We found 106056 price guide item(s) matching your search

Broadside.- Glorious Revolution.- Some Reflections upon His Highness the Prince of Oranges Declaration, drop-head title, printed in double-column, in manuscript note in contemporary hand at foot of first page, soiled, folded and creased, folio (c.400 x 250mm.), n.p., [1688].⁂ ESTC cites only 2 copies of this broadside edition: British Library and California State Library (Sutro).

Phaedrus & Aesop.- Phaedrus.- Terentius Afer (Publius) Comoediae, Phaedri Fabulae Aesopiae.., edited by Richard Bentley, first Bentley edition, contemporary calf, richly gilt spine in compartments and with red morocco label, joints starting, but holding firm, spine ends chipped, corners worn, 4to, Cambridge, Cornelius Crownfield, 1726.

Hayes (Richard) An Estimate of Places for Life: shewing How many Years Purchase a Place for Life is Worth ..., first edition, contemporary ink signature to title, small marginal loss (C6), not affecting text, faint water-staining, modern library cloth, [Goldsmiths' 6617; Hanson 3879], W. Meadows, 1728 § Campbell (R.) The London Tradesman. being an Historical Account of all the Trades, Professions, Arts, both Liberal and Mechanic, now practiced in the Cities of London and Westminster, third edition, occasional faint soiling, modern library cloth, [Goldsmiths' 9205; Higgs 1431], T. Gardner, 1757; and 2 others, 8vo (5)

[Pope (Alexander)] The Dunciad, Variorum. with the Prolegomena of Scriblerus, 2 works bound in 1, first edition, engraved title, previous owner's ink signature to title, frayed edges, tape repairs, lacking front free endpaper, occasional ink annotations and corrections, [Foxon P773], A. Dod, 1729 bound before [Duckett (George)] Pope Alexander's Supremacy and Infallibility examin'd; and the Errors of Scriblerus and his Man William Detected, spotting, J. Roberts, 1729, contemporary calf backed boards, boards detached, very rubbed and worn, bumping to extremities, 4to

Mitchell (Joseph) Poems on Several Occasions, 2 vol., first edition, ?large paper copy, list of subscribers, woodcut decorations, vol.I pencil inscriptions to front endpapers, contemporary calf, spine gilt in compartments, worn, short splits to joints at spine head, 8vo, for the Author, by L.Gilliver, 1729.

Pluche (Noel Antoine) The History of the Heavens ... translated from the French by ... J. B. De Freval, 2 vol., first English edition, engraved frontispieces and 22 plates, trimmed and laid down as issued, occasional faint spotting, worming occasionally affecting text (vol. 2 beginning to E4), contemporary calf, a little rubbed, 8vo, 1740.⁂ The plates were originally published for the smaller format (12mo) first French edition, with captions in French and mounted for the larger format of this edition.

English Literature in French.- [Fielding (Sarah, attributed to]) L'Orpheline angloise, ou histoire de Charlotte Summers, imitée de l'anglois de M. N⁂* par Mr. de la Place, 4 vol., engraved frontispieces and titles to each vol., some water-staining, vol.4 little worming to lower corners throughout, touching the odd letter on several ff., contemporary contemporary mottled calf, richly gilt spines in compartments and with double red morocco labels, rather worn, but holding firm, 'Londres' [probably Paris], Rollin & Prault, 1752 § Swift (Jonathan) Le Conte du Tonneau, 2 vol. in 1, first edition in French of Tale of the Tub, titles in red and black and with woodcut printer's devices, some staining, contemporary speckled calf, gilt spine in compartments and with red morocco label, upper joint starting, but holding firm, little staining, rubbed, The Hague, Henri Scheurleer, 1721; and 5 others, similar, v.s. (10)

NO RESERVE Snelling (Thomas) A View of the Coins at this Time Current throughout Europe, first edition, 25 engraved full-page illustrations, one or two trimmed, occasional faint spotting, previous owner's ink name stamp to foot of 2 leaves, lacking errata slip, modern half calf, 8vo, T. Snelling, 1766.

An ostler's view.- Ripley (James) Select Original Letters on various subjects, first edition, engraved frontispiece, lightly off-setting on to title, modern marbled boards, red morocco label to spine, large 12mo, Printed for the author, 1781.⁂ Ripley was ostler at the Red-Lion, Barnet. He rails against the war in America, cruelty to horses, the nobility, amongst other diverse subjects.

[Cooper (James Fenimore)] The Spy; a Tale of the Neutral Ground, 3 vol., first English edition, issued without half-titles, lacks advertisements at end of vol. I, some foxing and browning, vol. I new endpapers, vol. II small worming in margins on front pastedown, front free endpaper and all to F12, front free endpaper, title and some other ff. wormhole repaired, vol. II & III signatures of A. Colvile on front pastedowns (?Andrew Wedderburn Colvile or Colville (1779-1856), governor of the Hudson's Bay Company), contemporary half calf, slightly rubbed, rebacked in modern calf, gilt, 12mo, G. and W.B. Whittaker, 1822.⁂ The first English edition of the author's second novel and the first historical romance about the American Revolution.

Gathorne-Hardy (Robert).- [Hazlitt (William)] Liber Amoris; or, the New Pygmalion, first edition, engraved title, occasional spotting, previous owner's signatures, ink-stamp to title verso, bookplate of Robert Gathorne-Hardy, later moroccol, gilt, a little rubbed, 1823 § Gathorne-Hardy (Robert) Lacebury Manor, first edition, ?one of 12 illustrated copies, author presentation copy inscribed and signed 'Bob', 5 plates, errata added by hand to rear pastedown, previous owner's ink signature to front free endpaper, original cloth, rubbed, 1930; Other Seas, first edition, author presentation copy inscribed and signed 'Bob', occasional faint spotting, previous owner's ink signature to front free endpaper, original cloth, slight bumping to spine extremities, dust-jacket, rubbed, slight chipping to corners and spine extremities, 1933; The House by the Bay, first edition, author presentation copy inscribed and signed 'Bob', previous owner's ink signature, original cloth, lightly stained spine, original dust-jacket, faint spotting, spine a little browned, slight chipping to spine head, 1932; and 3 others, 2 by Gathorne-Hardy and his copy of Blake's 'Poetical Sketches', 8vo (7)

Bindings.- Riviere.- Landor (Walter Savage) Imaginary Conversations of Literary Men and Statesmen, 2 vol. only (of 3), first edition, occasional faint spotting, bookplate, contemporary calf by Riviere, gilt, 1824 § Pope (Alexander) Histoire de Martinus Scriblérus, occasional spotting, contemporary green calf, gilt, ?Paul Knapton, 1755 § Bain (Richard) Lyniletia; or, Revelations of the Heart ..., presentation copy from the author with inscription to front pastedown, contemporary morocco, gilt, lightly browned spine, 1861 § Forster (Edward) Anacreontis Odaria, engraved illustrations, occasional spotting, later straight-grain morocco, gilt, a little rubbed, 1802; and 17 others, 8vo & 12mo (22)⁂ The second is a pirated copy giving a false imprint. It was probably published in Paris.

Burghley House.- Horn (John) A History or Description...of Burghley House, the seat of...the Earl of Exeter, first edition, errata leaf at end, marginal tear to L2, original boards, uncut, spine worn and slightly defective, Shrewsbury, J. & W.Eddowes, 1797 § [?Blore (Thomas)] A Guide to Burghley House...containing a Catalogue of all the Paintings, antiquities, &c. &c., engraved plan (foxed and water-stained), original boards, uncut, spine worn, Stamford, John Drakard, n.d.; another, expanded edition, engraved frontispiece and plate (offset), double-page pedigree, contemporary half calf, Signet Library copy with central gilt arms, rebacked preserving old red roan label, Stamford, Drakard, 1815, 8vo & 12mo (3)

NO RESERVE Dickens (Charles) Master Humphrey's Clock, 3 vol., first edition, frontispieces, illustrations, occasional spotting, broken upper hinge (vol. 3), contemporary half-calf, rubbed and worn, 1840-41 § [Burney (Fanny)] Evelina; or, a Young Lady's Entrance into the World, 2 vol., previous owner's ink signature to titles, B1 (vol. 1) & A2 (vol. 2), small marginal tear (K2, vol. 1), A2-11 (vol. 2) becoming loose, spotting, contemporary calf, vol. 2 reabcked, vol 1. upper cover detached, rubbed and worn, Dublin, for Messrs. Price, Corcoran, R. Cross ..., 1779; and another, 8vo & 12mo (6)

Kant (Immanuel).- [Haywood (Francis)] An Analysis of Kant's Critick of Pure Reason by the translator of that work, first edition, presentation copy from the author with ink inscription on front free endpaper, inscribed on the fly-leaf "Francis Haywood to his friend the Viscount de Cussy, 1847", anchor device on title, half-title, browned, light stain on 2 facing pages, endpapers foxed, original blue cloth, lacks paper label on spine, edges uncut, 8vo, William Pickering, 1844.⁂ Haywood published in 1838 the first complete English translation of Immanuel Kant's Critique of Pure Reason.

NO RESERVE Melville (Herman) Typee; or, a Narrative of a Four Months' Residence among the Natives of...the Marquesas Islands..., early issue, "Pomare" printed correctly line 1 p.19, lacking half-title, map and 16pp. catalogue at end, title with signature at head and browned, old calf-backed boards, slightly rubbed, 8vo, John Murray, 1847.⁂ The author's first book, first published by Murray in 1846, preceding the first American edition.

NO RESERVE Swinburne (Algernon Charles) Under the Microscope, first edition, half-title, with both cancelled leaf and substituted leaf D5, cancel reinserted at a later date, original wrappers, chipping to spine and extremities, housed in a later slipcase, 8vo, 1872.⁂ Written in response to Robert Buchanan's attack on the Pre-Raphaelites in "The Fleshy School of Poetry."

Carey (William) Desultory Exposition of an Anti-British System of Incendiary Publication, &c. intended to sacrifice the honor and interests of the British Institution...to the Passions, Quackeries and Falsehoods of certain disappointed candidates for prizes at the British Gallery and Admission...into the Royal Academy..., first edition, lacking half-title, light soiling, modern morocco-backed cloth, uncut, 8vo, for the author, 1819; Observations on the Probable Decline or Extinction of British Historical Painting, from the Church Exclusion of Paintings, first edition, 1825; Patronage of Irish Genius. Two Letters...proving the Wisdom, Honor, and Permanent Public Advantage of Erecting a National Gallery, second edition, Dublin, 1823, 2 works in 1 vol., presentation copy from the author inscribed at head of first title, spotting, original boards, uncut, rubbed, spine defective, 8vo (2) ⁂ William Carey (1759-39) was an artist, art critic, dealer, and encourager of British artists.

NO RESERVE Regimental history.- Verner (Col. Willoughby) History & Campaigns of the Rifle Brigade, 2 vol., first edition, engraved portrait frontispieces, plates, maps (including two folding contained in vol. II rear pocket), some browning to 1 folding map in rear pocket, both vol. occasional spotting, bookplates of John Martin Oakley, MC, Royal Artillery, 1914-1918, original pictorial cloth, gilt, vol.2 with dust-jacket, vol.1 spine little uniformly faded, rubbed, 4to, 1912-1919.

NO RESERVE Lee (Laurie) The Voyage of Magellan, first edition, illustrations by Edward Burra, faint spotting to first few leaves, original cloth, bumping to spine head, 1948 § Grahame (Kenneth) The Golden Age, frontispiece, plates and illustrations by Maxfield Parrish, captioned tissue-guards, previous owner's ink inscription, original decorative cloth, a little rubbed, 1904 § Stephens (James) Reincarnations, lightly browned half-title, original cloth, a little rubbed, 1918; and 7 others, similar, 8vo & 4to (10)

Crystal Palace.- [Sale Catalogue] The Crystal Palace Sydenham. To Be Sold by Auction...On Tuesday 28th day of November, 1911..., first edition, photogravures plates, tissue guards, printed envelope containing folding colour plan loosely inserted, ex-Law Society library copy with presentation slip and accompanying letter tipped in and a few stamps, library cloth, original pictorial upper wrapper bound in (soiled and frayed at edges, reinforced), Knight, Frank & Rutley, 1911; and an 1854 guide to the palace and park, folio & 8vo (2)⁂ Crystal Palace was built in 1851 to house the Great Exhibition and was three times the size of St.Paul's Cathedral. After the exhibition it was moved to Sydenham and in 1911 housed the Festival of Empire, but the building fell into disrepair and it was sold to Lord Plymouth for £210,000 before being destroyed by fire in 1936.

NO RESERVE Eastlake (Sir Charles Lock) Contributions to the Literature of the Fine Arts, with a Memoir by Lady Eastlake, 2 vol., second edition, original cloth, 1870 § Kugler (Dr. Franz) A Hand-Book of the History of Painting, edited by C.L.Eastlake, 1842; Handbook of Painting. The Italian Schools, based on the Handbook of Kugler, 2 vol., fourth edition revised by Lady Eastlake, 1874; The Italian Schools of Painting based on the Handbook of Kugler, 2 vol., sixth edition edited by Austen Henry Layard, 1900 § Green (George M.) Catalogue of the Eastlake Library in the National Gallery, presentation copy from the Director, modern half morocco, original wrappers bound in, Burlington Fine Arts Club copy with inscription to upper cover, 1872 § Robertson (David) Sir Charles Eastlake and the Victorian Art World, original cloth, dust-jacket, Princeton, NJ., 1978, the first four original cloth, slightly rubbed, the second with spine ends worn & frayed, 8vo & 4to (9)⁂ Sir Charles Eastlake (1793-1865) was an artist, art historian and collector who in 1855 became the first Director of the National Gallery. He married Elizabeth Rigby, herself an art historian, and together they were influential figures in the art world. His collection of paintings was bequeathed to and his library was sold to the National Gallery.

Elgin Marbles.- House of Commons. Report from the Select Committee on the Earl of Elgin's Collection of Sculptured Marbles, first edition, modern half morocco, 25th March 1816; another copy, first 8vo edition, foxing, contemporary half calf, spine gilt in compartments with Greek urn motifs and red roan label, rubbed, upper joint split, spine ends worn, 1816 § Act (An) to vest the Elgin Collection of ancient Marbles and Sculpture in the Trustees of the British Museum for the Use of the Public, 3pp., browned, disbound, 1st July 1816 § [Bruce (Thomas, 7th Earl of Elgin)] Memorandum on the Subject of the Earl of Elgin's Pursuits of Greece, second edition, half-title, engraved frontispiece (foxed), bound with 3 other pamphlets concerning Elgin and Rev. John Tweddell, some spotting, bookplate of John Temple, contemporary calf, rubbed, rebacked preserving old gilt spine with green roan label, 1815 § Ellis (Sir Henry) The Elgin and Phigaleian Marbles...in the British Museum, 2 vol., illustrations, original cloth, spines gilt and faded, 1846 § Smith (A.H.) Lord Elgin and his Collection, illustrations, original cloth, spine faded, 1916, with several relevant articles, newspaper cuttings etc. loosely inserted, some a little rubbed; and another on Elgin and the marbles, v.s. (8)⁂ Interesting group of items relating to Lord Elgin and his acquisition of the marbles from the Acropolis in Athens, now in the British Museum. Although he obtained permission from the Turkish authorities (Greece was under the rule of the Ottoman Empire at that time), and at his own expense, there was a public outcry in Britain at the removal of the sculptures, a dispute which is still ongoing. Having spent between £62,000 and £74,000 he suggested that the Government should buy the collection for the nation, who offered £30,000. A Select Committee was formed to assess the situation and in July 1816 an Act was passed to complete the sale for their recommended price of £35,000. "[Elgin] left England as ambassador to Constantinople in 1799 with everything a young man could desire: personal success in the army and politics; a pretty wife; a considerable fortune; the prospect of a great diplomatic career, and good looks into the bargain. When he came home six years later his wife had left him for another man; his career was in ruins; he had run up enormous debts; disease had ravaged his countenance - but he was owner of the finest collection of classical antiquities that any man in the British Isles had ever got together." The English as Collectors, p.155

NO RESERVE Garlick (Kenneth, editor) A Catalogue of the Paintings, Drawings and Pastels of Sir Thomas Lawrence, Walpole Society vol. 39, original cloth-backed boards, 1964 § Bell (C.F., editor) Annals of Thomas Banks, Sculptor, Royal Academician, with some Letters from Sir Thomas Lawrence, P.R.A., to Banks's Daughter, light spotting, Cambridge, 1938 § Girtin (Thomas) & David Loshak. The Art of Thomas Girtin, 1954 § Mayer (Joseph) Memoirs of Thomas Dodd, William Upcott, and George Stubbs, R.A., 3 mounted portraits, A.N.L.Munby's copy with his signature, old cancelled library stamp at foot of title, Liverpool, 1879 § Redgrave (R. & S.) A Century of Painters of the English School, second edition, [c.1890], plates and illustrations, all but the first original cloth or boards, the third with dust-jacket, slightly rubbed; and c.15 others on British artists, 4to & 8vo (c.20)

NO RESERVE Herrmann (Frank) The English as Collectors: A Documentary Chrestomathy, 1972; Sotheby's: Portrait of an Auction House, 1980; Low Profile: A Life in the World of Books, New Castle, De. & Nottingham, 2002, all first editions, illustrations, original cloth or boards with dust-jackets, the first slightly rubbed at edges; and 4 others by or with contributions by Herrmann including a 1999 second edition of the first, 4to & 8vo (7)

Beckford (William) Italy; with Sketches of Spain and Portugal, 2 vol., first edition, lacking half-titles, lightly browned, bookplate of Lord Northwick, contemporary half calf, spines gilt, a little rubbed, spines faded, 1834; Vathek, limited edition, colour illustrtations by Marion Dorn, original vellum-backed boards, gilt, uncut, a little rubbed, Nonesuch Press, 1929; and 5 others relating to Beckford, 8vo & 4to (8)

Jameson (Mrs. Anna) A Handbook to the Public Galleries of Art in and near London, with Catalogues of the Pictures, 2 vol., first edition, contemporary half roan, spines chipped at head, 1842; Companion to the most celebrated Private Galleries of Art in London, signed presentation copy from the author to Lady Noel Byron inscribed on half-title, contemporary half roan, spine gilt, 1844; Memoirs of Early Italian Painters, 2 vol. in 1, contemporary half calf, spine gilt, label chipped, 1845; Sacred and Legendary Art, 2 vol., fourth edition, original cloth, spines faded, one torn, 1863; Memoirs of the Beauties of the Court of Charles the Second, fourth edition, contemporary red morocco, gilt, 1861, some plates, occasional spotting, rubbed; and 5 others by or about Mrs. Jameson, 8vo & 4to (12)⁂ "Mrs Jameson was unusually diligent in seeking out facts and wrote them up with verve and what amounted to remarkable critical honesty for her time. Private Galleries, in particular, is a key work in the history of collecting." The English as Collectors, p421. The latter includes the Royal collection, the Bridgewater, Sutherland and Grosvenor galleries, and the collections of the Marquess of Lansdowne, Sir Robert Peel, and Samuel Rogers.

Krahl (Regina) Chinese Ceramics in the Topkapi Saray Museum, Istanbul: A Complete Catalogue, edited by John Ayers, 3 vol., first edition, illustrations, some colour, original pictorial cloth, gilt, dust-jackets, folio, 1986.

[Martyn (Thomas)] The English Connoisseur: containing an Account of whatever is curious in Painting, Sculpture, &c. in the Palaces and Seats of the Nobility...of England..., 2 vol., first edition, engraved bookplate of Richard Cox Esq., contemporary calf, spines gilt, rubbed, spines a little worn, upper covers detached or almost so, 8vo, L.Davis & C.Reymers, 1766.⁂ "The first general review in book form of collections of pictures in England" (The English as Collectors, p.422) although much of the material was taken from earlier publications. See Frank Simpson's loosely inserted article from the Burlington Magazine vol.XLIII of 1950 for details of the sources. The work covers Blenheim, Chatsworth, Devonshire House, Hampton Court, Kensington Palace, Stowe, Wilton and Windsor amongst others.

New Pocket Companion for Oxford (A)...to which are added Descriptions of...Blenheim, Ditchley, Heythrop , and Nuneham..., new edition, folding engraved map, 8 engraved plates, one loose and frayed at edges, original wrappers, rubbed and soiled, spine worn, preserved in modern board slip-case, Oxford, J.Cooke, 1809 § [Blore (Thomas)] A Guide to Burghley House, engraved frontispiece and plate, double-page pedigree, foxing, first few leaves loose, modern half calf preserving part of old spine, Stamford, Drakard, 1815 § Simond (Louis) Journal of a Tour and Residence in Great Britain...by a French Traveller, 2 vol., first English edition, 21 hand-tinted aquatint plates by J. Clark after the author, 2 folding tables, engraved illustrations in text, advertisements at end of vol.2, contemporary calf, a little worn, Edinburgh, George Ramsay, 1815 § [Patmore (P.G.)] British Galleries of Art, 2 vol. including an extra-illustrated volume of plates, modern morocco-backed cloth, 1824 § plates Evans (John) An Excursion to Windsor...including an account of Strawberry-Hill and of Hampton-Court, second edition, half-title, engraved frontispiece (offset on title), light staining, original cloth, uncut, damp-stained, 1827, most rubbed, 8vo et infra (6)

Romney (Rev. John) Memoirs of the Life and Works of George Romney, first edition, presentation copy from the author with accompanying 2½pp. A.L.s from him to Thomas Phillips, R.A. tipped in, stipple-engraved portrait, errata leaf at end, portrait and title lightly foxed, original cloth-backed boards, uncut, rubbed, spine worn and defective, upper cover detached, 4to, 1830.⁂ George Romney (1734-1802) was the most fashionable artist of his day and painted portraits of numerous society figures, particularly his muse Emma Hamilton. Thomas Phillips, R.A. (1770-1845) was a notable portrait painter who painted many leading figures of the time including Blake, Byron, Faraday, Dalton and Sir John Franklin. Romney's letter to Phillips thanks him for "the very liberal and candid memoir which you wrote of my father in Britton's Fine Arts" and continues with comments on his father's painting.

Roscoe (William) [Sale Catalogue] Catalogue of the very select and valuable Library..., 1816; [Sale Catalogue] Catalogue of the Genuine and Entire Collection of Prints..., 1816; [Sale Catalogue] Catalogue of the...Collection of Drawings and Pictures..., 1816, 3 parts in 1, prices and some buyers' names in manuscript (names shaved), some spotting, contemporary half russia, worn, spine defective, Liverpool, Winstanley; List of the Numbers and Prices of the Library..., bound with similar lists for prints and drawings & pictures with index, original wrappers, torn, frayed and detached, Macclesfield, 1818; On the Origin and Vicissitudes of Literature, Science and Art, and their Influence on the Present State of Society. A Discourse delivered on the Opening of the Liverpool Royal Institution..., first edition, browned, modern marbled boards, Liverpool, 1817; and another on Roscoe, 8vo & 4to (4)⁂ Roscoe's art collection was intended to illustrate the rise and progress of the Arts and he was particularly interested in early Italian art or Primitives, being one of the first British collectors in this area. The List of Prices is interesting for it includes a 'Memoranda' leaf at the end which states that the collections of drawings and that of Italian pictures were each offered for sale as a collection, for £1000 in both cases (plus £500 for the German & Flemish paintings), but there being no bidders the items were then sold individually. According to the manuscript list of totals in the previous lot the prints made £1901 4s, the drawings £646 6s 6d. and the pictures £2885. This item is scarce; although occasionally found bound with the catalogues COPAC & WorldCat record only 2 separate copies of the 16pp. list of the library prices (Oxford and Trinity College, Hartford Ct.), and only one of the 10pp. list of print prices (Oxford) with no mention of the further 6pp. of prices of the drawings and pictures.

Schreiber (Lady Charlotte) Journals: Confidences of a Collector of Ceramics & Antiques...1869 to 1885, edited by her son Montague J.Guest, 2 vol., spotted, 1911; Catalogue of the Collection of Fans and Fan-Leaves presented to...the British Museum, compiled by Lionel Cust, 1893; Catalogue of the Collection of Playing Cards bequeathed to...the British Museum, compiled by Frank M.O'Donoghue, title browned and with library stamp, 1901 § Rackham (Bernard) Victoria & Albert Museum. Catalogue of the Schreiber Collection of English Porcelain, Earthenware, Enamels etc., 3 vol., vol.1 original boards, vol.2 original wrappers, vol.3 original cloth with dust-jacket, 1915-30-24, plates, the first three original cloth, a little rubbed; and 6 others relating to Lady Schreiber including a second edition of vol.1 of the last and the sale catalogue of her library, 8vo & 4to (13)⁂ The energetic Lady Charlotte Schreiber (1812-95), hostess, philanthropist and mother of ten children, was one of the earliest and most important English collectors of ceramics and on the death of her husband in 1884 she presented the collection to the Victoria & Albert Museum. She also collected lace, fans and playing cards; the latter two collections she donated to the British Museum.

Strutt (Joseph) A Biographical Dictionary... of all the Engravers, 2 vol. in 1, first edition, 20 engraved plates, some stipple-engraved, most printed in bistre, 4pp. errata at end, light offsetting, bookplate of William Edward Oates, contemporary russia, gilt, spine gilt, rubbed, some wear to lower joint, 1785 § Artist's Vade Mecum (The), first edition, 94 engraved plates only (of 100), rather soiled and browned, contemporary half sheep, spine worn and broken, 1762, 4to (2)

Julian Trevelyan, R.A.. (British, 1910-1988):Washington, etching & aquatint, hand-signed in pencil, titled & numbered 4/50 to margin, impression size H 35 x W 48 cm. Provenance: Business Art Galleries label verso. Note: The present work is a rare signed example from the edition of 50 of which only the first 9 examples were hand-signed. Please note that Artist's Resale Rights may apply to this lot.

Royal Crown Derby Yorkshire Rose Elephant, limited edition 110/500 with certificate. First quality, gold stopper.

Royal Crown Derby Gold Signature Edition Crocodile and Llama signed John Ablitt. along with a Nanny Goat, signed to base Tien Manh Dinh 17-06-2000, also Mark Duff. All first quality with gold stoppers and boxed, no certificates. (2)

Two Royal Crown Derby paper weights. A Gold Signature Edition Crocodile with Certificate and a  Zebra . Both first quality with gold stoppers.(2)

Royal Crown Derby Aurora Polar Bear, limited edition 397/1500, with certificate, along with an Old Imari Polar Bear. Both first quality with gold stoppers. (2)

Royal Crown Derby Otter, gold signature edition, signed to base Sue Rowe 2001,Collectors Guild Mole,Riverbank Beaver, limited edition 1112/5000, signed to base Louise Adams 28-3-2002,and another Beaver. All first quality with gold stoppers, all boxed, no certificates.(4)

Royal Crown Derby Coral Seahorse, limited edition availability to June 2004, with certificate, with Royal Crown Derby Oceanic Whale for Collectors Guild and a Striped Dolphin ( gold signature edition). All first quality with gold stoppers and boxed.

Royal Crown Derby Toad, limited edition 1661/3500, with an Old Imari Frog limited edition 4112/5000. Both first quality with gold stoppers and boxed, no certificates.(2)

A Royal Crown Derby limited edition Bantam Cockerel, produced exclusively for Royal Crown Derby visitors centre, no number, with certificate, boxed, gold stopper, 1st quality  Along with a Duckling and an Quail. All items first quality with gold stoppers. No certificates. (3)  .

MUFC Matt Busby - My Story first edition, signed 1957 and Bobby Charlton - forward for England first ed, signed 1967

SALTMARSHE (John) 4 Works bound together in One Volume, viz. Holy Discoveries and Flames. (sole edition?) printed for R.Y. for P. Neville, 1640; Dawnings of Light . . . with some Maximes of Reformation . . . (2nd edition) printed for R.W. and R to be sold by G. Calvert, 1946; Free-Grace; or, the Flowings of Christs Blood Freely to Sinners . . . the Fourth edition corrected. Printed for Giles Calvert, 1647; Sparkles of Glory, or Some Beams of the Morning-Star . . . (First edition?) Printed for Giles Calvert, 1647. Old blind-decorated calf, with 19th cent spine (defective), 12mo. Illustrated

Peter Scott; 'The Eye of the Wind', a signed first edition autobiography, 1961.

λ An early Victorian tortoiseshell work box, the hinged lid inset with a reverse glass patent pearl picture of St Paul's Cathedral attributed to Thomas Lane, titled 'SAINT PAULS', the interior with ivory edging and a lift-out tray, 11.7cm high, 27.8cm wide, 20.1cm deep. Provenance: Antigone Clarke & Joseph O'Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.67, fig.85. Thomas Lane (fl. c.1821-1855/6) was based at the Royal Papier-Mâché Works, 91 Great Hampton Street, Birmingham and 20 Upper Hockley Street. He is best known for his wares with designs and pictures highlighted with thin flakes of mother of pearl on the underside of the glass which he called 'patent pearl glass' although this was first patented by a Joseph Gibson.

λ An early 18th century Anglo-Indian rosewood writing box, inlaid with ivory flowers and leaves boldly engraved and highlighted with lac, the hinged lid centred with a floral interpretation of the Tree of Life, with leaves and flowers issuing from a nautilus shell, with wide borders of conforming scrolling foliage, revealing a divided interior with secret drawers, with an iron side carrying handle and escutcheon, Vizagapatam, c.1730, 11.8cm high, 53.4cm wide, 39.5cm deep. Provenance: A handwritten note in the box states 'Mother's Indian Box from Lady Lyttleton given 1957' and 'Apphia, Lady Lyttelton by descent to Mrs G. Woodroffe to her daughter Mrs M. J. Neville (1957) by descent'. Antigone Clarke & Joseph O'Kelly, Antique Boxes, Tea Caddies & Society, 1700-1880, 2nd Edition, p.187, fig. 262. Apphia, Lady Lyttelton, née Witts (1743-1840) was born on the 27th April to a prosperous Oxfordshire family. After the death of her parents she set sail to India, arriving in Calcutta in 1769 where she was set to marry her cousin, Richard Witts. However, he had died six months before she left England. More tragedy struck when her first husband, Colonel Joseph Peach, of the 1st Bengal Regiment, died within six months of their marriage. In 1773 she married Thomas Lyttelton, 2nd Baron Lyttelton. See 'Apphia, Lady Lyttelton: From the Cotswolds to Malvern by Way of India 1743-1840' by Christine Bannister. See Furniture from British India and Ceylon by Amin Jaffer, p.188, no.39. for a closely related box. Also Christie's, Le Gout Steinitz, III, 6th December 2007 for a very similar box, with an identical central panel. Work-boxes such as these were used by the English expatriates in India and were naturally used by the merchants of the East India Company. The densely scrolling foliage borders inlaid in ivory are typical of the manufactures of Vizagapatam, on the eastern Coromandel Coast of India.

D*Face (British b.1978), 'Drive Bye Shouting (Blink 182) (First Edition)', 2017, screen print in colours on 300 gsm paper, signed and numbered from an edition of 150 in pencil, signed by all three members of Blink 182 in pencil, published by Stolen Space; sheet: 47 x 100cm ARR

Connor Brothers (British b.1968), ‘The First Thing I Do In The Morning Is Brush My Teeth And Sharpen My Tongue’, 2018, giclee with silkscreen varnish on archival paper, signed, dated and numbered from an edition of 60 in pencil; sheet: 41 x 26cm ARR

C. Arthur Pearson, Limited (Publisher) : Among Swamps and Giants in Equatorial Africa, by Major H H Austin, with two maps and many illustrations, first edition 1902.

ƟThe Myrowr of Recluses, a Middle English translation of the Speculum Inclusorum, a guide to the life of an English anchorite, decorated manuscript on paper [England (probably London region, perhaps Barking Abbey), first half of fifteenth century (probably soon after 1414)] 66 leaves (plus 3 modern paper endleaves at front and back), catchwords and leaf signatures throughout, complete, collation: i-viii8, ix2, single column of 21 lines of a professional English vernacular hand, paragraph marks in alternate red and blue, small initials in red or blue with contrasting penwork, three large variegated initials in red and blue with scrolling penwork extending height of upright margin, some notes for rubricator left in margins, paper heavy and with no apparent watermark, small spots and stains, many leaves with slight discolouration at corners from old water damage (a few leaves with parts of margin notes for rubricator washed out by this), else excellent condition, 200 by 140 mm.; English nineteenth-century blind-tooled brown leather, spine gilt with: “MYSTERYE OF RECLUSES / M.S. / 1414”, leaves with red edges The only complete manuscript of this Middle English text on the life of a religious recluse, perhaps produced in Barking Abbey as part of the female education campaign of Abbess Sybil de Felton Provenance:1. The prologue to the text, unique to only this manuscript, dates the beginning of its composition to the “this Wednysday bi the morrow, the even of the blissed virgyne seynt Alburgh, the secunde yeere of the worthy christen prince oure souerayn liege lord þe kyng Henry the Fiftis”, that is 10 October 1414, with the next day the Feast of St. Ethelberga, sister of St. Erkenwald the patron saint of London. In 1414, 10 October was indeed a Wednesday. This copy is of the first half of the fifteenth century, and most probably was copied soon after the translation of the text into Middle English. The first few leaves here have apparent authorial corrections, but it must be noted that E.A. Jones has suggested instead that these are the work of a contemporary corrector trying to improve on the syntax. More importantly, Jones tentatively locates this translation of the text, and thus perhaps also the site of copying of this witness, on the basis of the dedication to “lady Seynt Marie and of my … lady Seynt Alburgh”, to the abbey of Barking, a Benedictine foundation for women a few miles to the east of London, and the education campaign there of Abbess Sybil de Felton. She owned or obtained for that house one of the earliest copies of Nicolas Love’s Mirror of the Blessed Life of Jesus Christ, as well as William Flete’s De Remediis contra Temptationes and the Clensyng of Mannes Soule. Moreover, Barking may have been the site of the composition of, or first audience for, The Chastising of God’s Children, and as a house of educated women it was turned to by Henry V to aid in the royal foundation of the English Benedictines at Syon. Indeed, one of Sybil de Felton followers from Barking, named Matilda Newton, became the initial abbess of Syon although she never professed as a Bridgettine. She returned to Barking in 1417 to live as a recluse (this nun has also been tentatively identified as a translator of texts: see M. Cré in A Companion to Marguerite Porete and the Mirror of Simple Souls, 2017). Barking Abbey was suppressed on 14 November 1539 and its possessions scattered.2. Passing then into apparent lay hands: Roger Saddlar: his sixteenth-century inscription on fol. 10v; and Robert Leche (d. 1587) of Christ Church, Oxford, and then proctor of the university in 1560 and 1566, and chancellor of the diocese of Chester in 1562 (J. Foster, Alumni Oxonienses, 1891, p. 892): his inscription: “In dei nomine, amen. Auditis, visis, et intellectis, et plenarie discussis per nos Robertum Leche artium magistri et in LL baccallarii reverend’ in Christo patris et domini, domini Willelmus permissione dia’ […] episcopi” on fol. 66v.3. John Wylde, his seventeenth- or eighteenth-century ex libris and “no 133” at the head of fol. 1r.4. Most probably William Ford (1771-1832), Manchester bookseller: inscription in hand of Joseph Brooks Yates on first endleaf recording “2.12.6 from Mr Ford’s collection, 26 Sep. 1820”, presumably recording its price in £, shillings and pence. Ford’s initial catalogues were formed from his own vast private library, allowing the identification given here. Ford noted, perhaps prophetically, in a letter to Dibdin that “It was my love of books, not of lucre, which first induced me to become a bookseller.” He went bankrupt in 1810, but continued to operate as a bookseller and issued catalogues as late as 1832.5. Joseph Brooks Yates (1780-1855): his inscriptions on endleaf on purchase from ‘Ford’ and “exhibited at L & P Society April 1844” (ie. Manchester Literary & Philosophical Society, of which he was president).6. Henry Yates Thompson (1838-1928), his lengthy inscription on front endleaf recording his discussions on the volume with “Mr Skeat of Cambridge” (W.W. Skeat, Elrington and Bosworth Professor of Anglo-Saxon, as well as a Middle English and Gothic language scholar), Frederick J. Furnivall (who worked with Skeat on the Early English Text Society publications) and Henry Bradshaw (Librarian Camb. Univ. Library)” (liturgicist and linguist, who famously declared “Books are to me as living organisms, and I can only study them as such; so every particle of light which I can obtain as to their personal history is so much positive gain”), this dated 8 February 1880. Followed by a letter of the previous year from Skeat tipped in, declaring it “an original of the date it professes to be - 2nd year of Henry V” and suggesting the dialect is that of London. Plus a loose note, presumably from Skeat suggesting two related published works.7. Allan Heywood Bright (1862-1941), inherited from H.Y. Thompson: his bookplate, with pencil mark “I/4”. Sold in his descendants’ sale, Christies, 16 July 2014, lot 12, to the present owner. Text:This is the only complete copy of this work, known previously solely from the fragmentary witness in British Library Harley MS. 2372. The Harley manuscript is a less than perfect witness, lacking about a third of the text including the beginning, the end of part II and the end of part III. Additionally, it is clear that it was copied in the mid-fifteenth century at some remove from the original, and by the end of that century it was in Stamford, Lincs. (see A. Rogers in The Library, VII:15, 2014). The differences in the present text and that in the Harley manuscript show that neither is directly related to each other, but both were copied from a lost manuscript in Middle English, perhaps the original of the translation, with the present witness including some devotional verses on the Passion that were perhaps at some stage associated with the text. The present manuscript was not available to be consulted by Marta Powell Harley in 1995 when she edited the fragmentary text in the Harley manuscript, and likewise E.A. Jones in his parallel Latin and Middle English edition of the text published in 2013. Jones has subsequently published some brief observations on the text and the origins of the present copy, but it can scarcely be said to have been edited and much work remains to be done. For additional cataloguing information, please visit https://www.dreweatts.com/auctions/lot-details/?saleId=14207&lotId=75 Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

ƟPersius, Satires, a Renaissance scholar’s copy with numerous marginal additions, in Latin verse hexameters, manuscript on paper [Italy (Tuscany, probably Cortona), second half of fifteenth century] 18 leaves, wanting a bifolium from beginning (text opens in Satire I, line 60), else complete, collation: i12, ii6 (and these within a single paper bifolium and a folded fourteenth-century parchment leaf recording court judgments combined to form endleaves and an informal first binding), single column of 19 lines in a fine humanist script, calligraphic initials in split penwork bars, rubrics in red, extensively glossed in smaller script with almost all free space employed for this on some pages, watermark that of hills within a circle, close to Briquet 11931 (with some examples found in Tuscan towns of Pisa in 1479 and 1489 and Pistoia in 1483-92), small spots, stains and edges torn and bumped, but overall in good and presentable condition, 220 by 145mm.; the folded over fourteenth-century document was once the original temporary binding of this book (worn on outer pages from handing, and with “Explicit liber persii Deo gratia” and “est finito” on back cover), that now set within a near-contemporary limp parchment flap binding (that now loose from text block, traces of glue from modern repair at spine), with plaited cord attached to a wooden button for attachment of flap to front board, number ‘4’ on front cover, lengthy contemporary inscription (mostly smudged and erased) and ornate penwork letter ‘B’ on back cover, overall in fair condition Provenance:1. Written for a humanist student of Persius in the second half of the fifteenth century, who then proceeded to fill much of the available space with glosses on the text. Copied from a manuscript, with orthography, abbreviations and textual variants showing this was not copied from the editio princeps of Udalricus Gallus (Rome, c. 1478), nor the editions of Martin Flach (Basel, 1474) or Paulus Ferrariensis (Treviso, 1481). This glossing hand makes reference to the “Britannicus” printed edition of the text, that produced by Jacobus Britannicus in 1486, and so these additions must have been added after that year. The court document reused as the original temporary binding and now fossilised as endleaves is for cases brought before the court of Cortona, Tuscany, and this is the most likely origin point for the manuscript.2. By the turn of the next century it appears to have passed to either “Christofono bello Guido Carissimo”, who added a sixteenth-century ex libris to the head of fol. 19v, or “Giovanni da Casetino” (probably Casentino, a valley to the immediate north east of Florence) who adds his on fol. 20v. Text:The works of Persius (34-62 AD.; more properly Aulus Persius Flaccus) are notably rare in manuscript. He was a Roman poet and satirist, who was a native of Pisa in Tuscany, and regional pride may explain both the original owner’s commissioning of this copy and his devoted study and glossing of it. He is recorded as studying in Rome, and while there fell in with a small group of poets, including Lucan. He records that there he also met Seneca, but was not impressed by the man. Due to some ‘flaw of the stomach’ he died early, at the age of twenty-eight, and it fell to his friend and mentor the Stoic philosopher Cornutus to edit and release his works. He suppressed all but the Satires, and from them expurgated occasional lines, such as one acerbically critiquing Emperor Nero’s literary tastes. The extant satires themselves look at various aspects of Roman life, bringing biting sarcasm to bear on its pomposity. Book one is set as a dialogue between the poet and an unnamed friend, and examines the moral decline of Rome’s literature and the literary tastes of the city. It attacks the artificial rhetoric of its poets, their over polished language and their vanities. Book two begins with the birthday of a friend of the poet, and uses it to open discussion on what men wish for, with its characters openly praying for worthy and noble things, but secretly for money and the deaths of those who stand in their way. It ends with a moral exhortation to the reader to not presume that the gods wish for gold as we do, even if we adorn sacred spaces and objects with it; far better, the poet concludes, is to approach the gods free of such trappings, with clean hands and a pure heart. Satire three sets its aim on those who live amiss although they know the correct way to behave, as well as their numerous excuses - with the poet taking his own youthful life as an example of this failing. On the endleaves here a host of hands have added short quotations from other authors, including Varro, Ovid, Vergil and Martial, some Classical lines in Greek written in Roman script and numerous pentrials. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

A COLLECTION OF OBSERVERS BOOKS, some first edition (approx fifty)

Quantity Of Matchbox Models Catalogues/Leaflets, including 1957 Models of Yesteryear leaflet, 1958 Reprint for DTE 1982, 1959 edition catalogue, 1959-24 page catalogue, 1960 catalogue, 1961 catalogue, 1962 catalogue, 1963 catalogue, 1964 price list, 1964 catalogue, 1964 International catalogue, 1965 catalogue, 1965 International catalogue, 1966 International catalogue, 1967 catalogue, 1967 International catalogue, January 1967 Matchbox Selector Chart, USA Fred Bronner, 1968 catalogue,1968 Superfast 3 fold leaflet, 1969 catalogue, 1969 catalogue-2nd edition plus Matchbox Diecast Toys The First Forty Years, all in good to excellent condition. (22 items)

Spot On Triang Catalogues, 1959 early edition,with price list, First Edition,4th Edition,5th Edition, seven fold leaflet, 3rd Edition with retail price list, 7th Edition, Spot On Diecast Models book Graham Thompson, plus three Triang Minic price lists, 1962-63-64, Triang Magazine club leaflet, Triang Toys Christmas 1961 catalogue, Triang Minic Ships one fold leaflet, Triang Minic Motorways second edition, all in good to excellent condition. (14 items)

A 1965 hard bound first edition of James Bond 'The Man with The Golden Gun' by Ian Flemming.

Andrew Clement Verster (South African 1937-) PORTFOLIO OF ELEVEN ETCHINGS portfolio of eleven etchings from drawings made in notebooks between june and october 1985, edition limited to 25 copies; each print signed, dated 86, inscribed with pencil in the margin and impressed with the caversham press chopmark, this set numbered 2/25 etching each sheet size: 35 by 24,5cm Although predominantly known as a painter and writer, Johannesburg-born Andrew Verster has produced a charming set of eleven etchings informed by a past stay at Cite Internationale des Arts, Paris. Cite Internationale des Arts is an acclaimed artist-in-residence program established in 1965, which attracts practicing artists from all over the world. Verster participated in a total of five residencies at the Parisian studios between 1985 and 1995, with the first being awarded by the South African National Association for Visual Arts (SANAVA)1. This portfolio consists of scenes of the artist’s friends and their belongings, as well as portraits of well-known artists and writers, such as Pablo Picasso and Oscar Wilde. The prints feature monochrome linework that denotes a simplistic elegance, reminiscent of Henri Matisse. The works are printed on ivory Fabriano Rosapina paper, and published by Caversham Press in Howick, KwaZulu Natal. Verster’s work has appeared in multiple exhibitions across the world, including London, Hong Kong and Germany. He has also been awarded two retrospectives at the Durban Art Gallery, cementing his position as a key figure in the South African art scene2. 1 Cite Internationale des Artes, correspondence, April 30, 2019. 2 Kwazulu Natal Society of Arts, “Andrew Versterâ€- LD

Campbell, Rev. John TRAVELS IN SOUTH AFRICA: A NARRATIVE OF A SECOND JOURNEY IN THE INTERIOR OF THAT COUNTRY, 2 VOLS London: Francis Westley, 1822 FIRST EDITION, 8vo, Vol 1: viii + xii + 322 + [4] pp, frontis + 7 coloured plates + 1 folding map, Vol 2: [ii] + [1] errata + 384 pp, frontis + 3 coloured plates, rebound in modern full morocco, new eps, uncut, all pages wavy, text block edges browned, plates with light foxing and ghosting on facing pages; Vol 1: folding map half detached from hinge with two 3cm tears along folds, 1cm tear in margin and 2cm tear at hinge, some tanning on map and ghosting on facing page, few pages with small tears in margins; Vol 2: photograph mounting corners on paste down, small hole in ep, brown stain on a few pages (2)

Various SEVEN VELLUM BOUND LEGAL BOOKS 17th and 18th century Papegaey, ofte formulier-boek by Willem van Alphen, The Hague: Johannes Steucker, Vol I: 1682 & Vol II: 1683, DutchQuaestionum Juris Public by Cornelius van Bynkershoek, Leiden: Joannem van Kerckhem, 1737, Latin, FIRST EDITIONNederlandse Practyk der notarissen by Simon van Leeuwen, Amsterdam: Johannes van Ravesteyn, 1666, DutchPractyck Judicieel by Gerard van Wassenaar, Utrecht: Jacob van Poolsum, 1746, DutchCommentarius ad Pandectas by Johannis Voet, [Leiden]: Johannem Verbessel, Vol I: 1698 & Vol II: 1704, LatinCondition report provided upon request (7)