Gilbow Exclusive First Editions 1:76 scale 20634 Plaxton Pointer Dart Stagecoach Hull, boxed and an Atlas 1:76 scale London Transport RTW double decker, boxed (10)

American Railway interest various books including The Lore of the Train, First Edition; Two-Foot Cyclopedia Sandy River & Rangeley Lakes Railroad Vol 1 Kingfield, Maine Big Boy, William W Kratville, First Edition, 1972; The A Norfolk & Western's Mercedes of Steam, Ed King, Trans Anglo Books; North American Steam Locomotives The Berkshire and Texas Types Jack W Farrell, PFM including slip; Those Amazing Cab Forwards, George Harlan, Harlan; The Comp'ny, H Temple Crittenden, McClain, First Edition; The Maine Scenic Route H. Temple Crittenden; The Crookedest Railroad in the World, TG Wurm/AC Graves, Howell North Books; Articulated Locomotives, Lionel Wiener, Kalmbach; The Maine Two - Footers, 1959; Redwood Railways, 1960; Articulated Steam Locomotives of North America Vol III etc. qty. (4 boxes)

A Border Fine Art Model - Reaching for the High Bird, 1983 first edition with two black Labradors, by Ray Ayres, wooden plinth base, 24cm high; another 'Labrador and Gun', model No. 052A by Anne Wall, 8.9cm high, wood base (2)

[Fraenkel (Michael) & Lowenfels (Walter)] Anonymous the need for anonymity, Paris: Carrefour Editions, no date, original printed wraps; Fraenkel (Michael), Bastard Death, The Autobiography of an Idea, Paris: Carrefour, 1946, second printing, signed presentation inscription from the author to ?Jon Miller (1947), printed wrappers over board, remnant glassine cover, slipcase; with two further copies of the same edition, one signed; idem, Bastard Death, The Autobiography of an Idea, Paris: Carrefour, 1936, first edition, numbered limited edition of 400, printed wrappers over board; idem, Death in a Room (Poems 1927-1930), New York, Carrefour, 1936, numbered limited edition of 200, original printed wraps over card, remnant glassine wrap; with eleven others by the author (17)

Bryher [Winifred Ellerman] Film Problems of Soviet Russia, Territet: Pool, 1929, first edition, dust wrapper; Bryher & Weiss (Trude), The Light-Hearted Student, I German, Pool, 1930, dust wrapper (worn and torn with loss) with one other (3)

Bryher [Winifred Ellerman] Civilians, Territet: Pool, 1927, first edition, printed in Dijon, some foxing, original printed wraps, modern card folder

Stein (Gertrude) Money, Los Angeles: Black Sparrow Press, 1973, lettered limited edition of 126, dust wrapper; idem, Three Lives ..., John Lane, The Bodley Head, 1915, first English edition, original cloth (bookplate removed from front pastedown, head and tail of spine worn; with twenty-two others by the author and three mounted photographs of the author by George Platt Lynes et al (27)

Lee (Laurie) Cider With Rosie, Hogarth Press, 1959, first edition with 'fire-works' passage to page 272, inscribed and signed by the author on front free endpaper, dust wrapper (press cutting taped to front pastedown, loss to top edge of wrapper)

Morrison (Arthur) The Hole in the Wall, Methuen 1902, first edition, signed presentation inscription from the author to Arthur Osborne Jay, original cloth. idem, Divers Vanities, Methuen, 1905, first edition, signed presentation inscription from the author to Arthur Osborne Jay, original cloth; idem, A Child of the Jago, Methuen 1906, fifth edition, original cloth [Arthur Osborne Jay, Vicar of Holy Trinity in Shoreditch and author of 'Life In Darkest London' was the dedicatee of 'A Child of Jago'. It is belived that Morrison based his character 'Father Sturt' on Jay]

Leeds Freemasonry Worts (F.R.), History of the Goderoch Lodge No. 1211, Leeds ... The First Seventy-five Years (1868-1943), no date, limited edition of 250, original cloth; Sanders (R.), A History of Freemasonry in Leeds 1754-2004, [c2004], numbered limited edition of 175, original cloth (some ephemera loosely inserted); Matthews (R.D.), The History of Freemasonry in Leeds 1754-1954, 1954, un-numbered limited edition of 350, top edge gilt, original cloth; Tew (Thomas William), Masonic Miscellanea, comprising a Collection of Addresses and Speeches ..., Wakefield, 1896, portrait frontis, plates, original cloth (faded); with two others (6)

Stark (Freya) Dust in the Lion's Paw, Autobiography 1939-1946, John Murray, 1961, first edition, presentation inscription signed by the author, dust wrapper; idem, Alexander's Path, from Caria to Cilicia, John Murray, 1958, first edition, presentation inscription signed by the author, dust wrapper; idem, The Journey's Echo, Selections from Freya Stark, John Murray, 1963, first edition, presentation inscription signed by the author, dust wrapper; with two others (5)

Sandys (George) A Relation of a Journey Begun An Dom: 1610. Foure Bookes Containing a Description of the Turkish Empire, of Aegypt, of the Holy Land, of the Remote Parts of Italy, and Ilands Adjoyning, W. Barrett, 1615, first edition, small folio in sixes, engraved title, folding map (torn with loss) with full facsimile map, facsimile dedication leaf, engraved text illustrations throughout, inscription to rear flyleaf, later endpapers, contemporary calf with blindstamped panels, joints worn with repairs to head and tail of spine

Sheringham (H.T.) An Open Creel, Methuen, 1910, first edition, original cloth; 'Silver Doctor' [Lewis Smith], Angling from Many Angles, privately published by the author's widow, plates as called for, original cloth; Watson (John), The English Lake District Fisheries, Lawrence and Bullen, 1899, plates as called for, folding map, original cloth; Reid (John), Clyde Style Flies and their dressings, David & Charles, 1971, first edition, illustrations as called for, dust wrapper; with twenty-five others on fishing (29)

Bowlker (Richard) The Art of Angling, Improved, in all its parts, Especially Fly-Fishing: Containing A particular Account of the Several Sorts of ..., Worcester: printed by M. Olivers, [c1758], first edition, backing to title page, worn calf (upper board partially detached) [Westwood and Satchell p. 39-40]

Lakeland (R.) The Teesdale Angler, Barnard Castle, 1858, first edition, ex library copy with significant stamps to title page, also with bookplate of Bibliotheca Piscatoria of Robert Clarke, top edge gilt, half calf gilt, (front joint repaired, rear board almost detached)

Nickson (Geoffrey) A Portrait of Salmon Fishing, Atha, 1976, numbered limited edition in deluxe binding [thought to be 200 copies], signed by the author, oblong quarto, illustrated by Tim Havers, all edges gilt, full maroon morocco with gilt design, card slipcase; Kelson (George M.), The 'Land and Water' Salmon Flies 1886-1902, FCL, 1993, first edition of 1000, colour plates, quarter bonded leather, cloth slipcase; with one other (3)

Egan (Van Gorman) Tyee, The Story of the Tyee Club of British Columbia, Ptarmigan Press, 1988, first edition, quarto, dust wrapper; Davis (Edmund W.), Salmon-Fishing on the Grand Cascapedia, FCL, 1994, limited edition of 750, quarter bonded leather, cloth slipcase; Carmichael (Hoagy A.), The Grand Cascapedia River, A History, Vol. Two, Anesha, 2012, first edition, large quarto, half 'leather', cloth slipcase (3)

Edmonds (Harfield H.) & Lee (Norman N.) Brook and River Trouting, A Manual of modern North Country methods, Bradford: published by the authors, [1916], first edition, plates as called for, signed by both authors on front free endpaper, A.L.S. from Edmonds mounted on front pastedown explaining that this is the 'one copy I retained at the time of publication', photo of portrait of the author to verso of front free endpaper, original cloth (some gathers protruding, dusty top edge)

Edmonds (Harfield H.) & Lee (Norman N.)Brook and River Trouting, A Manual of modern North Country methods, Bradford: published by the authors, [1916], first edition, plates as called for, card with inscription and sketch of salmon from Edmonds mounted on verso of front free endpaper, original cloth (some gathers protruding, dusty top edge);with three other books containing presentation letters or note from Edmonds and five later fishing books with presentation inscriptions from their authors (9) 

Halford (Frederic M.) Floating Flies and How to Dress Them, A Treatise ..., 1886, Sampson Low ..., second edition, ten colour plates as called for, original cloth; Skues (G.E.M.), The Way Of A Trout With A Fly, A.& C. Black, 1921, first edition, three plates as called for, original cloth; West (Leonard), The Natural Trout Fly and Its Imitation, St Helens: published by the author, sixteen plates as called for, top edge gilt, original cloth; with seven others (10)

Burrard (Gerald) The Modern Shotgun, Volumes I-III, Herbert Jenkins, 1931-32, three volumes, first editions, original cloth; Pearson-Rogers (H.W.), Guns This Way, Witherby, 1962, first edition, quarto, dust wrapper; Parker (Eric), An Alphabet of Shooting, The Field, no date, quarto, twenty-five mounted plates, original cloth; with nine others (14)

Dale (Harrison) Ireland, A&C Black, 1927, 32 colour plates of illustrations by A. Heaton Cooper, map in text, dust wrapper (price-clipped); Palmer (W.T.), The English Lakes Painted by A. Heaton Cooper, Adam & Charles Black, 1905, numbered limited edition of 250, signed by the artist, quarto, seventy-five colour plates with printed tissue guards, top edge gilt, original cloth; Kelly (R. Talbot), Burma, Painted and Described, Adam and Charles Black, 1905, first edition, seventy-five colour plates with printed tissue guards, folding map, top edge gilt, original decorative cloth gilt; with thirty-six others published by A. & C. Black, eight in dust wrappers. (39)

Burns (Robert) Poems, Chiefly in the Scottish Dialect, Edinburgh: printed for the author and sold by William Creech, 1787, second edition (first Edinburgh), 'stinking' variant (Egerer gives this as the second), with Boxburgh and p. 232 missprints, engraved frontis, two names to title page (one a subscriber), half calf (re-backed retaining original backstrip); with a third edition of the same title, London, 1787, lacking half title and with cropped mounted frontis, half calf (worn) (2)

Dickens (Charles)A Christmas Carol. In Prose, Being A Ghost Story Of Christmas, Chapman & Hall, 1843, first edition, first issue, second state, red and blue title page, blue half title, green endpapers, 'Stave I' on page 1, four hand-coloured plates, original cloth (a very worn copy in poor condition with tape repairs to some margins and press cuttings to endpapers)[There are many theories about the earliest state of 'A Christmas Carol'. All first edition points given by Smith in Table I (p. 23-4) are present. In Table II (p.25), Smith gives four variant states of the first issue and this copy conforms to the probable second state (see Walter E. Smith, Charles Dicken in the Original Cloth, Pt. Two, 1983)]

Eliot (George) The Mill on the Floss, William Blackwood, 1860, first edition, printing not determined (no advert present), three volumes, lacking half-titles, half calf; idem, Felix Rolt, William Blackwood, 1866, first edition, three volumes, no adverts present, half calf

Rushdie (Salman) The Moor's Last Sigh, Jonathan Cape, 1995, first edition, first printing, numbered limited edition of 100, signed by the author, all edges gilt, full morocco binding, cloth slipcaseFine (slipcase tight)

Rushdie (Salman) Haroun and the Sea of Stories, Granta, 1990, special edition of 251 copies, numbered and signed by the author, published simultaneously with the first trade edition, printed on Clan Book Wove and bound in quarter leather; idem, The Moor's Last Sigh, Jonathan Cape, 1995, first edition, first printing, numbered limited edition of 200, signed by the author, cloth, slipcase (2)Fine (slipcase tight)

Rushdie (Salman) The Satanic Verses, Viking, 1988, first edition, first printing, signed by the author, dust jacket. Related ephemera loosely inserted.Previous owner's name to front pastedown. About Fine. Dust wrapper spine slightly sun shaded

Rushdie (Salman) Luka and the Fire of Life, Jonathan Cape, 2010, numbered limited edition of 1000, signed by the author, boards and slipcase; idem, The Moor's Last Sigh, Pantheon, 1995, numbered special advance edition of 1000, signed by the author, wraps and card case; idem et al, Best of Young British Novelists 7, Granta, 1983, signed by many of the authors, including Rushdie, Kazuo Ishiguro, Ian McEwan, Martin Amis, etc., paperback; with forty-nine others, all signed by Rushdie, almost all first editions or first printings of special editions or paperbacks and five others, unsigned. (57)Generally VG to Fine

Rushdie (Salman) The Ground Beneath Her Feet, Jonathan Cape, 1999, first edition, first printing, numbered limited edition [of 150], signed by the author, all edges gilt, full morocco binding, cloth slipcaseBook Fine, slipcase VG

Aldington (Richard) Death Of A Hero, Paris: Henry Babou and Jack Kahane, 1930, first edition, two volumes, original buff wraps with transparent covers, preserved in original sliding box (box sun shaded with some edgewear).Some light foxing in books, otherwise near Fine.

Schwarz (Georg) Almost Forgotten Germany, Seizin Press and Constable, 1939, first edition, translated by Laura Riding and Robert Graves, dust wrapper (chipped and price clipped)

Graves (Robert) ''Antigua, Penny, Puce'', Seizin Press and Constable, 1936, first edition, first issue with 'ytyle' and 'being' missprints, creased dust wrapper (priced 7/6); Anderson (Sherwood), Poor White, New York: Huebsch, 1920, first edition, dust wrapper; Leicester (Robert), The Hell of Comeliness, Cranley & Day, 1933, first edition, dust wrapper; with a quantity of others (qty)

Sempill (Gabriel) & Lawrence (Simon) Mr Kilburn's Calicos, William Kilburn's fabric printing patterns from the year 1800, Upper Denby: The Fleece Press, 2014, limited first edition of 300 copies, oblong octavo, colour illustrated, tipped-in plates, original quarter cloth with decorative boards, with limited edition prospectus and with a separate booklet of sixteen patterns devised by Sholto Drumlanrig, all housed in the original solander box

Riding (Laura) & Ellidge (George) 14A, Arthur Barker, 1934, first edition, original cloth (faded); Riding (Laura) & Graves (Robert), A Pamphlet Against Anthologies, Jonathan Cape, 1928, first edition, dust wrapper; [Riding (Laura) et al], Focus, vol III, [Mallorca] 1935, original wraps; with three others (6)

Poetry Ginsberg (Allen), The Gates of Wrath, Grey Fox Press, 1972, first edition, signed by the author, original wraps; Reeves (James), The Natural Need, Seizen Press/Constable, 1935, first edition, signed by the author, dust wrapper; Loy (Mina), The Last Lunar Baedeker, Jargon Society, 1982, dust wrapper; Taggard (Genevieve) et al, The Poetry Quartos, Random House, May 1929, twelve brochures contained within yellow printed wrap; Crosby (Caresse), Crosses of Gold, Paris, Messein, 1925, new edition, original boards; with twenty-six others (31)

Mandrake Press Stephensen (P.R.), The Legend of Aleister Crowley, Being a Study of the Documentary Evidence Relating to a Campaign of Personal Vilification Unparalleled in Literary History, Mandrake Press, 1930, original wraps; Roth (Cecil), Iscariot, Mandrake Press, 1929, dust jacket [the first novel published by the press]; Rozanov (V.V.), Fallen Leaves, Mandrake Press, 1929, numbered limited edition of 750, original cloth; with eighteen others published by the press (some duplication) and six prospectuses (27)

Baudelaire (Charles) Little Poems in Prose, translated by Aleister Crowley, Paris: Edward W. Titus, no date, numbered limited first edition of 800, twelve plates after Jean de Bosschere, top edge gilt, original quarter faux-suede (backstrip worn smooth)

Crowley (Aleister) Moonchild, A Prologue, The Mandrake Press, 1929, first edition, original cloth

Gascoyne (David) Poems. 1987-1942, Nicholson and Watson, 1943, first edition, title and five plates by Graham Sutherland, dust wrapper; idem, Journal,1936-1937, Enitharmon Press, 1980, numbered limited edition of 85 [?95], signed by the author, quarter cloth and marbled boards, dust wrapper; idem, Early Poems, Warwick: Greville Press, numbered limited edition of 400, signed by the author, original cloth; with two others (5)

Nin (Anais) The Winter of Solice, Paris: The Obelisk Press, no date, first edition, ownership inscription to fly leaf, original printed wraps

Nin (Anais) Under A Glass Bell and other Stories, New York: Dutton, 1948, first edition, presentation inscription signed by the author, well worn dust wrapper; idem, The Diary of Anais Nin, Volumes 1, 2, 4, 6 & 7, Swallow Press/Harcourt Brace & World, 1966-1980, five volumes, first editions, issues not stated, first volume with signed presentation inscription from the author, dust wrappers; with nine others (15)

Cunard (Nancy) Outlaws, Elkin Mathews, 1921, first edition, original boards (wear to spine)

Cunard (Nancy) Sublunary, Hodder and Stoughton, 1923, first edition, dust wrapper (torn and creased)

Cunard (Nancy) Black Man and White Ladyship, an anniversary, private printing, Toulon, first edition, 11 pages, original red printed wraps (restoration to pages and covers, some colour bleed from covers to pages). Preserved in card folder; Cunard (Nancy) and Padmore (George), The White Man's Duty, Allen, no date [c1942], 48 pages, original printed wraps. Preserved in card folder; Cunard (Nancy), Negro, An Anthology, Continuum, 1996, quarto, card wraps; Michelet (Raymond), African Empires and Civilisation, Panaf Service, no date [c1945], foreword by Nancy Cunard, original printed wraps (4)

Durrell (Lawrence) The Black Book, An Agon, Paris: The Obelisk Press, June 1938, first edition, front free endpaper and half-title detached but present, original wraps (stained and worn, restoration to spine). Recent slipcase.

Lewis (Wyndham) Blasting and Bombardiering, Autobiography (1914-1926), Eyre & Spottiswoode, 1937, first edition, dust wrapper; idem, Wyndham Lewis the Artist, From 'Blast' to Burlington House, Laidlaw & Laidlaw, 1939, first edition, dust wrapper; idem, Rude Assignment, A narrative of my career up-to-date, Hutchinson, first edition, dust wrapper (price-clipped) with one other (4)

Smith (Wallace) Bessie Cotter, Paris: The Obelisk Press, January 1936, first edition, tape repair to half title, original printed wraps; with two further copies, one in cloth, retaining front cover (3)

Dakin (Laurence) The Dream of Abaris and other Poems, Paris: The Obelisk Press, 1933, first edition, not signed or numbered, original cloth (inscription to front free endpaper); Braganca (Nadejda), Poems for Music, Paris: The Obelisk Press, 1934, numbered limited edition of 100, signed by the author, portrait frontis, original cloth (2)

Connolly (Cyril) The Rock Pool, Paris: The Obelisk Press, May 1936, first edition, original printed paper wraps, later slipcase; Hanley (James), Boy, Paris: The Obelisk Press, no date, printed wraps (2 copies); Brownrigg (Gawen), Star Against Star, Paris: The Obelisk Press, September 1936 (2nd imp.), original printed wraps; with seven others published by the Obelisk Press (11)

Kahane (Jack) Memoirs of a Booklegger, Michael Joseph, 1939, first edition, dust wrapper; idem, The Vain Serenade, Constable, 1926, first edition, original cloth; with seven others (9)

Joyce (James) et al Our Exagmination Round His Factification for Incamination of Work in Progress, Faber and Faber, no date [1929], first English edition, sheets printed in France, dust wrapper [two copies]