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A box of books, some first edition and signed.

‘BUGATTI’ FIRST EDITION HARDBACK BY H.G. CONWAY published by Foulis23cm high

Fritz Koenig 1924 Würzburg - 2017 Ganslberg Poseidon. 1963/64. Bronze mit grau - grüner Patina. Einer von 3 ausgeführten Lebzeitgüssen aus einer geplanten Auflage von 5. Höhe 110 cm (43,3 in). • Einer von 3 Lebzeitgüssen. • Ein weiterer Guss befindet sich im Museum Folkwang, Essen. • Erstmals ist ein Exemplar dieser kraftvollen Bronze auf dem internationalen Auktionsmarkt angeboten (Quelle: artprice. com). • Die Symbiose von Mensch und Tier verschmilzt Fritz Koenig buchstäblich zu einer dynamischen Einheit. • Im Entstehungsjahr nimmt Fritz Koenig an der documenta III in Kassel teil und wird auf den Lehrstuhl für Plastisches Gestalten in der Architekturabteilung der TU München berufen. PROVENIENZ: Fritz-und-Maria-Koenig-Stiftung, Landshut. LITERATUR: Dietrich Clarenbach, Fritz Koenig. Skulpturen. Werkverzeichnis, München 2003, WVZ-Nr. 318, S. 290 (m. Abb. S. 100f.) Peter-Klaus Schuster, Fritz Koenig. Skulptur und Zeichnung, Ausst.-Kat. München/Berlin 1988/89, S. 16 (m. Abb.). 'Zu verstehen sind diese Hybriden aus Mensch und Tier nicht einfach als Belege des Bemühens um die Fusion plastischer Werte, sondern auch – und vielleicht vor allem – als Ausdruck einer Vorstellung kreatürlichen Einvernehmens, wie sie auf anderer Ebene des Künstlers Tätigkeit als Pferdezüchter bestimmt.' D. Clarenbach, Fritz Koenig, München 2003, S. 13. Aufrufzeit: 08.12.2023 - ca. 13.28 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONFritz Koenig 1924 Würzburg - 2017 Ganslberg Poseidon. 1963/64. Bronze with gray - green patina. One of 3 executed lifetime casts from a planned edition of 5. 110 cm (43.3 in). • One of 3 lifetime casts. • Another copy is in the Museum Folkwang, Essen. • This is the first time that a copy of this powerful bronze is offered on the international auction market (source: artprice.com). • Fritz Koenig literally merges the symbiosis of man and animal into a dynamic unity. • In the year of its creation, Fritz Koenig took part in documenta III in Kassel and was appointed to the chair of sculptural design in the architecture department of the Technical University of Munich. PROVENANCE: Fritz-und-Maria-Koenig-Foundation, Landshut. LITERATURE: Dietrich Clarenbach, Fritz Koenig. Skulpturen. Catalogue raisonné, Munich 2003, no. 318, p. 290 (fig. pp. 100f.) Peter-Klaus Schuster, Fritz Koenig. Skulptur und Zeichnung, ex. cat. Munich/Berlin 1988/89, p. 16 (fig.). 'These hybrids of human and animal are to be understood not simply as evidence of an effort to fuse sculptural values, but also - and perhaps above all - as an expression of an idea of harmony of creatures, as it determines the artist's activity as a horse breeder on another level.' D. Clarenbach, Fritz Koenig, Munich 2003, p. 13. Called up: December 8, 2023 - ca. 13.28 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

David Yarrow 1966 Glasgow - lebt und arbeitet in London The Witness. 2020. Schwarz-Weiß-Fotografie. Archivalischer Pigmentdruck. Signiert, datiert 'August 2020' und nummeriert. Aus einer Auflage von zwölf Exemplaren. Auf matt glänzendem Fotopapier. 94 x 150,5 cm (37 x 59,2 in). Papier (Sichtmaß): 99 x 155,5 cm (39 x 61,2 in). Aufgenommen in Kenya, 2020. Gedruckt von BowHaus in Los Angeles. Rahmenmaß: 132,5 x 188,7 cm (52,2 x 74,3 in). [CH]. • David Yarrow macht sich in den 1980er Jahren zunächst als Sportfotograf für die London Times einen Namen, bspw. mit der berühmten Fotografie von Diego Maradona nach dem Finale der Weltmeisterschaft in Mexiko City 1986. • Erst viele Jahre später und insbesondere in den vergangenen zehn Jahren etabliert sich der Künstler als weltweit bekannter Natur-Fotograf. • Mit seinen einzigartigen Arbeiten dokumentiert er die Natur aus ganz neuen Perspektiven und zeigt die Tierwelt in ausdrucksstarken, meist monochromen und besonders nah an das Motiv herantretenden Fotografien. • Aufgrund seiner Verdienste für Naturschutz- und philanthropische Wohltätigkeitsorganisationen wird der Künstler im Entstehungsjahr der hier angebotenen Fotografie Botschafter der African Community and Conservation Foundation (ACCF). Mit einem Zertifikat von David Yarrow Photography, August 2020. PROVENIENZ: Maddox Gallery, London. Privatsammlung Hessen (vom Vorgenannten erworben). 'It was quite a busy evening alone on the ground underneath Kilimanjaro [..]. I had my moment and the temptation later that night was to crop out the elephant on the right. After all, the charging bull is coming right towards me and is almost symmetrical to the mountain – so perhaps less was more. But we went back and forth with both options, and we all agreed to keep the smaller elephant in the final crop. [..] the elephant to the right adds a sense of scale to the big bull [..]. So, whilst I am an advocate of the power of reductivism, hence my preference for monochrome, we thought it best to show this memorable capture in its widest frame. There is perhaps that little bit more compositional balance this way than in the tight portrait.' David Yarrow über die hier angebotene Fotografie, 2020, zit. nach: Maddox Gallery, https://maddoxgallery.com/artworks/ 2016533-david-yarrow-the-witness-2020/ Aufrufzeit: 08.12.2023 - ca. 16.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONDavid Yarrow 1966 Glasgow - lebt und arbeitet in London The Witness. 2020. Black and white photograph. Archival pigment print. Signed, dated 'August 2020' and numbered. From an edition f 12 copies. On matt-finished photo paper. 94 x 150.5 cm (37 x 59.2 in). Sheet (visible area): 99 x 155,5 cm (39 x 61,2 in). Shot in Kenya in 2020. Printed by BowHaus in Los Angeles. Frame: 132.5 x 188.7 cm (52.2 x 74.3 in). [CH]. • David Yarrow first made a name for himself in the 1980s as a sports photographer for the London Times, with the famous photograph of Diego Maradona after the final of the World Cup in Mexico City in 1986. • The artist became established as a world-renowned nature photographer only years later, especially over the past ten years . • With his unique works, he documents nature from completely new perspectives and shows the animal world in expressive, mostly monochrome photographs that get particularly close to the motif. • Due to his services to the conservation of nature and philanthropic charities, the artist became an ambassador for the African Community and Conservation Foundation (ACCF) in the year the present photograph was shot. With a certificate of authenticity by David Yarrow Photography, issued in August 2020. PROVENANCE: Maddox Gallery, London. Private collection Hesse (acquired from the above). 'It was quite a busy evening alone on the ground underneath Kilimanjaro [..]. I had my moment and the temptation later that night was to crop out the elephant on the right. After all, the charging bull is coming right towards me and is almost symmetrical to the mountain – so perhaps less was more. But we went back and forth with both options, and we all agreed to keep the smaller elephant in the final crop. [..] the elephant to the right adds a sense of scale to the big bull [..]. So, whilst I am an advocate of the power of reductivism, hence my preference for monochrome, we thought it best to show this memorable capture in its widest frame. There is perhaps that little bit more compositional balance this way than in the tight portrait.' David Yarrow about the photograph offered here, 2020, quoted from: Maddox Gallery, https://maddoxgallery.com/artworks/2016533-david-yarrow-the-witness-2020/ Called up: December 8, 2023 - ca. 16.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Otto Mueller 1874 Liebau/Riesengebirge - 1930 Obernigk bei Breslau Zwei Knaben im Wasser und ein Mädchen am Ufer. 1918. Lithografie, aquarelliert. Karsch 76 I (von II). Signiert sowie verso mit blauer Kreide bezeichnet '6'. Eines der wenigen handkolorierten Exemplare der ca. 8 Exemplare des I. Druckzustandes. Auf feinem, glattem Kupferdruckpapier. 23,5 x 29,5 cm (9,2 x 11,6 in). Papier: 30,8 x 26,5 cm (12,1 x 10,4 in). Gedruckt von Otto Mueller. [JS]. • Rarität. Erstes handkoloriertes Exemplar auf dem internationalen Auktionsmarkt (Quelle: artprice.com). • Im Werkverzeichnis von Karsch (1975) ist ein aquarellierter Abzug im Besitz der Galerie Nierendorf, Berlin, dokumentiert. • Zudem einer der seltenen Handabzüge des Künstlers vor der im Verlag Gustav Kiepenheuer für die Zeitschrift 'Das Kunstblatt' erschienenen Auflage des II. Druckzustandes. • Der hier vorliegende I. Druckzustand weist noch die vollen Pflanzenformen im Unterrand sowie die verstärkte Gesichtskontur des einen Knaben und die dunklen Wellenlinien daneben auf, die in den Auflagedrucken (II. Druckzustand) nicht mehr vorhanden sind. PROVENIENZ: Privatsammlung Nordrhein-Westfalen. Aufrufzeit: 09.12.2023 - ca. 18.40 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONOtto Mueller 1874 Liebau/Riesengebirge - 1930 Obernigk bei Breslau Zwei Knaben im Wasser und ein Mädchen am Ufer. 1918. Lithograph, with watercolors. Karsch 76 I (of II). Signed and inscribed '6' with blue chalks onthe reverse . One of the few hand-colored copies from a total of 8 copies of the firts printing state. On fine smooth copper plate printing paper. 23.5 x 29.5 cm (9.2 x 11.6 in). Sheet: 30,8 x 26,5 cm (12,1 x 10,4 in). Printed by Otto Mueller. [JS]. • Rare. First hand-colored copy on the international auctions market (artprice.com). • The catalogue raisonné by Karsch (1975) mentions a copy with watercolors in possession of Galerie Nierendorf, Berlin. • At the same time one of the rare hand-made prints by the artist mnade before the edition of the second printing state published by Gustav Kiepenheuer for the magazine 'Das Kunstblatt'. • This rare first state still shows the plants in the lower margin and the stronger facial contours of the one boy, as well as the dark wave lines, which are no longer present in the prints of the edition. PROVENANCE: Private collection North Rhine-Westphalia. Called up: December 9, 2023 - ca. 18.40 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Emy Roeder 1890 Würzburg - 1971 Mainz Einsame. 1946. Bronze mit dunkelbrauner Patina. Wohl einer von 6 Güssen. 36,4 x 11,5 x 8,7 cm (14,3 x 4,5 x 3,4 in). [SM]. • 1920 etabliert sich Roeder als Bildhauerin in Berlin im Umkreis von Käthe Kollwitz. • 'Einsame' entsteht als erstes Werk nach dem Zweiten Weltkrieg nach der Entlassung aus dem Internierungslager in Padua. • Einfühlsames Beispiel ihrer charakteristischen reduzierten Bildsprache. PROVENIENZ: Privatsammlung Mainz (direkt von der Künstlerin erhalten). Privatsammlung Hessen. LITERATUR: Friedrich Gerke, Emy Roeder. Eine Werkbiographie mit einem Gesamtkatalog der Bildwerke und Zeichnungen, Wiesbaden 1963, WVZ-Nr. 37, S. 316, Abb. 74 u. 75. Hans-Jürgen Imiela, Emy Roeder, 1975, S. 36 (anderes Exemplar). Emy Roeder. Bildwerke, Handzeichnungen, Ausst.-Kat. der Städtischen Galerie Würzburg, 1981, Kat.-Nr. 30, S. 43 (anderes Exemplar). Aufrufzeit: 09.12.2023 - ca. 19.18 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONEmy Roeder 1890 Würzburg - 1971 Mainz Einsame. 1946. Bronze with dark brown patina. Presumably from an edition of 6 casts. 36.4 x 11.5 x 8.7 cm (14.3 x 4.5 x 3.4 in). [SM]. • In 1920, Roeder became established as sculpture in Berlin in the circle of Käthe Kollwitz. • 'Einsame' was the first work she made after WW II after she had beem detained in Padua. • Sensitive example of her characteristic reduced pictorial language. PROVENANCE: Private collection Mainz (obtained from the artist. Private collection Hesse. LITERATURE: Friedrich Gerke, Emy Roeder. Eine Werkbiographie mit einem Gesamtkatalog der Bildwerke und Zeichnungen, Wiesbaden 1963, catalogue raisonné no. 37, p. 316, fig. 74 and 75. Hans-Jürgen Imiela, Emy Roeder, 1975, p. 36 (different copy). Emy Roeder. Bildwerke, Handzeichnungen, ex. cat. Städtische Galerie Würzburg, 1981, cat. no. 30, p. 43 (different copy). Called up: December 9, 2023 - ca. 19.18 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

After Frank Wooton (1911-1998), D-Day June 6th 1944 A Triumph of Air Power, limited edition print no. 523/850, signed in pencil by the artist and countersigned by five RAF pilots to include "Johnnie" Johnson, 53 x 73cm, together with Keith Woodcock, (b.1940), Portrait of Power, signed limited edition print no. 305/850, 49 x 68cm and Gerald Coulson, (1926-2021), The First Blow, limited edition print no. 504/1089, signed by the artist and futher signed Flight Lieutenant George Booth, 50 x 61cm. (3)

After Nicholas Trudgian (b.1959,) Return to Rattlesden, limited edition print no. 414/1500, signed in pencil by the artist and various others to include Sgt John Bitzer, Sgt Norman Bussel, Colonel Edward Dingivan, First Lt. Frank Frison, Sgt John H Osbahr, Sgt Orlando Petrillo, Sgt Bytron Schlag and Sgt Don Sherman, with Miltary Gellery certificate, 44 x 79cm.

After Desmond Tallon, (b.1947), Her First Start, signed limited edition print no. 5/20, 64 x 75cm, together with Maxine Cox, Desert Orchid "Gold", signed limited edition print no. 771/2500, 39 x 50, two racing photographs and two golfing prints. (6)

Domenico Montagnana 'Lauter in Venetia' - Exposition of Lendinara 1997, limited deluxe leather bound first edition 62/192

[WILDE, Oscar]. The Ballad of Reading Gaol by C.3. 3., published by Leonard Smithers, 1898, second edition as stated, copyright February, 1898, bookplate of Clarence Eiloart on front pastedown, half-title, later inscription on front free endpaper, 31 pages printed on single-sides of hand-made paper, a few pages uncut, edges untrimmed, original cream and tan cloth, gilt title to spine, 8vo.A poem by Oscar Wilde, written while in exile following his release from Reading Gaol on May 19, 1897. Smithers published the finished poem in 1898 under the name "C.3.3.", which stood for cell block C,landing 3, cell 3. The first edition of 800 copies, sold out within a week, and a second edition of 1,000 copies was printed on 24 February. It was not commonly known, until the 7th printing in June 1899, that C.3.3. was Oscar Wilde.Condition Report: some soiling to boards and spine, gilt title faded on spine, spine ends and corners rubbed, toning and light foxing to preliminaries, otherwise internally a clean copy.

Robert Morden. First Edition Britannia 1695 map of Norfolk, hand colouring, mounted and framed, 38cm x 59cm. and Buck (Samuel & Nathaniel), The North-east prospect of the city of Norwich, published 1741, 31.5cm x 82cm (2)

BEARDSLEY (Aubrey, Illustrator) and Oscar Wilde. Salome: A Tragedy in One Act: Translated from the French of Oscar Wilde, London and New York, John Lane, 1907. first edition, complete with all sixteen illustrations by Aubrey Beardsley in their uncensored states on Japanese vellum, including frontispiece and additional title, half-title, ownership inscription on front free e/p., original lime green cloth, upper cover gilt blocked with an elaborate design by Beardsley, spine lettered in gilt, top edge gilt, others untrimmed, sm. 4to. Oscar Wildes Salome was in rehearsal for a performance in London in June 1892 when the Lord Chamberlain withheld a licence on the grounds that the play introduced Biblical characters. Wilde was outraged and stated "If the Censor refuses Salome, I shall leave England and settle in France where I will take out letters of naturalization. I will not consent to call myself a citizen of a country that shows such narrowness in its artistic judgement. I am not English. I am Irish - which is quite another thing". The play, first published in French, Paris, 1893, was translated into English by Wilde in 1894 (under the pretence that it was by Wilde's lover, Lord Alfred Douglas) and published by Elkin Mathews and John Lane. In the 1984 edition, two of Beardsley's drawings and his cover design prepared for the book were cancelled and others were bowdlerised. This 1907 edition restores all of Beardsley's illustrations to their original form and includes the two that had been omitted and uses the elaborate cover originally designed for the 1894 edition.Condition Report: rubbing and marked to upper and lower covers, gilt bright to upper cover, spine ends and corners rubbed, spotting to endpapers and preliminaries, some marks affecting a few of the margins of the plates, occasional foxing, and marks to some pages.

[GREAT WAR]: CONFIDENTIAL 'WAR INSTRUCTIONS FOR BRITISH MERCHANT SHIPS', AUGUST 1917 - a rare first edition copy of the Admiralty's official publication C.B. (Confidential Book) 415, individually numbered Copy No. 227, containing secret instructions issued as a precaution against the German navys attempts to sink allied shipping, August 1917, with printed note to front pastedown This book is weighted with lead, and if thrown overboard will sink, 86 pages, plus two Addenda, and numerous 'Convoy Zig-Zag' diagrams, allied and enemy submarine silhouettes, and black and white photographic plates of mines and torpedoes, original blue buckram with lead-weighted covers (for rapid disposal at sea), 8vo; together with, a loosely inserted one-page typescript letter on Admiralty Staff headed notepaper and a Receipt form for Secret Book The Mercantile Marine and Submarine Warfare C.B. 721/a, the letter (unsigned) dated February 19, 1919, was sent to an unknown recipient from (Sgd.) Alan Hotham, Director of Trade Division, Hotham announces with honour that copies of another Secret Book, C.B. 721 (2) are to be issued through the Shipping Intelligence Officers, two copies thereof will be issued in exchange for the attached Form of Declaration and receipt duly completed . . . copies may be lent to Masters and Officers of the Mercantile Marine for perusal only . . at other times these books should be kept under lock and key, and under no circumstances should they be taken to sea. (3) Condition Report: light creasing to a few leaf edges, otherwise overall good condition with clean bright binding.

Aardman Animations - An Epic Journey Taken One Frame At A Time - First edition hardcover book, signed by Aardman founders Peter Lord and David Sproxton. Signed by both in blue ink to the title page. As new, unread. 

From The Estate Of Tom Owen (1949-2022) - Forget Me Not Lane (1972 touring play with Davy Jones of The Monkees) - a collection of personal memorabilia belonging to Owen from his time appearing in the 1972 tour of the play alongside Davy Jones of 'The Monkees' fame. The collection including: Owen's personal photograph album from the tour, filled with never-before-seen images from the tour including many of co-stars Davy Jones, Wendy Padbury (Doctor Who), and others. Includes photographs taken backstage, in dressing rooms, on trips to the beach, a boating trip, digs etc. A unique look behind the scenes of a touring production in the 1970s. Also included in the collection is Owen's personally used and heavily annotated script for the production, an autographed LP vinyl record from Davy Jones to Owen, signed to the rear in blue ink 'Tom - Warm Wishes To You Always, Your Friend - David,' a First Edition 1988 paperback of Davy Jones' autobiography 'They Made A Monkee Out Of Me' signed and dedicated 'Tom, Mary & All The Little Owens - God bless you with friendship and love always 'Do You Still Love Me' - David Jones, Jan 1st 1988' as well as a box of Owen's stage-used hairpieces in their original box and Owen's personally used makeup box from the tour - filled with makeup, trinkets and a small photograph of Owen alongside Jones. A unique collection of memorabilia.  Forget-Me-Not-Lane is a play by Peter Nichols, which first opened at the Greenwich Theatre in 1971 and toured the UK in 1972. The touring production starred Davy Jones, James Mayer, Tom Owen, Joan Rice, Wendy Padbury and Dave King. 

From The Estate Of Tom Owen (1949-2022) - Last Of The Summer Wine - Peter Sallis (1921-2017) 'Fading Into The Limelight' 2006 First Edition hardcover autobiography, signed by Sallis and dedicated 'To Tom with love and good luck!' to the title page. With dustcover. Read, but generally in VG condition. Unique piece of Last Of The Summer Wine memorabilia from one cast member to another. 

From The Estate Of Bill Owen (1914-1999) - Theatre Plays - a collection of Owen's personally used and owned play script books, comprising: - Party For Jeremy by Bill Owen - published by Samuel French, first edition 1960 - profusely annotated by Owen in pencil, appearing to possibly be a final proof draft or similar (many alterations made in Owen's hand) - The Ragged School by Bill Owen - published 1969 and given to Tom Owen, dedicated to the title page 'To you Both, love Dad'.  - Seven Plays Of The Sea by Eugene O'Neill, named to Bill Owen to the fly leaf and containing two A4 pages in Owen's hand of stage notes / lines from a production in which he appeared. - The Iceman Cometh by Eugene O'Neill 1976 paperback, containing a note 'Dear Bill, I hope you like 'The General'. - The Browning Version by Terence Rattigan pub. Samuel French 1949, named to Tom Owen to the cover and containing some annotations within - Come Back, Little Sheba by William Inge. 1950 First Printing, with Owen's address in his hand written to the fly leaf - Pygmalion by Bernard Shaw - Penguin Plays 1978 paperback, annotated by Owen to several pages - Who's Afraid Of Virginia Woolf? by Edward Albee, pub. Penguin Plays 1966 - profusely annotated by Owen throughout. A unique collection of working play scripts from Bill Owen's estate. 

From The Estate Of Bill Owen (1914-1999) - Naughton, Bill - Alfie - original signed 1966 first edition hardcover with dust jacket, signed by the author and dedicated to Owen on the fly leaf 'Dear Bill - You were in at the birth & here's a small token of thanks - Yours ever, Bill Naughton, Dec '65'. With dust cover. Some yellowing to the edges, but otherwise good. Torn dust cover along a front fold. A unique piece of Alfie memorabilia, from the author to the first actor to play the title character. The character of Alfie originated in a play for the BBC Third Programme entitled Alfie Elkins and His Little Life, and was first broadcast on 7th January 1962.The life of Alfie is retold from the early days of World War II to the late 1950s. In this first radio version, the character was played by Bill Owen. Later, in 1966, the play was published into a novel, and a film version starring Michael Caine was released. 

From The Estate Of Bill Owen (1914-1999) - The Contractor & The March On Russia - by David Storey (1933-2017) - three original autographed script books presented to Owen by Storey. Comprising: - 1970 first American edition hardcover script book for The Contractor, signed and dedicated to Owen by the author to the fly leaf 'To Bill - to commemorate New Year's Eve 1971 - with love and many thanks, David'. With dust jacket.  - 1970 first (UK) edition published by Jonathan Cape, signed to the fly leaf 'To Bill, For the contractor himself. Many, many thanks - David - Fortune Theatre, 6th April 1970. - 1989 first edition paperback play script 'The March On Russia' signed to the title page 'To Bill, with love and with many thanks for Mr Pasmore. David - Alhambra Theatre, Bradford, 26.3.90' The Contractor was first staged in 1969 at the Royal Court Theatre, and Bill Owen played the part of Ewbank. A unique collection of memorabilia from Owen's estate. 

From The Estate Of Bill Owen (1914-1999) - Last Of The Summer Wine - two books presented to Bill Owen by Last Of The Summer Wine writer Roy Clark. The first being: 'Summer Wine Chronicles - Gala Week' by Roy Clarke. 1986 First Edition hardcover book, with dust jacket. Signed to the flyleaf ' For Bill, with best wishes for making Compo live! - Roy, Nov 86.' Signed in blue ink. The second book being an early 1974 First Edition Severn House 'Last Of The Summer Wine', signed to the flyleaf 'To Bill, for being a great Compo but more particularly for being Bill - Roy - Christmas 78'. Unique pieces of Summer Wine memorabilia.

PLATH, SYLVIA, 'THE BELL JAR' first edition under pseudonym of Victoria Lucas, published by Heinemann, London 1963, black cloth binding titled in gilt to spineProvenance: Le Brocq Collection, Jersey.Sylvia Plath (October 27, 1932 - February 11, 1963) Sylvia Plath was an American poet, novelist, and short story writer. She is credited with advancing the genre of confessional poetry and is best known for two of her published collections, The Colossus and Other Poems (1960) and Ariel (1965), and also The Bell Jar, a semi-autobiographical novel published shortly before her suicide in 1963. Born in Boston, Massachusetts, Plath graduated from Smith College in Massachusetts and the University of Cambridge, England, where she was a student at Newnham College. She married fellow poet Ted Hughes in 1956 and they lived together in the United States and then in England. Their relationship was tumultuous and in her letters Plath alleges abuse at his hands. They had two children before separating in 1962. Plath was clinically depressed for most of her adult life and was treated multiple times with early versions of electroconvulsive therapy (ECT). She ended her own life in 1963.The Collected Poems was published in 1981, which included previously unpublished works. For this collection Plath was awarded a Pulitzer Prize in Poetry in 1982, making her the fourth to receive this honour posthumously. An important poet, we are privileged to offer a first edition copy of one of her iconic works in the sale.

*OSCAR NEMON (1906-1985) 'Married Love' A bronze study of Sir Winston Churchill, KG, OM, CH, TD, DL, FRS, RA (1874-1965) and Clementine Ogilvy Spencer Churchill, Baroness Spencer-Churchill, GBE (1885 - 1977), modelled after the full-scale work now in situ in the grounds of Chartwell, the Churchill's home in Kent, circa 1978, number three from the edition of 15, signed "Nemon FN5" to the reverse, 44.5cm wide x 24cm high x 23cm deepProvenance: The Collection of Peter AB Johnson, Trustee of the Churchill Statue Fund.Oscar Nemon had approached Peter Johnson to find a suitable home for the monumental work. The first suggestions were Hyde Park and the Cabinet War Rooms, but it was decided, with the agreement of the National Trust, that the sculpture should sit in the grounds of Churchill’s beloved Chartwell. A charity was established, the Churchill Statue Fund, to sell the reduced size bronzes for £5,000 each, to raise the necessary amount for the esteemed Morris Singer Foundry of Basingstoke to cast the monumental bronze. This was a great success, with examples sold to the likes of Michael Heseltine and Jonathan Aitken. The endeavour was so successful in fact, that the organisers could afford to present one copy to Margaret Thatcher and another to Lady Soames, the daughter of Sir Winston and Lady Churchill. In fact, it was Peter Johnson that personally delivered the bronze to Lady Soames, remarking “When I arrived at Sloane Court West, a voice from above, that could only be the daughter of the great Sir Winston Churchill called out “The lift has broken down, but there is a glass of champagne waiting for you” after carrying the 8lb maquette up several flights of stairs, I certainly needed that glass”.Oscar NemonOscar Nemon was born in Osijek, a small market town in Croatia, in 1906. While at secondary school he demonstrated exceptional talent as a draughtsman and was advised to specialise in drawing and painting. However, the young Nemon found the approach to art at his gymnasium too formulaic, and did not want to conform to its structured way of teaching.At the age of fourteen, Nemon began to experiment with sculpture, having developed a fascination with a piece encountered on his travels. Inquiring how it was made, he was advised to “Go to the brickworks, where you will find plenty of clay, and make something.”After taking his baccalaureat in 1923, Nemon left Osijek for the greater opportunities and challenges of Vienna, where he continued to sculpt and study, and develop his innate talent for portraiture. During this initial period his work was both inspired and influenced by Ivan Mestrovic, who later became both a friend and mentor.In Vienna Nemon’s uncle owned a bronze factory, enabling him to cast his work as it was completed. Already an admirer of Sigmund Freud, whose writings would profoundly influence Nemon’s own thinking, he was able to persuade Freud to sit for him, becoming the first and only person to sculpt the analyst from life.From Vienna Nemon moved to Paris, and then to Brussels in the early 1930’s. Here, while studying sculpture at the Académie des Beaux Arts he won the Gold Medal for Sculpture, and shared a house with René Magritte. Continuing to develop his more personal figurative work, Nemon also established a style of portraiture that was powerful and intensely evocative of the character of the sitter. An exhibition of Nemon’s sculptures was held at the Palais des Beaux Arts in Brussels in 1932, the success of which led to a series of distinguished commissions, his sitters including King Albert I and Queen Astrid, the then Belgian Prime Minister Van de Velde, and future Prime Minister Henri Spaak, who also became a close friend. Nemon then moved to England in 1938, intending to go to America, but the war intervened. Based in London and Oxford, Nemon rapidly established himself as an artist of distinction. Here H.M. the Queen, H.M. the Queen Mother, and Prince Phillip all modelled for Nemon, who was granted a studio in St James’s Palace, and whose last sitter at the time of his death in 1985 was Diana, Princess of Wales.Other distinguished sitters included General Eisenhower, President Truman, Lord Beaverbrook, Field Marshal Montgomery, Ernst Chain, Lord Alexander and Earl Mountbatten, together with Lord Shinwell, Harold Macmillan and Lady Thatcher. There were few from this post-war period to whom he devoted more attention than Sir Winston Churchill, whom he admired deeply, and sculpted from life on numerous occasions.Nemon modelled in clay, directly from life, subsequently casting his work first in plaster and then in bronze or occasionally marble. Gifted with immense personal charm and delicacy, he would amuse and draw out his sitters with a series of stories and anecdotes which helped produce the extraordinarily animated and revelatory impressions which characterise his portraiture. Although Churchill originally warned Nemon “If you want to lose a friend, do his portrait”, during the course of their many sittings, Churchill and Nemon established a close relationship, becoming personal friends, to the extent that Churchill resolved to attempt Nemon’s head while the sculptor was working on his own. Nemon later remembered how.“When he (Churchill) became excited about the difficulties in which he found himself, his cigar began to come to pieces in his mouth and soon he was roaring like a lion over its prey. He shouted at me ‘How on earth can I work when you keep moving?’ In the interest of continuing peace between us, I kept still after that and, by doing so, I lost an opportunity of making a real study of him - a sad loss but almost inevitable because he was a restless and most unwilling sitter.”Nemon had Churchill’s image of him cast in bronze, and wrote to Churchill “I beg you not to underrate the artistic value of this work which would be considered by any expert as outstanding for the first attempt.”Nemon’s statues of Churchill stand in the Members’ Lobby of the House of Commons, the Guildhall, Blenheim, the National Portrait Gallery and the Cabinet War Rooms. One of his marble busts of Churchill is at Windsor Castle. Other of Nemon’s Churchill sculptures and busts can be found in over twenty capital and major cities round the world from Moscow to Washington. 

AN EARLY RENAISSANCE BOOK WITH LOCAL CONNECTION TERENTIUS AFER, Publius. COMOEDIAE. Commentries of Donatus and Guido Juvenalis, edited by Jodocus Badius Ascensius. Lyon: Johann Trechsel, 29 August 1493.Collation: [lacking a-b1] , b2-i7 [lacking i8], k8-P8, Q1-Q5 [lacking Q6-8]. 157 of 159 half-page woodcuts of scenes, lacking full page woodcut frontispiece and title page. Rubricated in red and blue ink throughout and heavily annotated in English and Latin in early hands, many of which were written before re-binding in the 17th century as several of the marginal annotations have been chopped down by the binder. p1 is torn with some loss to text and woodcut, tear to d8, expert repairs to d7 and K7, some soiling in gutters and margins.In a 17th century binding of full polished calf with blind roll and floral stamps on both sides, very worn with loss to the spine and the remains of the spine label but intact. Booklabel of Augustus Frederick, Duke of Sussex (1773-1843), the 6th son of George III, but not included in the sale of his library at Evans auction house. With stamp of John Brymer (1805-1870), 'Heirloom' no. 925.FIRST ILLUSTRATED EDITION, of great importance for the Renaissance interpretation of classical theatre. The woodcuts represent the work of at least two artists in Trechsel's employ and have been called "the high-watermark of book-illustration at Lyon in the XVth century" (Hind).HEAVILY ANNOTATED - the copy has remarkable evidence of readership with copious annotations in ink on the margins of most pages in several hands of different eras.As the book was not in the Duke of Sussex's posthumous sale we can assume that this book was given or lent during his lifetime later ending up in the collection of John Brymer. The Brymer family owned Islington House in Puddletown from 1861 until 1946. In the late 18th and early 19th centuries the house was let to General Thomas Garth, an equerry to George III who took it to be near the King when he came to Weymouth.It is believed that members of the Royal Family, including Princess Sophia and probably the Duke of Sussex, regularly stayed with Garth at Ilsington. [Garth is reputed to have had an affair with Princess Sophia and to have fathered an illegitimate son with her, Thomas Garth, whom Garth subsequently adopted and treated as his own].Our copy shows remarkable evidence of readership with numerous annotations in the margin on most pages in several hands of different eras.

ELIOT, T.S., 'THE WASTE LAND' first edition, printed and published by Leonard & Virginia Woolf at The Hogarth Press, Richmond, 1923, blue marbled paper covered boards, contained in custom green leather covered box with gilt tooled half titles, sold together with Eliot, Valerie (editor), 'The Waste Land. facsimile and transcript of the original drafts', published by Faber and Faber, 1972 reprint, gilt tooled green leather binding (2)Provenance: Le Brocq Collection, Jersey.Note: The Waste Land is widely regarded as one of the one important poems in the English Language, with allusions to the First World War, brokenness and loss are overriding themes. We are privileged to offer a first edition copy in this auction.Thomas Stearns Eliot OM (26 September 1888 - 4 January 1965) T.S. Eliot was an American-British poet, essayist, publisher, playwright, literary critic and editor. He is considered to be one of the 20th century's greatest poets, as well as a central figure in English-language Modernist poetry. His trials in language, writing style, and verse structure reinvigorated English poetry.The Hogarth Press The Hogarth Press, operated by Leonard & Virginia Woolf, is one of the iconic English art publishers and who printed works of many of the leading Avant Garde English authors of the early 20th Century. Printing was a hobby for the Woolfs, and it provided a diversion for Virginia when writing became too stressful. The couple bought a handpress in 1917 for £19 and learnt how to use it. The press was set up in the dining room of Hogarth House, where the Woolfs lived, lending its name to the publishing company they founded. In July they published their first text, a book with one story written by Leonard and the other written by Virginia. Between 1917 and 1946 the Press published 527 titles. It moved to Tavistock Square in 1924 and in 1946 the business was then acquired by Chatto & Windus.

ELIOT, T.S., 'POEMS' first edition, one of less than 250 copies, printed and published by Leonard & Virginia Woolf at The Hogarth Press, Richmond, 1919, marbled paper wrappers with cream title label, contained in red cloth solander box and slip case with gilt tooled half titlesProvenance: Le Brocq Collection, Jersey.Thomas Stearns Eliot OM (26 September 1888 - 4 January 1965)T.S. Eliot was an American-British poet, essayist, publisher, playwright, literary critic and editor. He is considered to be one of the 20th century's greatest poets, as well as a central figure in English-language Modernist poetry. His trials in language, writing style, and verse structure reinvigorated English poetry.The Hogarth Press The Hogarth Press, operated by Leonard & Virginia Woolf, is one of the iconic English art publishers and who printed works of many of the leading Avant Garde English authors of the early 20th Century. Printing was a hobby for the Woolfs, and it provided a diversion for Virginia when writing became too stressful. The couple bought a handpress in 1917 for £19 and learnt how to use it. The press was set up in the dining room of Hogarth House, where the Woolfs lived, lending its name to the publishing company they founded. In July they published their first text, a book with one story written by Leonard and the other written by Virginia. Between 1917 and 1946 the Press published 527 titles. It moved to Tavistock Square in 1924 and in 1946 the business was then acquired by Chatto & Windus.

Multi-Signed by 7 Test Pilots C F Roberts, G J Tomlinson, P Hopkins, D M S Simpson, A P S Jones, M H B Snelling and H E Frick FDC Hawker Siddeley HS 1182 First Flight 1995 Limited Edition 200 with FDI Postmark and Stamp. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

The Wisden Book of Cricket Records compiled and edited by Bill Frindall first edition hardback book. Published in 1981. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Seventy One Guns by David Tossell. The Year Of the First Arsenal Double. First Edition, Paperback book. Published by Mainstream Publishing of London. 239 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Continue To Pester, Nag and Bite Churchill's War Leadership by M Gilbert Softback Book 2004 First Edition published by Pimlico some ageing. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Big Skies Over Lincolnshire compiled by Peter and Pat Washbourn Hardback Book 2001 First Edition published by Breedon Books Publishing Co Ltd. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

The Dambusters Squadron Fifty Years of 617 Squadron RAF by Alan Cooper Softback Book 1993 First Edition published by Arms and Armour Press. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Gok Wan Signed Book Through Thick and Thin My Autobiography Hardback Book 2010 First Edition Signed by Gok Wan on the Title page published by Ebury Press (Ebury Publishing). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Joanna Trollope Signed Book A Castle In Italy Hardback Book 1993 First Edition Signed by Joanna Trollope on the Title page published by Transworld Publishers. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Josephine Cox Signed Book Looking Back Hardback Book 2000 First Edition Signed by Josephine Cox on the Title page published by Headline Book Publishing. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Dickens [Charles}: A Christmas Carol in Prose, A Ghost Story of Christmas, illus by John Leech, pub by Chapman and Hall, 186 The Strand, MDCCCXLIII, receipt from John Smith and Son (Glasgow) stating Third issue of first edition £8..8s, brown cloth binding.Both end and first pages new, pencil writing to one page at back, staining to several pages, throughout especially title page, stain to back cover, plates somewhat dirty, cover tatty and worn, losses to spine.

Dawkins [W. Boyd] : Cave Hunting, Researches on the Evidence of Caves Respecting the Early Inhabitants of Europe, 1874 first edition, 8vo, illustrated with coloured plates and woodcuts, pub. Macmillan and Co., red leather and marbled boards; Moors, Crags and Caves of The High Peak and Neighbourhood by Ernest A. Baker, with maps. (2)

Simpson [Robert]: History of Derby - A Collection of Fragments Illustrative of the History and Antiquities of Derby, 1826 first edition, two volumes with maps and plates, gilt tooled maroon half calf; The Victoria History of the Counties of England: A History of The County of Derbyshire, vol 1 edited by William Page, pub London: Archibald Constable & Co Ltd, 1905, with maps; History of The County of Derby by Stephen Glover, Vols I and II, 1829 and 1833, with maps, printed by Henry Mozley & Son. (5)

First edition ornament decorated with hundreds of crystal stones and a white satin ribbon. Swarovski backstamp. This item has its original box. Box measures: 4.75â€L x 4.75â€W x 4.75â€H. Issued: 2015Dimensions: 2.75â€W x 4â€HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.

STAR WARS: A NEW HOPEMylar One-Sheet (27" x 41"); AdvanceFine Rolled 20th Century Fox, 1977This is the first advance poster done for this franchise and was printed on reflective Mylar paper. It has what many called the old logo and was always stored rolled, as folding would ruin the poster. Due to the poster's fragile nature, fewer of these are known to exist today. Fox also printed a second edition of this poster, but it was not on Mylar paper, with the logo change.This mylar has some issues, including scattered crimping, creasing, and edge wear. There are also pinholes in each corner, plus two pin pulls in the upper and lower left corner and a small stain In the lower left border.George Lucas' ground-breaking space opera, which defied all expectations to change the film industry forever. Inspired by Flash Gordon serials, Westerns, samurai films and World War II movies, Lucas crafted a new, hugely popular mythology in "A galaxy far, far away," while setting a new standard for visual effects.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

STAR WARS: THE FIRST TEN YEARSHand Signed and Numbered Limited Edition Print (27" x 41")Mint Rolled; Artist Drew Struzan Killian Enterprises, 1987Offered here is a mint limited edition art print created for the ten year anniversary of Star Wars by famed poster icon Drew Struzan. The image has been hand-signed by Struzan and hand-numbered 222/3000 in pencil in the lower left area.The print is in mint condition, showing no signs of being used or displayed. It shows only the most minimal signs of handling.George Lucas' ground-breaking space opera defied all expectations to change the film industry forever. Inspired by Flash Gordon serials, Westerns, samurai films, and World War II movies, Lucas crafted a new, hugely popular mythology in "A galaxy far, far away" while setting a new standard for visual effects.This lot will be auctioned on Friday, December 8th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 7th.

ARISTIDE MAILLOL (1861-1944)La Nuit cachet du monogramme de l'artiste, cachet de la marque du Fondeur Alexis Rudier 'AR.' et numéroté '3/4' (sous les pieds)bronze à patine verteConçu en 1908stamped with the artist's monogram, stamped with the foundry mark Alexis Rudier 'AR.' and numbered '3/4' (under the feet)bronze with green patina Conceived in 190817.6 x 12.2 x 11.5 cm.6 15/16 x 4 13/16 x 4 1/2 in.Conçue en 1908, cette œuvre est tirée de la première édition sur 4 réalisée du vivant de l'artiste. Conceived in 1908, this work is from the first edition on 4 produced during the artist's lifetime.Footnotes:L'authenticité de cette oeuvre a été confirmée par Monsieur Olivier Lorquin. ProvenanceCollection particulière, France.Collection particulière, France (acquis auprès de celle-ci).BibliographieB. Lorquin, Aristide Maillol, Paris, 2002, un autre exemplaire illustré p. 66.For further information on this lot please visit Bonhams.com

ARISTIDE MAILLOL (1861-1944)La femme au crabe cachet du monogramme de l'artiste (sur la base); cachet de la marque du fondeur 'Alexis Rudier Fondeur Paris.' et numéroté '1/4' (sur la base)bronze à patine verte Conçu en 1930 stamped with the artist's monogram (on the base); stamped with the foundry mark 'Alexis Rudier Fondeur Paris.' and numbered '1/4' (on the base) bronze with green patinaConceived in 193017 x 14.2 x 12.2 cm. 6 11/16 x 5 9/16 x 4 13/16 in.Conçue en 1930, cette œuvre est tirée de la première édition sur 4 réalisée du vivant de l'artiste.Conceived in 1930, this work is from the first edition on 4 produced during the artist's lifetime.Footnotes:L'authenticité de cette œuvre a été confirmée par Monsieur Olivier Lorquin. ProvenanceCollection particulière, France.Collection particulière, France (acquis auprès de celle-ci).For further information on this lot please visit Bonhams.com

HOOKER, William Jackson (1785-1865). Pomona Londinensis, London, [1813]-18. Volume one only [all published], 4to, 49 exceptionally fine hand-coloured aquatint plates of fruit, contemporary half morocco (rubbed). FIRST EDITION.HOOKER, William Jackson (1785-1865).  Pomona Londinensis: Containing Colored [sic] Engravings of the Most Esteemed Fruits in the British Gardens with a Description of Each Variety. By William Hooker, F. H. S. Assisted in the Descriptive Part by the President and Members and Sanctioned by the Patronage of the Horticultural Society of London. London: "Published by the Author ... And sold by J. Harding ... J. and A. Arch ... and Rodwell and Martin," [1813-]18. Volume One only [all published], 4to (332 x 250mm). 49 exceptionally fine hand-coloured aquatint plates of fruit by William Jackson Hooker (some light spotting and staining to the text, some mainly marginal very light spotting and staining to the plates). Contemporary half morocco, top edges gilt, others uncut (lacking the top compartment of the spine, heavily rubbed and scuffed, inner hinges broken). Provenance: "From Sir Thomas Branston to his much esteemed friend Mrs William Shuttleworth as a small token of his affection & regard, Liverpool, 4th August 1848" (inscription on front free endpaper). FIRST EDITION of this work of which only the first seven parts were published between 1813 and 1818. "In 1827 Hooker became editor of Curtis's Botanical Magazine, where several of his illustrations appeared, and in 1841 he became the first director of the Royal Botanic Gardens at Kew. As director of Kew Gardens, Hooker's first moves were to open the gardens to the public and to establish an arboretum, museum and library. More greenhouses were added and the magnificent Palm House was completed [under his direction] in 1848" (Jack Kramer, The Art of Flowers, New York, 2002, p.154). It is not known why the present work was abandoned, and, despite the ravishing beauty of its plates, it is not listed among his works in DNB. Brunet II, 626; Dunthorne 139: "... among the best of all fruit prints"; Nissen BBI 913; Raphael An Oak Spring Pomona 42: "... no more parts were published after the end of Volume I, which described thirteen apples, eight pears, seven plums, five peaches, four nectarines, four cherries, and one or two examples of several other fruits"; Sitwell Great Flower Books 1700-1900 p.60. 

LOUDON, Jane Webb (1807-58). The Ladies' Flower-Garden of Ornamental Annuals, London, [1849], 4to, 50 fine hand-coloured lithographed botanical plates by Loudon (some spotting and staining), contemporary green half morocco (worn). Second edition.LOUDON, Jane Webb (1807-58).  The Ladies' Flower-Garden of Ornamental Annuals ... Second Edition. London: William S. Orr and Co., [n.d. but preface dated 1849]. 4to (288 x 232mm). Half title, 50 fine hand-coloured lithographed botanical plates by Jane Webb Loudon (some plates bound out of sequence but all present, some light spotting and staining but plates generally clean). Contemporary green half morocco gilt, marbled endpapers, gilt edges (worn, heavily rubbed and scuffed, lettering-pieces torn with loss). Provenance: James [?]Jerman, [?]Exon (pencil signature on front free endpaper). "The copyright having passed into other hands, the present and second edition of this important work is now issued. In it much new and valuable matter has been incorporated, the vast amount of general knowledge lately accumulated has been carefully collated and added to its pages, former errors have been corrected, and, as it is hoped, an accurate and extensive view of the state of botanical science is presented to the public" (from the author's preface). The second edition also had two additional plates which did not appear in the first, which was published in [?]1840. Loudon wrote other works in the same series on perennials, bulbous, and greenhouse plants. A little known, and completely irrelevant fact, about the author is that she was also a pioneer of the science fiction genre: her first published prose work, before she turned to botany and horticulture, was The Mummy!: Or, A Tale of the Twenty-Second Century (London, 1827), the first story in the English-language to feature a reanimated Egyptian mummy. See Kramer Women of Flowers pp.120-8; cf. Nissen BBI 1234; Pritzel 5632; Sitwell Great Flower Books 1700-1900 115.

JAMES, Henry (1843-1916). The Europeans, London, 1878, 2 vols. bound in one, original buckram gilt. FIRST EDITION. With the same author's Confidence (London, 1883, original cloth, FIRST EDITION). (2)JAMES, Henry (1843-1916).  The Europeans. A Sketch. London: Macmillan and Co., 1878. 2 volumes bound in one, 8vo (188 x 125mm). Half titles (variable mainly marginal spotting and staining throughout). Original dark grey/blue buckram decorated in gilt and blind (corners bumped, some light scuffing). FIRST EDITION, with "[CH. IV]" at the head of pp.177-191 in the first volume. Edel & Laurence A7a. The novel first appeared serialised in "The Atlantic Monthly" between July and October 1878. The author significantly revised it before its present first appearance in book form, published one month before the first American edition. With the same author's Confidence (London, 1883, 8vo, some leaves detached, original cloth, FIRST EDITION). (2)

NIELSEN, Kay (1886-1957, illustrator) - East of the Sun and West of the Moon, New York, [1922], 4to, 25 mounted coloured plates by Kay Nielsen, original yellow buckram, dust-jacket. A FINE COPY OF THE FIRST AMERICAN EDITION IN THIS FORMAT.NIELSEN, Kay (1886-1957, illustrator) - East of the Sun and West of the Moon. Old Tales from the North. New York: George H. Doran Company, [1922]. 4to (228 x 160mm). Mounted coloured frontispiece, title with illustration, 24 mounted coloured plates by Kay Nielsen, illustrations, typographical ornaments at the head and foot of text throughout (one very short closed tear to mount of one plate, not affecting image). Original sunflower yellow buckram lettered in red, pictorial endpapers printed in orange, dust-jacket printed and illustrated in red (some very light rubbing to edges of dust-jacket). The mounted coloured frontispiece is not included in the list of plates. The tales were collected by Peter Cristen Asbjornsen and Jorgan Moe. Dalby The Golden Age of Children's Book Illustration p.90: "... by general consent, Nielsen's most spectacular and celebrated book." A FINE COPY OF THE FIRST AMERICAN EDITION THUS, in an exceptional dust-jacket: it was preceded by a larger format limited edition in 1914, signed by the artist.

THE VINE PRESS, STEYNING - [Victor NEUBURG (1883-1940)]. Swift Wings. Songs in Sussex, Steyning, 1921, large 8vo, 2 hand-coloured woodcut illustrations, original pictorial boards. FIRST EDITION, ONE OF 38 OF 40 "DE-LUXE" COPIES ON HAND-MADE PAPER.THE VINE PRESS, STEYNING - [Victor Benjamin NEUBURG (1883-1940)].  Swift Wings. Songs in Sussex. Steyning: The Vine Press, 1921. Large 8vo (228 x 152mm). Half title, title printed in red and black with hand-coloured woodcut illustration, woodcut initials, colophon printed in red with hand-coloured woodcut illustration. Original brown pebbled cloth-backed coloured pictorial paper boards designed by Beatrice Linda Stanbrough, spine with original printed label, uncut and unopened, with a spare spine label lettered in gilt inserted at the end (lightly stained, corners bumped and rubbed). FIRST EDITION, LIMITED TO 590 COPIES, THIS NUMBER 38 OF 40 "DE-LUXE" COPIES ON HAND-MADE PAPER. RARE.

KING, Jessie Marion (1875-1949, illustrator) - The High History of the Holy Graal, London, 1903, large 8vo, 23 plates, original blue pictorial cloth gilt. With Christina Rossetti's Poems (London, [1910], 4to, 36 plates by Florence Harrison, buckram). (2)KING, Jessie Marion (1875-1949, illustrator) - The High History of the Holy Graal. Translated from the Old French by Sebastian Evans. London: J. M. Dent & Co., 1903. Large 8vo (220 x 150mm). Frontispiece and 22 plates by Jessie M. King, some printed in red and black, title printed in red and black, ornaments (some very light spotting and staining to frontispiece and title). Original blue pictorial cloth gilt by Jessie M. King, top edges gilt, others uncut (endpapers spotted, lightly rubbed, inner hinges weak, without a dust-jacket). Provenance: "Beaucaire with love from Sebastian Evans" (old inscription on front free endpaper). FIRST TRADE EDITION of the first book illustrated by Jessie M. King. With Christina Rossetti's Poems ... Introduction by Alice Meynell (London, [1910], 4to, 36 mounted coloured plates by Florence Harrison, original cream pictorial buckram gilt, without a dust-jacket, first trade edition thus, A FINE COPY). (2)

ACTON, Harold (1904-94). Peonies and Ponies. A Novel, London, 1951, 8vo, original red cloth, yellow dust-jacket printed in red and black. FIRST EDITION. Ritchie A11a.ACTON, Harold (1904-94).  Peonies and Ponies. A Novel. London: Chatto & Windus, 1941. 8vo (187 x 125mm). Half title (some very light spotting and staining). Original red cloth, cloth spine label lettered in gilt, yellow dust-jacket printed in red and black with price of 8s. unclipped (the jacket with some very minor fraying at corners, the backstrip a little faded). A FINE COPY OF THE FIRST EDITION of this novel set in Peking of which 1,250 copies were printed. The author is perhaps chiefly remembered today as one of the so-called "Bright Young Things" of the 1920s, immortalised in the character of Anthony Blanche in Evelyn Waugh's Brideshead Revisited (1945). Ritchie Harold Acton. A Bibliography A11a.

RODKER, John (1894-1955). Hymns, London, The Ovid Press, 1920, 8vo, ornaments by E. Wadsworth, buckram. ONE OF 20 COPIES SIGNED BY THE AUTHOR. With B. C. Windeler's Elimus (Paris, Three Mountains Press, 1923, 8vo, boards, NUMBER 97 OF 300 COPIES).RODKER, John (1894-1955).  Hymns. [London:] The Ovid Press, 1920. Large 8vo (250 x 155mm). Half title, title with yellow publisher's motif, initials and ornaments by Edward Wadsworth. Original tan and orange buckram with printed label mounted on upper cover (some very light staining). FIRST EDITION. LIMITED TO 190 COPIES, THIS NUMBER 29 OF 20 COPIES SIGNED BY THE AUTHOR. Cloud John Rodker's Ovid Press: A Bibliographical History p.85. John Rodker founded the Ovid Press in 1919 and ran it until its closure in 1922. In its short life it produced only 17 books but published several authors who were central to the modernist movement, including T. S. Eliot, James Joyce, Wyndham Lewis and Ezra Pound. With B. C. Windeler's Elimus: A Story (Paris, Printed at the Three Mountains Press, 1923, large 8vo, 12 woodcut illustrations, some full-page, by D. Shakespear [sic], original red buckram-backed printed paper boards, FIRST EDITION, NUMBER 97 OF 300 COPIES "ON RIVES HAND-MADE PAPER", the front pastedown inscribed, "à Wadsworth [illegible word] 1916, P.O.B.W."). (2)

GUICCIARDINI, Lodovico (1521-89). Commentarii ... Delle cose piu memorabili seguite in Europa: specialmente in questi paesi bassi, Venice, 1565, 4to, contemporary limp vellum. FIRST EDITION.GUICCIARDINI, Lodovico (1521-89).  Commentarii ... Delle cose più memorabili seguite in Europa: specialmente in questi paesi bassi; dalla pace di Cambriai, del M.D.XXIX. infino à tutto l' Anno M. D. LX. Libri Tre. Venice: Appresso Nicolò Beuilacqua, 1565. 4to (206 x 152mm). Large woodcut printer's device on title and repeated on the verso of the final leaf, ornament at head of the dedication and at the end of "Libro Primo", 4 large historiated woodcut initials (B2 with closed tear and very small marginal hole, small part of blank corner of I4 torn away without loss of text, some passages lightly browned). Contemporary limp vellum (vestiges of silk ties). Provenance: title and shelf numbers in old manuscript on the spine and front free endpaper. FIRST EDITION of this rare chronicle of the Netherlands. Adams G1534; not in Brunet or Gamba.

MACKAY, Robert William (1803-82). The Progress of the Intellect, as Exemplified in the Religious Development of the Greeks and the Hebrews, London, 1850, 8vo, contemporary half vellum gilt. FIRST EDITION. Please see provenance notes below. (2)MACKAY, Robert William (1803-82).  The Progress of the Intellect, as Exemplified in the Religious Development of the Greeks and the Hebrews. London: John Chapman, 1850. 2 volumes, 8vo (214 x 135mm). Very attractively bound in contemporary half vellum gilt, the spine elaborately decorated in gilt with red and green morocco lettering-pieces, marbled edges. Provenance: "Lovelace, Sept. 1857" (signature on title); CHARLES WHEATSTONE (signed contemporary slip inserted at the front of the first volume); "Library, Ben Damph Forest" (library stamp of the Earls of Lovelace on the front free endpaper and coat-of-arms stamped in gilt at the foot of the spines). Also inserted at the front is a one-page autograph letter, in the original envelope, to Lady [ADA] LOVELACE from Charles Wheatstone, dated [18]47, stating, "Dear Lady Lovelace, I give myself the pleasure of accepting your kind invitation for Thursday next, Yours very truly, C. Wheatstone." Augusta Ada Lovelace, Countess of Lovelace (1815-52), was a renowned English mathematician and innovator in computer science. She was also the only legitimate child of Lord and Lady Byron. Sir Charles Wheatstone (1802-75) was an important scientist and inventor. See his extensive entry in DNB (which chooses to omit Ada Lovelace). FIRST EDITION of this controversial work whose author was renowned as a philosopher, chiefly on religious matters, and a free-thinking secularist. It would have found a sympathetic readership in Ada Lovelace, with whose family this copy is clearly connected, and Charles Wheatstone, but it was by no means met with universal approval, as evidenced by this scathing contemporary review by John Relly Beard, a Unitarian minister and theologian, which appeared in The British Quarterly Review in 1850: "The author ... surpassing the magicians of Egypt in dexterity, has not only imitated Divine deeds, but gone far to supersede the necessity of a creative power. Only give him his law of development, and he will transform you a crab into a monkey, and then make the monkey into a man ..." It is interesting to note that this review appeared almost a decade before the first publication of Charles Darwin's magnum opus. In January 1851, the work was also the subject of the first contribution to The Westminster Review - a radical publication Mackay actively supported - by George Eliot, a writer who finds herself rather more in sympathy with some of the book's more controversial themes, and in which, she claimed: "... we find passages of pre-eminent beauty - gems into which are absorbed the finest rays of intelligence and feeling. We believe Mr. Mackay's work is unique in its kind ..." (2)

SETON-WATSON, Robert (1879-1951). Britain and the Dictators, Cambridge, 1938, 8vo, buckram. FIRST EDITION, PRESENTATION COPY, A HIGHLY IMPORTANT COPY, ANNOTATED AND HIGHLIGHTED IN PENCIL BY ANTHONY EDEN THROUGHOUT. With another by the same author. (2)SETON-WATSON, Robert William (1879-1951).  Britain and the Dictators. A Survey of Post-War British Policy. Cambridge: At the University Press, 1938. 8vo (217 x 140mm). Half title. Original blue buckram, spine lettered, ruled and decorated in gilt (spine faded, without the dust-jacket). Provenance: ANTHONY EDEN (1897-1977), 1st Earl of Avon (modern armorial bookplate loosely-inserted). FIRST EDITION, PRESENTATION COPY, A HIGHLY IMPORTANT COPY, ANNOTATED AND COPIOUSLY HIGHLIGHTED IN PENCIL BY ANTHONY EDEN THROUGHOUT, with a one-page letter pasted onto the front free endpaper from the author to Anthony Eden, dated 6 May, 1938, stating, "Dear Mr Eden, It was very kind of you to write as you did about my book on foreign policy [Eden's copy of which is included in the lot], & I greatly appreciated it. I am now venturing to send you a postwar sequel - Britain and the Dictators - and hope very much that you will find it in accord with the broad lines of your policy, for it was written in response to your appeal to 'think deeply', and intended as a student's modest endorsement of the aims which I believed the Government to be pursuing. Two days after I wrote the closing pages, you resigned, but I could find no reason for modifying what I had written: and I am greatly encouraged by reading your speech of yesterday, in which you say that you have not modified your views, in spite of all that has happened. Believe me, Yours sincerely, R. W. Seton-Watson." Anthony Eden's annotations include, on p.82 (the context unclear): "I had to fight hard to secure this result. I believe it to be my chief claim to have contributed something to peace"; on p.221 (commenting on the printed passage 'Herr Hitler, speaking at Munich, said that the German boundaries had always fluctuated and would continue to change until all German peoples were united' and Hitler's doctrine of 'Volkstum'): "I wrote a memo to the Cabinet on this subject. It was much criticised"; on p.352 (in ink (very unusually), the context unclear): "I opposed this many times in vain. See F.O. minutes"; on p.393 (commenting on a speech delivered by Eden in the House of Commons on 1st November 1937 which had included the line 'We are not prepared to stand and deliver at any one's call ... We offer co-operation to all, but will accept dictation from none'): "This is the speech that N.C. [i.e. Neville Chamberlain] disliked so much!". The book also includes a loosely-inserted sheet of writing-paper (headed "Skilts, Redditch") heavily annotated by Eden almost entirely in pencil, on both sides, including the observation: "If the argument is we cannot do under democracy what totalitarianism states do - I disagree - We can but it requires national [?]unity in policy ...", with a note written in ink stating: "The whole meaning of our confidence in freedom is that we can do better." With the same author's Britain in Europe 1789-1914. A Survey of Foreign Policy (Cambridge, 1937, large 8vo, original cloth, without the dust-jacket, with Anthony Eden's old armorial bookplate, and SIGNED in pencil by Anthony Eden on the front free endpaper, with his occasional annotation and highlighting, and with a single sheet loosely-inserted, annotated on both sides). As a long-established supporter of the cause of Czechoslovakia as a free and independent state, Robert Seton-Watson was a committed opponent to Chamberlain's policy of appeasement and Britain and the Dictators contains his impassioned plea against it. In Eden he found a firm ally. (2)

[HAZLITT, William (1778-1830)]. Liber Amoris; Or, the New Pygmalion, London, 1823, 12mo, engraved title with portrait (some very light staining), contemporary red half morocco. FIRST EDITION. Provenance: ANTHONY EDEN (1897-1977, 1st Earl of Avon).[HAZLITT, William (1778-1830)].  Liber Amoris; Or, the New Pygmalion. London: "Printed for John Hunt ... by C. H. Reynell," 1823. 12mo (172 x 195mm). Engraved title with a small oval portrait of Sarah Walker (some very light mainly marginal staining and spotting, the year of publication in the imprint partly cropped). Contemporary red half morocco gilt (extremities rubbed, head of spine torn). Provenance: ANTHONY EDEN (1897-1977, 1st Earl of Avon); Samuel Sanders (old signature to front pastedown). FIRST EDITION of this impassioned - some might say 'unhinged' - autobiographical work which was, for obvious reasons, published anonymously. Indeed, the "Advertisement" at the beginning claims that the author has died prior to the book's publication "... of disappointment preying on a sickly frame and morbid state of mind." Following an estrangement from his first wife, Hazlitt took lodgings in Chancery Lane where he developed an obsessive passion for his landlord's daughter, Sarah Walker, which "almost verged upon madness" (DNB). Having obtained a divorce from his wife, Hazlitt became convinced " ... that Miss Walker had been all along deceiving him, and preferred a younger lover. He put together the strange book 'Liber Amoris' ... The mask of anonymity was transparent to all the persons concerned, especially as he poured out his grievances to any one who would listen. De Quincey charitably calls the book an 'explosion of frenzy', necessary to 'empty his overburdened spirit.'" (DNB) "... the intensity of his sufferings is obvious through all the absurdities of the Liber Amoris ... At the beginning of 1823 [Hazlitt] was still reluctant to publish [it] but the girl was still burdening his mind, and his biographer suggests the publication was finally decided upon in order to 'burn her out of his thoughts'" (from Keynes' introduction to Hazlitt's Selected Essays (London, Nonesuch Press, 1946). Keynes 67.

BLIGH, William (1754-1817). A Voyage to the South Sea ... in his Majesty's Ship The Bounty ... Including an Account of the Mutiny, London, 1792, 4to, 7 plates and charts, contemporary or original paper-backed boards. FIRST EDITION.BLIGH, William (1754-1817).  A Voyage to the South Sea, Undertaken by Command of His Majesty, for the Purpose of Conveying the Bread-Fruit Tree to the West Indies, in his Majesty's Ship The Bounty, commanded by Lieutenant William Bligh. Including an Account of the Mutiny on Board the said Ship, and the Subsequent Voyage of part of the Crew, in the Ship's Boat, from Tofoa, one of the Friendly Islands, to Timor, a Dutch Settlement in the East Indies. London: Printed for George Nicol, 1792. 4to (317 x 250mm). Oval portrait frontispiece of William Bligh engraved by J. Condé after John Russell, 7 engraved plates and charts, 5 of which folding, with the printed account of the mutiny ("Chap. XIII. A Mutiny in the Ship") commencing at p.154 (frontispiece lightly browned, some heavier staining at upper margins of the first few text leaves and occasionally others, not affecting letters, some mainly marginal spotting and staining, a few darker spots). Contemporary or probably original publisher's paper-backed blue paper boards, uncut and partly unopened (parts torn away from the spine resulting in the loss of most of the old manuscript title, corners rubbed and bumped, some light staining). The plates and charts are titled as follows, with the wording often at variance with the wording on the list, and bound in the following order and not in the same order as the list: 1) "Sections of the Bread Fruit"; 2) "Sketch from recollections and anchor-bearings of the North Part of Otaheite from Point Venus to Taowne Harbour ... by William Bligh", with his facsimile signature (folding); 3) A Copy of the Draught from which the Bounty's Launch was built" (folding); 4) "Chart of Bligh's Islands", incorporating smaller inset "Chart of the Northern Part of the New-Hebrides ..." (folding); 5) "NE Coast of New Holland"; 6) "Track of the Bounty's Launch from Tofoa to Timor" (folding, bound in upside-down); and 7) "Plan & Section of part of the Bounty Armed Transport, shewing the manner of fitting and stowing the Potts, for receiving the Bread-fruit plants" (folding). Provenance: Holbrook Gaskell (19th-century signature on front pastedown). Holbrook Gaskell (1813-1909) was a British industrialist and an art and plant collector. He was the cousin of the Unitarian minister William Gaskell, husband of the eminent novelist Elizabeth Gaskell (1810-65), commonly referred to as "Mrs Gaskell". FIRST EDITION of this account of the first Bounty expedition and the mutiny in its entirety and "... one of the most heroic sea voyages ever made ..." including "...  a slightly revised version of the text of Bligh's narrative of the mutiny, previously published at London in 1790 ..." (Hill). The author's own printed "Advertisement" at the beginning of the book describes how the work took on its present form in order to incorporate the account of the now infamous mutiny: "At the time I published the Narrative of the Mutiny on Board the Bounty, it was my intention that the preceding part of the Voyage should be contained in a separate account. This method I have since been induced to alter ...". Brunet I, 364; Cox II, 305; Du Rietz 93; Ferguson 125; Kroepelien Bibilotheca Polynesiana 93; Hill 135; Mendelssohn II, 7; Sabin 5910; Wantrup 62a.

HAY, Robert (1799-1863). Illustrations of Cairo, London, 1840, folio, additional lithographed title, 30 lithographed views on 29 plates (one plate heavily spotted, some other spotting and staining), contemporary roan-backed boards (worn). FIRST EDITION.HAY, Robert (1799-1863).  Illustrations of Cairo ... Drawn on Stone by J. C. Bourne, under the Superintendence of Owen B. Carter, Architect. London: Printed by Tilt and Bogue, 1840. Folio (545 x 380mm). Additional tinted lithographed decorative title, lithographed dedication from the author to Edward William Lane, and 30 tinted lithographed views of Cairo on 29 plates after Robert Hay, Owen B. Carter and C. Laver (one plate heavily spotted, mainly light and marginal spotting and staining throughout). Contemporary roan-backed blue cloth boards lettered and ruled in gilt (worn and stained, inner hinges split, joints heavily rubbed). FIRST EDITION. The author was "... a pioneer of Egyptian exploration ... In 1840 [he] published a folio volume of 'Illustrations of Cairo', lithographed by J. C. Bourne from drawings by O. B. Carter and others. Some of the original drawings for this work are in the print room at the British Museum" (DNB). Abbey Travel 270; Blackmer 794; Gay 2497; not in Brunet.

LEWIS, C. S. (1898-1963). The Silver Chair, London, 1950, 8vo, frontispiece and illustrations by Pauline Baynes, original cloth, green dust-jacket (torn without significant loss). THE FIRST EDITION OF THE FOURTH "NARNIA" NOVEL. RARE.LEWIS, C. S. (1898-1963).  The Silver Chair. London: Geoffrey Bles, 1953. 8vo (198 x 135mm). Half title, monochrome frontispiece and illustrations by Pauline Baynes. Original dark blue cloth, the spine lettered in silk, map endpapers (front free endpaper with lightly browned strip, as usual), green dust-jacket with an oval illustration on the upper wrapper by Pauline Baynes and a smaller illustration on the backstrip with the price of 10s.6d. unclipped and with the rear turn-in blank except for the tiny printed code "APT/A529" at the foot (a few tears without significant loss including one across the backstrip, adhesive tape repairs to the verso of the wrapper with their browning slightly showing through to the front). THE FIRST EDITION OF THE FOURTH OF THE SEVEN "CHRONICLES OF NARNIA" NOVELS. Internally, the book is in remarkably clean and fresh condition, as is the cloth binding. RARE.

WELLS, H. G. (1866-1946). The Invisible Man, London, 1897, 8vo, half title, original red pictorial cloth gilt (inner hinges weak, stained). FIRST EDITION, first issue. RARE.WELLS, H. G. (1866-1946).   The Invisible Man. A Grotesque Romance. London: C. Arthur Pearson Limited, 1897. 8vo (185 x 125mm). Half title, title printed in orange and black, 2-pages of publisher's advertisements at the end (lightly browned mainly at margins throughout, some light spotting and staining). Original red pictorial cloth lettered in gilt (spine faded, some staining, head and foot of spine frayed, inner hinges weak). Provenance: Alan Johnston (modern signature on front free endpaper); A. Cynthia Pearce, Feb. 13th 1904 (signature, scored through, on half title). FIRST EDITION, first issue, with the first page of Chapter I numbered "2". The story was originally serialised in Pearson's Weekly. Currey p.520; Hammond B4; The Oxford Companion to English Literature (ed. Drabble, 1985): "... As a novelist, [Wells] is perhaps best remembered for his scientific romances, among the earliest products of the new genre of science fiction ..."; Wells Society 11. RARE.

FARJEON, Eleanor (1881-1965). Mrs Malone. London: Oxford University Press, 1962, 12mo, illustrations by Edward Ardizzone, original pictorial boards, dust-jacket, SIGNED BY THE AUTHOR AND ILLUSTRATOR. With 2 other illustrated books. (3)FARJEON, Eleanor (1881-1965) & Edward ARDIZZONE (1900-79, illustrator).  Mrs Malone. London: Oxford University Press, 1962. 12mo (140 x 110mm). Half title, illustrations by Edward Ardizzone. Original coloured pictorial paper boards, orange endpapers, dust-jacket with price unclipped (backstrip of jacket rubbed). A FINE COPY, SIGNED BY THE AUTHOR AND ILLUSTRATOR ON THE TITLE PAGE. The work was first published by Michael Joseph in 1950 with illustrations by David Knight. This is the first edition to include the illustrations by Ardizzone, "... one of the most talented of English illustrators ..." (John Lewis, The 20th Century Book (1967)). With 2 other books, namely Edward Ardizzone's The Young Ardizzone. An Autobiographical Fragment (London, 1970, tall 8vo, original green cloth, dust-jacket, FIRST EDITION, SIGNED BY THE ARTIST on the front free endpaper), and Alan Garner's The Stone Book (London, 1976, 8vo, illustrations by Michael Foreman, original cloth, dust-jacket, FIRST EDITION, PRESENTATION COPY, the title inscribed by the author, "For Elaine, Alan Garner", and further SIGNED on the title by the illustrator Michael Foreman). Provenance: Elaine Moss (1924-2020). Please see lot 607 for a biographical note on Elaine Moss. (3)