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Stewart (J.I.M.). A Staircase in Surrey: The Gaudy; Young Pattullo; A Memorial Service; The Madonna of the Astrolabe; Full Term, 5 volumes, 1st editions (except fourth title 2nd impression), Gollancz, 1974-78, small hole to half-title of second book with loss of three letters to verso, first volume inscribed by the author for Richard Adams to half-title, the other four books signed by the author to full-title with his own printed name struck through, bookplate of Richard Adams to all front pastedowns, original cloth in dust jackets, closed tear to lower panel of first book, a little wear at foot of dust jacket spine to second book and some fading to spines of last two books, together with Byatt (A.S.), Still Life, 2nd impression, 1985, author's presentation inscription to Adams inscribed to title, 'Richard, with very best wishes and considerable gratitude. Vive la Nature Morte! Antonia, April 27th 1989', original cloth in dust jacket, plus Lively (Penelope), City of the Mind, 1st edition, 1991, signed by author to title, original cloth in dust jacket, all 8vo, plus other mostly modern British hardback fiction in dust jackets, authors including P.D. James, Ursula Le Guin, John Braine, Barbara Vine, Anita Brookner, Kingsley Amis, etc. (130)

Dickens (Charles). Sketches by Boz Illustrative of Every-day Life, and Every-day People, New Edition, Complete, Chapman and Hall, 1839, first issue, with no comma after 'illustrations' on title-page and imprint address '186, Strand', raised commas on page 429, and page 515 numbered, half-title discarded, eighty etched plates by George Cruikshank, comprising forty uncoloured and forty hand-coloured, including additional title, uncoloured plates with marginal toning, original hand-coloured front wrapper for part X dated 1837 laid down and bound in at front, marbled endpapers, bookplate of Richard Adams, and book ticket of Blatner, hinges split, all edges gilt, late 19th century scarlet morocco by Mansell, with his ink stamp on verso of front free endpaper, extremities rubbed in places, raised bands between gilt single rules, gilt lettered direct in second and third compartments, remainder with gilt fleuron tool, covers gilt panelled, dotted roll on edges, fillets on turn-ins, 8vo Gimbel A7, listing this and a later issue : 'This issue in one volume may not derive from a new impression of the edition. Not only do the gatherings follow the structure of serial issue, but the copy shows all the minor errors of typesetting as in the preceding impression.' Attractive copy, with the plates in two states. (1)

Dickens (Charles). Master Humphrey's Clock, 2 volumes, 1st edition, Chapman and Hall, 1840-1841, frontispieces and numerous wood engraved vignettes by George Cattermole & Hablot K. Browne, some spotting (mostly to first and final leaves), upper hinges split, front pastedowns with contemporary armorial bookplate of Richard Shuttleworth Streatfield, sprinkled edges, contemporary half calf with gilt decorated spines, rubbed, head of spines frayed with slight loss, large 8vo, together with Little Dorrit, 1st edition, Bradbury and Evans, 1857, 40 etched plates, including frontispiece and additional title-page, plates spotted and toned, and some with marginal water-staining, lower outer corner of C6 reattached with archive tape, hinges split, early 20th century black morocco, marked, extremities worn, with loss to spine ends and corners showing, 8vo, plus nine others by Dickens, first and early editions, some defective (12)

Clare (John). Poems Descriptive of Rural Life and Scenery, 1st edition, printed for Taylor and Hessey, 1820, half-title, errata slip, and 10 pages publisher's catalogue present, first and final letterpress leaf and endpapers spotted, bookplate of Richard Adams, and book ticket bearing initials 'AHA', untrimmed, original boards, very slightly rubbed and mottled in places, printed paper spine label, large 12mo, housed in a cloth folder in a brown quarter morocco slipcase, raised bands, gilt lettered direct in second and fourth compartments and at foot Hayward 236. Tinker 636. An exceptionally good copy of the first edition of John Clare's scarce first book, in the original publisher's binding, complete with half-title, errata and advertisements. Born in 1793, the son of humble and almost illiterate parents, Clare grew up in the Northamptonshire village of Helpston. His formal education, such as it was, ended when he was eleven years old, but Clare had a thirst for knowledge and began writing poetry when he was thirteen. Although his poetical gift was considered inexplicable even to himself, he was astonishingly prolific. Like Roberts Burns, with whom he has been compared, Clare was profoundly influenced by his surroundings, and his poetry is enriched by the use of his native Northamptonshire vernacular. Sadly, despite his early success, he died ill and in debt in a lunatic asylum in 1864. As a poet of rural England he has few rivals. (1)

Bronte (Charlotte, Emily & Anne). Poems, by Currer, Ellis, and Acton Bell, 1st edition, 2nd issue, Smith, Elder and Co., 1846 [1848], title-page with contemporary initials and date to upper outer corner, single publisher's advertisement leaf at rear, no errata slip, some splitting and minor staining to hinges, bookplate of Richard Adams, and armorial bookplate of William Marchbank, early ownership signature on front free endpaper, rough-trimmed, original blind-stamped olive green cloth, spine faded and slightly frayed at ends, light marginal stain on lower cover, 8vo Hayward 266. Parrish pages 82-85. Smith 1. Tinker 378. Wise 2. The Bronte sisters' first venture into print was a failure, selling only a few copies of the 1,000 printed when it was first published by Aylott and Jones in 1846. Several copies were distributed by the Brontes to friends, but the balance of 961 copies was tranferred to Smith, Elder and Co., who, after the success of Charlotte Bronte's 'Jane Eyre', reissued the volume in October 1848 with a cancel title-page. (1)

Kingsley (Charles). The Heroes: or, Greek Fairy Tales for My Children, 1st edition, Cambridge: Macmillan, 1856 [1855], eight engraved plates, half-title present, some light spotting to first few leaves, green endpapers, bookplate of Richard Adams, and armorial bookplate of Glenconner, hinges split, all edges gilt, contemporary tan polished calf by F. Bedford, with ink stamp on verso of front free endpaper, lightly rubbed in places, gilt rope roll decorated raised bands, gilt lettered green morocco label in second compartment, remainder with central flowers in urn tool, surrounded by dots and stars, and with volute cornerpieces, covers with gilt triple fillet border, double fillets on edges, pelmet roll on turn-ins, 8vo Attractive copy, once part of the Tennant family library. (1)

Wordsworth (William). Poems, in Two Volumes, 2 volumes in one, 1st edition, printed for Longman et al, 1807, half-titles present, erratum leaf at end of volume 1, B2 in volume 2 a cancel as usual, but D11 and D12 in volume 1 uncancelled, page 98 in volume 2 with "Thy fnuction", some spotting and marks, two blank leaves excised at rear, bookplate of Richard Adams, early ownership name on verso of front free endpaper and facing preliminary blank, red sprinkled edges, near contemporary brown half calf gilt, lower joint splitting, drab paper sidings somewhat dusty and marked, large 12mo Tinker 2334. Wise 8. Only 500 copies printed. Much of Wordsworth's most memorable verse is first printed in this collection, including 'I wandered lonely as a cloud'. (1)

Grahame (Kenneth). The Wind in the Willows, 1st edition, Methuen, 1908, frontispiece by Graham Robertson, half-title with contemporary inscription at head (and small ink blot), hinge split between preliminary blank and half-title (former a little torn at head and becoming detached), endpapers toned and spotted, bookplate of Richard Adams, and ticket of Henry Sotheran, top edges gilt, remainder untrimmed, original gilt decorated blue-green cloth, spine with gilt dulled and slight fraying to ends, light mark on lower cover, corners rubbed, 8vo, housed in a velvet-lined blue cloth solander box Watership Down has been called the best story about wild animals since 'The Wind in the Willows', and although very different, both masterpieces take their place as classics of anthropomorphic writing. Richard Adams used a quotation from 'The Wind in the Willows' at the beginning of Chapter 33 in 'Watership Down', entitled 'The Great River': "Never in his life had he seen a river before - this sleek, sinuous, full-bodied animal... All was a-shake and a-shiver - glints and gleams and sparkles, rustle and swirl, chatter and bubble." In his autobiography The Day Gone By, Adams draws parallels between Mole's response to the river, and his own, when taken to see a river for the first time as a small boy: "The reaction of a simple creature - or a child - on first seeing a true river has already been unforgettably expressed by Kenneth Grahame... I certainly felt everything that the Mole felt and was carried away with delight as I held my father's hand across the plank bridge." (Richard Adams, The Day Gone By, An Autobiography, 1990, page 60). Adams compared himself to Grahame in an interview, when considering the relative lack of success of his subsequent works: "I'm not the only man who has - I wouldn't say suffered - Kenneth Grahame wrote plenty of other things but they're under the shadow of The Wind in the Willows" (The Telegraph, 8th November 2014). (1)

Walton (Isaak & Cotton, Charles). The Compleat Angler or the Contemplative Man's Recreation. Part. I. Being a Discourse of Rivers, Fish-ponds, Fish, and Fishing. The Fifth Edition, much corrected and enlarged, printed for Richard Marriot, 1676, title-page with decorative engraved cartouche (lightly toned and marked, and close-trimmed to imprint), without general title, letterpress engravings, R1 supplied from another copy, bound with The Compleat Angler, Being Instructions how to angle for a Trout or Grayling in a clear Stream. Part. II., 1st edition, printed for Richard Marriott, 1676, title-page with printed monogram, imprimateur leaf with discreet marginal repairs, both parts with intermittent minor worming to blank lower margins (just touching date on second imprint), repairs to preliminary blanks, bookplate of Richard Adams, hinges neatly strengthened, early 20th century brown panelled calf, rebacked preserving original spine, and recornered, 8vo Coigney 6. Pforzheimer 1052. Westwood & Satchell pages 219-20. Wing W666. The Universal Angler was published with a third part, by Robert Venables, not included in this copy, but as stated on the general title-page the work could be had 'bound together, or sold each of them severally'. Angling was an important occupation for Richard Adams throughout his life. In his autobiography The Day Gone By, he describes his first sighting of a trout as a small boy, on a visit to the Kennet. On a subsequent outing to the river Adams came across Dr. Mottram, a well-known fisherman and friend of his father. He was so fascinated at watching the great man land a trout that he writes: "From that time on I knew I wanted to be a fly fisherman and bring home trout for supper". Adams had the run of a large stretch of the Kennet during his teenage years, thanks to the generosity of one of his father's patients. "Since those days I have fished in Connemara, Wales, New Zealand and Virginia, but never so idyllically and happily as during those far-off, pre-war, adolescent days on the Kennet below Greenham". When home on leave for a fortnight during the war, it was to the Kennet Adams went for the solace that fishing provided, and whilst there he caught "the best trout I have ever yet taken from that happy river". "I remember thinking'" he writes, "that while this would probably be the last trout I'd ever be likely to catch, nevertheless that evening couldn't, now, be taken away." (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 61-62, 174, 360-61). (1)

Stevenson (Robert Louis). New Arabian Nights, 2 volumes, 1st edition, Chatto & Windus, 1882, half-title to each volume, contemporary ownership signature of J. Muzio to head of title of first volume, 32-page publisher's catalogue at rear of second volume (partially uncut), dated May 1882, page 155 of second volume misnumbered '55', and 'Maletroit' misspelt 'Maledroit' on page 179, original green cloth decorated in red and black, spines lettered in gilt, rubbed and some marks, with spine to first volume faded, 8vo Prideaux 8. Scarce first edition, first issue of Stevenson's collection of short stories, including The Suicide Club and The Pavilion on the Links. Purchased by Richard Adams from Henry Sotheran of London in January 1979 (original receipt loosely inserted). (2)

Johnson (Samuel). A Dictionary of the English Language: in which the words are deduced from their originals, and illustrated in their different significations by examples from the best writers. To which are prefixed, A History of the Language, and An English Grammar, 2 volumes, 1st edition, printed by W. Strahan et al, 1755, title-pages printed in red and black, printed in double-column, woodcut tail-pieces, gathering 19H in volume 2 in duplicate, occasional light spotting and toning, some unexceptionable staining and marks to a few leaves, pencilled marginalia in a couple of places, several corners slightly creased, gathering 5G in first volume with vertical crease, volume 2 with 19Uii carelessly opened at upper blank corner and lower blank corner of 21Oi torn away, 24Tii and 25Hii in volume 2 each with a closed marginal tear (former affecting several lines of text, latter just clipping text), endpapers sometime renewed, hinges strengthened, bookplate of Richard Adams on front pastedowns, volume 1 with contemporary manuscript shelfmark to front free endpaper, contemporary marbled calf, sometime rebacked, preserving original gilt decorated contrasting leather labels, generally rubbed (with some minor surface wear), covers with gilt flower and bead roll border, and inner scalloped pelmet roll border in blind, folio Courtney & Smith, page 54. Printing and the Mind of Man 201. Rothschild 1237. Samuel Johnson's 'Dictionary', which had taken nine years to complete, was finally published on 15th April 1755 in an edition of 2,000 copies. Containing 40,000 entries and over 116,000 quotations this monumental work remains "the most amazing, enduring and endearing one-man feat in the field of lexicography" (Printing and the Mind of Man). (2)

Marryat (Captain Frederick). Masterman Ready; or, The Wreck of the Pacific, 1st edition, 1841-1842, wood engraved frontispiece to each (that to first volume with short tear and small chip in fore-edge), wood engraved vignettes to text, without publisher's advertisements in volumes 1 and 3, marbled endpapers, volume 1 with bookplate of Richard Adams, each volume with armorial bookplate of Manuel M. Terrero. Assoc. R.S.M., top edges gilt, remainder rough-trimmed, late 19th century red half morocco gilt, a little rubbed and marked in places, spines slightly darkened, 8vo Sadleir 1583. Wolff 4522. (3)

Dickens (Charles). Oliver Twist, 3 volumes, 1st edition, 1st issue, Richard Bentley, 1838, first issue with 'Boz' on title-pages and with 'Fireside' plate in volume 3, half-titles to volumes 1 and 2 (all called-for), twenty-four etched plates by George Cruikshank, including frontispieces, first volume with 4 pages publisher's advertisements at rear, volume 3 with advertisement leaf preceding frontispiece, intermittent spotting, mostly to plates, and some offsetting of plates to text, N4 in volume 2 with lower outer blank corner torn away, bookplate of Richard Adams in first volume, two hinges slightly split at head, rough-trimmed, original blindstamped brown cloth gilt, some light marks, fading to spines and edges of some covers, spines torn and frayed in places, with some loss at ends, 8vo Smith I, 4. Richard Adams, writing of his love of books in his autobiography makes a special mention of 'Oliver Twist', saying "The Dodger's dialogue throughout, culminating in his glorious appearance before the magistrates, has been a resource and a solace to me for years." (The Day Gone By, An Autobiography, 1990, page 100). (3)

Gibson (Charles Dana). Other People, 1st edition, New York: Charles Schribner's Sons & London: John Lane, 1911, portrait half-title with artist's ink presentation inscription to Princess Patricia, numerous black & white illustrations from drawings, half-title and corresponding first illustrated leaf detached, some pale marginal discolouration, stitching strained, original quarter cloth with pictorial boards, generally soiled and some surface rubbing, oblong folio, together with 10 other books from the same series, mostly 1st editions, 1898-1905, three with some dampstaining, majority with stitching strained, all original quarter cloth with pictorial boards, rubbing to extremities (and minor wear in places), some soiled and toned, oblong folio Titles are: Pictures of People; London as seen by C.D. Gibson; The Education of Mr. Pipp (2 copies); Americans; A Widow and her Friends; The Social Ladder; Eighty Drawings including The Weaker Sex; Everyday People; Our Neighbours. Princess Patricia of Connaught (Victoria Patricia Helena Elizabeth, later Lady Patricia Ramsay, 1886-1974) was a granddaughter of Queen Victoria. She was an accomplished artist herself, specializing in watercolours, and became an honorary member of the Royal Institute of Painters in Water Colours in 1959. One of the most beautiful and eligible princesses of her generation, she caused a sensation when she gave up her royal titles to marry a commoner. (11)

Hawkins (Sir John). The Complete Angler, or Contemplative Man's Recreation; Being a Discourse on Rivers, Fish-Ponds, Fish, and Fishing: in Two Parts; the First Written by Mr. Isaac Walton, the Second by Charles Cotton, Esq; with the Lives of the Authors, and Notes Historical, Critical, and Explanatory, 4th edition, with large Additions, printed for John, Francis, and Charles Rivington, 1784, engraved frontispiece to each part (portrait to second part), fourteen engraved plates, letterpress engravings, engraved head and tail-pieces, spotted and toned, B8 with 2" repaired closed tear to lower margin, 12 pages publisher's catalogue at rear (final leaf with small piece missing from blank fore-margin), bookplate of Richard Adams, upper hinge split, contemporary sprinkled calf, sometime rebacked, rubbed, slight loss at head of spine, corners showing, 8vo (1)

Golden Cockerel Press. A Ballad Upon a Wedding, by Sir John Suckling, with Engravings by Eric Ravilious, 1927, half-title, wood-engravings, untrimmed, original quarter cloth gilt, in dustjacket, lightly browned and marked, some fraying to edges, with a small loss to lower edge of front panel, slim 8vo, (limited edition 279/375 copies), together with Thelwell (Norman), A Plank Bridge by a Pool, Methuen, 1978, black & white illustrations throughout, first leaves with a few pale spots, front free endpaper with decorative bookplate of Richard Adams to verso, original brown morocco gilt, spine faded, contained in original slipcase (partially faded), 4to, (limited edition 34/200 copies, signed by the author), plus eight others including: Lycidas - a Monody by John Milton, Nene Press, 1904; Seven Winters, by Elizabeth Bowen, Cuala Press, 1942, (limited edition 103/450 copies); Moss and Feather, by W.H. Davies, drawings by William Nicholson, Faber & Gwyer, 1928, (limited edition 375/500 copies, signed by the author) (8)

Lofting (Hugh). Gub Gub's Book, 1932; Doctor Dolittle's Return, 1933; Doctor Dolittle and the Secret Lake, 1949, all 1st edition, Jonathan Cape, colour frontispiece to each, full-page black & white illustrations, occasional minor spotting and marks, pictorial endpapers, each in original cloth with dustjacket, latter toned, with darkened spines and some edge-fraying, 8vo, together with seven other Doctor Doolittle 1st editions in original cloth (one rebacked), and two reprints in original cloth and dustjacket Central to Richard Adams's literary grounding as a child were Hugh Lofting's works, which were first being published in the 1920s and 1930s as Adams was growing up. In his autobiography 'The Day Gone By' Adams writes of the many books his parents read to him when he was a small boy, saying "Above all, we read Dr Doolittle", and it is a measure of his love for these childhood books that they remained in his library until the end of his life. Although he acknowledges that Lofting's animals "are really just human beings", he says that "Lofting wrote with warmth and humour... the characters are likeable and well-drawn... the narrative grip is powerful". He goes on to say "Above all, the author obviously felt real compassion for animals. If I am up to the neck in the animal rights movement today, Dr Dolittle must answer for it." He returns to the theme later on in his autobiography, praising the books' "buoyant optimism" and their "consistency and integrity". Again he alludes to the theme of animal abuse, saying that the Doctor's passionate concern "turned me against circuses, fur coats and other such evil things - for life." (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 22, 106) (12)

Boswell (James). The Life of Samuel Johnson, LL.D. comprehending An Account of His Studies and Numerous Works, in Chronological Order..., 2 volumes, 1st edition, printed by Henry Baldwin, for Charles Dilly, 1791, second state with 'gve' corrected to 'give' in line 10 on page 135 of first volume, stipple engraved portrait frontispiece to first volume, two engraved plates of facsimile handwriting in volume 2, some scattered spotting, marbled endpapers, bookplate of Richard Adams, yellow edges, modern Cambridge pane calf by Sotheran & Co., signed on front turn-ins, some minor rubbing to extremities, gilt line decorated raised bands, contrasting labels in second and third compartments, remainder with gilt fleuron tool surrounded by stars and crosses, and volute cornerpieces, covers with gilt triple fillet border, and gilt scalloped palmette roll panel with fleurons at corners, bead roll on edges, flower and seedhead roll on turn-ins, 4to Pottle 79. Rothschild 463. Tinker 338. Fine copy. (2)

Stevenson (Robert Louis). Kidnapped being Memoirs of the Adventures of David Balfour in the year 1751, 1st edition, 1st issue, Cassell & Company, 1886, half-title, without the folding map, first issue text, with 'business' for 'pleasure' on page 40, line 11, single page advertisement to verso of final leaf at rear for the illustrated edition of Treasure Island, and 16 pages publisher's list (first issue state, with 5 G. 4.86 at foot), some light spotting to preliminary leaves, original brown cloth gilt, rubbed and some marks, 8vo, together with The Merry Men and Other Tales and Fables, 1st edition, 1887, original decorated blue cloth gilt, rubbed and some marks, with slight fraying to extremities, plus The Master of Ballantrae. A Winter's Tale, 1st edition, 1889, 4 pages of adverts, and 16-page publisher's catalogue at rear (dated 5 G. 7.89), original pictorial red cloth gilt, slightly rubbed, with another copy of the same work, also a first edition of 1889, rebound in modern blue half morocco by Sotheran, and Stevenson (Robert Louis, and Lloyd, Osbourne), The Wrong Box, 1st edition, 1889, The Wrecker, 1st edition, 1892 & The Ebb Tide, 1st edition, 1894, adverts to each volume at rear, original red, blue and gold cloth respectively, rubbed, all 8vo, plus 8 other R.L. Stevenson volumes, mostly first editions, all 8vo (15)

Lang (Andrew, editor). The Crimson Fairy Book, 1st edition, Longmans, Green, 1903, eight colour plates, including frontispiece, numerous full-page letterpress illustrations, pictorial endpapers, bookplate of W.J. Harris on front pastedown, all edges gilt, original gilt decorated red cloth, spine faded and rubbed at ends, front cover with upper corner bumped, 8vo, together with The Book of Princes and Princesses, by Mrs. Lang, 1st edition, Longmans, Green, 1908, eight colour plates, including frontispiece, numerous letterpress illustrations, some full-page, 6pp. publisher's advertisements at rear, endpapers spotted, upper hinge splitting, early ownership name on front free endpaper, all edges gilt, original gilt decorated blue cloth, some light rubbing and faint marks, but overall a bright copy, 8vo, together with The Violet Fairy Book, 1st edition, Longmans, Green, 1901, eight colour plates, including frontispiece, numerous full-page letterpress illustrations, some full-page, one with juvenile colouring, all edges gilt, original gilt decorated purple cloth, spine faded and frayed at ends, some markings on lower cover, 8vo, plus The Orange Fairy Book, 1st edition, Longmans, Green, 1906, eight colour plates, including frontispiece, numerous letterpress illustrations, some full-page, endpapers toned, bookplate of W.J. Harris on front pastedown, all edges gilt, original gilt decorated orange cloth, spine faded and slightly rubbed at ends, lower cover with some light dust-soiling, 8vo, plus fifteen other Andrew Lang books, including eight first editions, all in original cloth, some worn and defective (19)

Gilbert (W.S.). The "Bab" Ballads, 1st edition, John Camden Hotten, 1869; More "Bab" Ballads, 1st edition, George Routledge, [1873], engraved frontispiece to each, first volume with contemporary maunuscript name on title-page 'Ex Libris John E. Walsh March 9th 1869', half-title to second volume, both with letterpress vignettes throughout, each with publisher's advertisements at rear, original gilt decorated cloth spine and covers bound in at rear of each volume (trimmed), marbled endpapers, bookplate of Richard Adams in each, all edges gilt, matching 20th century green crushed moroco by Bayntun Riviere, each signed on front turn-in, spines lightly sunned, roundel decorated raised bands, gilt lettered direct in second and third compartments and at foot, covers with gilt single fillet border, upper covers with an illustration from the book onlaid in coloured leathers, bead roll on edges, double fillets on turn-ins with fleuron cornerpieces, housed together in a green cloth slipcase, 8vo Fine bindings by Bayntun Riviere in excellent condition. (2)

Salmon (William). Polygraphice; or The Arts of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming, Second Edition, with many large additions, printed by E.T. & R.H. for R. Jones, 1673, additional engraved title by William Sherwin (dated 1672), title printed in red and black, 10 (of 15) engraved plates only, lacks two leaves of text: B5 and B6 (pages 9-12), the following two leaves with fore-margins trimmed, some occasional ink marks, later 18th-century half calf, gilt spine, rubbed to joints and edges, 8vo, together with Book of Common Prayer, and Administration of the Sacraments, and other Rites and Ceremonies of the Church, Cambridge, Joseph Bentham, 1759, bound with Whole Book of Psalms, Cambridge, 1754, at rear, all edges gilt, marbled endpapers, contemporary gilt-decorated red full morocco, rubbed and some marks, 8vo, plus The Life of Petrarch. Collected from Memoires pour la Vie de Petrarch, 2 volumes, 1775, engraved frontispiece to first volume, ownership signature of Lord Rawcliffe to head of title of each volume, some light spotting to preliminary leaves, contemporary calf, later reback, 8vo, and other miscellaneous antiquarian interest, all 18th and 19th century, leather bound, mainly 8vo (80)

Reade (Charles). The Cloister and the Hearth, 4 volumes, 1st edition, Trubner & Co., 1861, contemporary ink initials on title-pages, intermittent spotting, mostly to first and final leaves and endpapers, occasional minor marks, bookplate of Richard Adams, some splitting to hinges, sprinkled edges, near contemporary half brown calf gilt, some rubbing, darkened spines with contrasting labels, 8vo Sadlier 1999. Wolff 5704 (third edition). (4)

Trollope (Anthony). The Last Chronicle of Barset, 2 volumes, 1st edition, 1867, bound from the parts, thirty-two wood engraved plates by George H. Thomas, letterpress vignettes, occasional spotting, bookplate of Richard Adams in first volume, hinges split, marbled edges, contemporary green half calf, some rubbing, gilt decorated spines with contrasting labels, spines and part of lower returns faded, 8vo, together with Orley Farm, with Illustrations by J.E. Millais, 2 volumes, 1st edition, Chapman and Hall, 1862, bound from the parts, forty wood engraved plates, spotted (offset to text), bookplate of Richard Adams in first volume, both volumes with armorial bookplate of Josslyn Francis Pennington, 5th Baron Muncaster, marbled edges, contemporary green half morocco gilt, spines slightly faded and rubbed (volume 2 with minor loss to tip of spine head), 8vo (4)

[Shakespeare, William. Comedies, Histories and Tragedies; Published according to the true Originall Copies. Second Impression], London: John Smethwick, William Aspley, Richard Hawkins, Richard Meighen, and Robert Allot, 1632, woodcut head-pieces and initials, roman and italic type, text in double column, 66 lines, headlines and catchwords, expertly and discreetly cleaned, three preliminary leaves: 'To the Reader', title-page with portrait and 'Commendatory Verses' ([pi]A1, A2 & A5) all supplied in fine facsimile on old paper, dedication leaf ([pi]A3) expertly restored with some loss of head-piece and several words in upper half of leaf to recto and verso, following leaf 'To the great variety of Readers' similarly restored with a little loss of lettering in three lines only, dust-soiling to initial five original preliminary leaves, pinhead burn hole to A1 with loss of one letter to recto only, further tiny burn holes to outer blank margin of S3 and affecting two letters to X1 verso, minor damage affecting 8 words with some textual loss to lower lines of Y4v and Y5r, skilful closed tear repairs into text without loss to lower margin of 2A3 and upper margins of a6, b1, b2, e1 and q3, scattered spotting, minor marks and light browning with a few darker spots or streaks to C5, C6, O6, 2A3 and 2A4, slightly indistinct 18th-century ink inscription at head of 2a1 verso giving the colophon information and noting that this was printed sixteen years after the author's death, two old ownership name inscriptions to front pastedown, the first heavily inked out (possibly reading 'Catherine Longford Her Book') and dated 1773, the second name Baptist Smart, dated 1802, Richard Adams's bookplate, contemporary blind-panelled calf, neatly rebacked in calf gilt with five raised bands to match, old leather spine label retained ('SHAKESPEAR'S / WORKS'), slightly rubbed, upper corners a little bruised and lower corners discreetly repaired, folio (336 x 227mm) The Second Folio edition of the most important work in English literature and a cornerstone of any rare book collection. The importance of the folio editions of Shakespeare cannot be overstated and without them as many as eighteen of his plays may never have survived. Produced in large format, and including laudatory poems and prefaces from his contemporaries, the folio editions provide a testament to the stature of Shakespeare in his own time. This second collected edition of Shakespeare's plays is set page-for-page from a corrected copy of the First Folio, 1623. There are five variants of the Second Folio as identified by the imprint on the title-page; the text and colophon being identical in all variants. The facsimile title-page found here, with the Shakespeare portrait by Martin Droeshout, bears the John Smethwick imprint. Its conjugate leaf in the original, the 'Effigies' leaf, also present here in facsimile, has the text of John Milton's (anonymous) verses in its integral first state (Todd 1b). These 16 lines of rhymed couplets, 'An Epitaph on the admirable Dramaticke Poet, W. Shakespeare', were the chief addendum to the First Folio and were the first of Milton's English-language poems to be printed. When the Second Folio was reissued in 1641 it was these two conjugate leaves that were reprinted in two distinct settings and issued with the remainder copies. Without these two original leaves it is therefore not possible to establish which issue this copy belongs to. The three facsimile and two restored preliminary leaves aside this is a large and generally attractive and fresh copy in a pleasing and contemporary full calf binding. There is no evidence of leaves supplied from other copies, nor, unusually, is there any damage to the final leaf. It is estimated that no more than 1000 copies of the Second Folio were printed, and it is believed fewer than 200 copies are still in existence today, many of which are inevitably incomplete or defective. 451 (of 454) leaves. Collation: [pi]A6 [-1,2,5, all supplied in facsimile] *4, A-2B6 2C2, a-y6, 2a-3c6 3d4. Gregg III, pages 1113-1116. Pforzheimer 906. STC 22274 or one of 22274b, c, d or e. Todd, 'The Issues and States of the Second Folio and Milton's Epitaph', in Studies in Bibliography, volume V (1952-53), pages 81-108. Provenance: Determined to interest their daughters in Shakespeare, Richard and Barbara took them to see the Royal Shakespeare Company in Stratford-on-Avon. The girls demanded a story for the long car journey and Adams, a great enthusiast for Greek literature, thought of Cassandra, cursed by Apollo always to prophesy the truth and never be believed. He applied this attribute to a rabbit called Fiver, who sees a field running with blood and warns his fellow rabbits that they must abandon their burrow and find somewhere else to live. Watership Down employs the use of epigraphs at the beginning of each chapter, including a total of five quotations from Shakespeare. (1)

Dodgson (Charles Lutwidge, 'Lewis Carroll' ). Alice's Adventures in Wonderland, 1st published edition, Macmillan, 1866, half-title present, frontispiece and numerous illustrations by John Tenniel, some light spotting and marks, F4 and M4 with crease to upper blank corner, N1 with short closed tear in lower fore-margin, blue chalk-glazed endpapers, bookplate of Richard Adams, upper hinge split, all edges gilt, stitching slightly strained, original red cloth gilt, generally dust-soiled and spine darkened, extremities slightly rubbed, loss at head of spine repaired ('A' of 'Alice' and part of first three letters of 'Adventures' relettered), 8vo in 4s, together with Through the Looking Glass, and What Alice Found There, 1st edition, Macmillan, 1872, half-title present (with small mark to lower margin), frontispiece and numerous illustrations by John Tenniel, a few minor marks (including small stain to I7), bookplate of Richard Adams, rear hinge split, all edges gilt, stitching slightly strained, original red cloth gilt, some edge-rubbing and soiling, spine a little darkened and a trifle frayed at ends, a few tiny holes in lower joint, 8vo, housed together in velvet-lined red half morocco double bookform solander box, lightly faded spine with gilt dotted line decorated raised bands, gilt lettered direct in second and third compartments, remainder with alternating gilt rabbit and playing card tools, date lettered at foot, cloth sidings spotted Printing and the Mind of Man 354. Williams, Madan, Green 46; 84. The first edition of 'Alice's Adventures in Wonderland' was printed in 1865 at the Oxford University Press. Charles Dodgson cancelled it at the last moment due to Sir John Tenniel's dissatisfaction with the printing quality of his illustrations: "The few early copies sent out were recalled; seemingly with fair success, since less than a score are known to survive today. The book was then reprinted, by Clay, with the title page re-dated 1866, and this consitutes the first regularly published edition" (Printing and the Mind of Man) Richard Adams uses a quotation from 'Through the Looking Glass' for his very last chapter heading in the Epilogue to 'Watership Down': "He was part of my dream, of course - but then I was part of his dream, too." Adams was irritated at the debate over the intended readership age of 'Watership Down'. He believed very firmly that a work of fiction should be "first and foremost, a work of artistic integrity, by its subjects and merits appealing to readers of all ages, including children", going on to say "the two 'Alice' books probably head the list here, with 'The Wind in the Willows' in honourably high place." (Richard Adams, Some Ingredients of Watership Down, in The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, 1977, page 163) (2)

Golding (William). Darkness Visible, 1st edition, Faber and Faber, 1979, bookplate of Richard Adams, and inscribed to him from the author on the front free endpaper, original maroon boards gilt, in dustjacket, a trifle rubbed at head of spine, 8vo, together with three other first editions in dustjacket by William Golding, comprising The Scorpion God, 1971; Rites of Passage, 1980; The Double Tongue, 1995 Association copy, inscribed by the author on the front free endpaper "For Richard Adams From William Golding with best wishes", and with a sketch in ink of the back view of a rabbit. (4)

[Johnson, Samuel]. The Rambler, Numbers 1-208 (complete), bound in 2 volumes, 1st edition, 1st issue, printed for J. Payne and J. Bouquet, 1751, 1st issue without Contents and Mottos, engraved head-pieces and initial letters, minor spotting and toning, first two leaves of volume 1 with small offset stains at head and foot of gutter, bookplate of Richard Adams in first volume, both volumes with bookplate engraved by Silvain Guillot, Paris, bearing the name 'L'Olivette' below monogram 'G.O.' enclosed by olive branches with a crown above, all edges gilt, early 20th century tan crushed morocco by Vauthrin, signed on front turn-ins, some superficial scuffs and scratches, spines faintly faded, gilt dotted line decorated raised bands, gilt lettered direct in second and third compartments, remainder with central fleuron tool and volute cornerpieces, on a semé dot ground, date lettered at foot, covers with gilt triple fillet border and double fillet panel with fleuron at each corner, double fillets on edges, pelmet roll, triple fillets, and hound's tooth roll on turn-ins, small folio Rothschild 1234. Tinker 1306. A handsome set. (2)

De La Mare (Walter). Poems 1901-1918, 2 volumes, Constable, 1932, spotted, including rough-trimmed edges, bookplate of Richard Adams on front pastedowns, and inscribed by Walter de la Mare on front free endpapers, original brown cloth gilt, each in dustjacket, spines darkened and frayed at head, together with a typed letter signed, on Hill House, Taplow, headed notepaper, loosely inserted, one blue leaf, folded, dated 8th June 1939, signed in ink 'With all remembrances yours sincerely W.J. de la Mare', plus Ding Dong Bell, 1st edition, Selwyn & Blount, 1924, free endpapers partially toned, untrimmed, original cloth-backed boards, in toned and dusty dustjacket, spine ends frayed with slight loss, 8vo, (limited edition, 178/300 copies, signed by the author), plus At First Sight, A Novel, 1st edition, New York: Crosby Gaige, 1928, partly unopened, original cloth-backed boards, with gilt decorated spine, dusty and edge-rubbed, small stain on front cover, 8vo, (limited edition, one of 650 copies signed by the author on the half-title) 'Poems 1901-1918' was first published in 1920. This copy is inscribed by the author to both volumes: 'Walter de la Mare with all remembrances & best wishes April 20 1939'. The accompanying letter is addressed to Miss Price, expressing regret at the delay in writing and returning the two books, and mysteriously mentioning an "atrociously mean business", hoping "that no further anxieties have followed after it", before going on to thank her for all her "kindness on the Day". Walter de la Mare was one of Richard Adams's favourite authors, 'The Three Mulla-Mulgars' being seminal in the creation of 'Watership Down'. In his autobiography Adams refers to first reading the poems of De La Mare as a young boy, saying "They flung open the door upon a numinous, night-blue world of incessant danger, wild beauty, loss, fear and death; no pretence or dressing-up... but deeply felt and sincere, and all cast in words of storm, rainbow and wave. They struck into my heart the full realization of humanity's ultimate ignorance and insecurity in this world; and this has never left me...". He goes on to say "I would like to think that Silverweed, the story of the Black Rabbit and the Epilogue are in some degree in debt to the atmosphere of de la Mare's lyrics." (Richard Adams, The Day Gone By, An Autobiography, 1990, page 156; Richard Adams, The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, Kestrel Books, 1977, page 165). (4)

Austen (Jane). A complete set of first editions by Jane Austen uniformly bound by Riviere & Son, 1811-1818, comprising Sense and Sensibility: A Novel. In Three Volumes. By a Lady, 3 volumes, 1st edition, printed for the Author, 1811, half-title present in each volume, terminal blank present in volumes 2 and 3 (absent in volume 1), volume 3 with some light toning and spotting, Pride & Prejudice: A Novel. In Three Volumes. By the Author of "Sense and Sensibility", 3 volumes, 1st edition, printed for T. Egerton, 1813, half-title present in each volume (that to first volume with small repair to foot of gutter and two short closed tears in lower margin neatly repaired), occasional minor toning and spotting, Mansfield Park: A Novel. In Three Volumes. By the Author of "Sense and Sensibility," and "Pride and Prejudice.", 3 volumes, 1st edition, printed for T. Egerton, 1814, half-title present in each volume (that to first volume with small nick in upper margin), volume two with terminal blank, advertisement leaf at rear of third volume, gatherings E and F and G3-G6 in volume 1 with shorter leaf dimensions (apparently different paper stock), F11 and F12 repaired at gutter and with faint adhesive residue (F12 with horizontal repaired closed tear), small hole in upper blank margin of L3, final gathering with some short tears in fore-edge expertly repaired, volume 3 with several leaves lightly toned, and nick in upper edge of B5 and B6, Emma: A Novel. In Three Volumes. By the Author of "Pride and Prejudice," &c. &c., 3 volumes, 1st edition, printed for John Murray, 1816, half-title present in each volume, occasional light spotting and toning, volume 1 with half-title and title-page re-guarded, volume 2 with nick in top edge of I6, and Northanger Abbey: and Persuasion: by the Author of "Pride and Prejudice;" "Mansfield-Park," &c., with a Biographical Notice of the Author. In Four Volumes, 4 volumes, 1st edition, John Murray, 1818, half-title present in each volume, terminal blank P7 present in volume 4 (without P8), title-pages with faint early ownership signature at head, some water-staining to lower margins (D11-F6 and L8-O1 in volume 2; A1-C6 and M12-N8 in volume 3), dark blue endpapers, each set with bookplate of Richard Adams in volume one, hinges mostly split (some repaired), top edges gilt, remainder untrimmed, uniformly bound in late 19th century tan calf by Riviere & Son, with ink stamp on verso of front free endpaper, extremities rubbed, with some loss at spine ends, joints generally split, fourteen covers detached or near-detached, four volumes rebacked, second volume of Northanger Abbey with two scratches on upper cover, gilt rope roll decorated raised bands between hound's tooth rolls and double lines, gilt lettered contrasting labels in second and third compartments (first volume of Mansfield Park with part of volume label missing), remainder with central gilt flower tool surrounded by dots and crosses, and flower cornerpieces, date lettered direct at foot, covers with gilt double fillet border, double fillet on edges, pelmet and hound's tooth roll on turn-ins, 8vo in 12s Sense and Sensibility: Gilson A1, Keynes 1; Pride and Prejudice: Gilson A3, Keynes 3; Mansfield Park: Gilson A6, Keynes 6; Emma: Gilson A8, Keynes 8; Northanger Abbey and Persuasion: Gilson A9, Keynes 9. A unique opportunity to purchase Richard Adams's complete set of six of the greatest works of English literature; an unusually tall set, uncut to fore and lower edges, with all half-titles, advertisements, and blanks (bar two) present, and bound in an early uniform binding by Riviere. Richard Adams had a great admiration for Jane Austen. He first read 'Emma', his favourite of Austen's novels, when he was twenty-two and in the army. It was his first introduction to Austen, and he writes in his autobiography "It was like a revelation", saying "I was glued to it a few hours later, when my posting came through [to Jerusalem]... It didn't much matter to me where I was posted, as long as I could go on reading 'Emma'." Years earlier, when he was about ten, his family housed for a time a Steinway grand piano for a neighbour who was experiencing financial difficulties. This experience, wrote Adams, meant that on reading 'Emma' for the first time "I was able to respond exactly as Jane Austen would have wished to the moment when Jane Fairfax receives the mysterious piano." As the author got older he increasingly turned to literature he had enjoyed before, re-reading old favourites, and 'Emma' was one of the very last books he read before he died. The penultimate chapter of 'Watership Down' is prefaced by a quotation from 'Northanger Abbey': "Professing myself, moreover, convinced that the General's unjust interference, so far from being really injurious to their felicity, was perhaps rather conducive to it, by improving their knowledge of each other, and adding strength to their attachment, I leave it to be settled by whomsoever it may concern..." (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 37, 282-83). (16)

Golding (William). Lord of the Flies, 1st edition, 1954, verso of half-title with authorial ink inscription to Richard Adams and with mounted photograph cutting of William Golding (latter offset to title-page), Richard Adams's ownership signature on front free endpaper, and his bookplate on front pastedown, original red cloth, spine lettered in white (a trifle faded at ends), dustjacket, dusty and spine toned, extremities rubbed and frayed in places, with some chipping (head of spine with partial loss of 'Lord'), 8vo A wonderful association copy inscribed by the author: 'For Richard Adams from William Golding'. Like Richard Adams, William Golding is chiefly known for his first novel, despite his subsequent literary output. Also like Adams, Golding's masterpiece was at first rejected multiple times by publishers. In addition, both authors were avid and expert chess players. They played correspondence chess together, and both belonged to a wider literary chess circle which included the poet and Oxford academic John Fuller, and journalist and critic Anthony Curtis. Richard Adams, in his autobiography, draws a parallel between an event in Golding's work and his own over-sensitive response to Schubert's 'Unfinished Symphony': "The pizzicato opening seemed grim and dire. I felt (although, of course, it hadn't yet been written) like Simon, in William Golding's 'Lord of the Flies', confronted by the pig's head on a stick. It assured him that life was a bad business.' (Richard Adams, The Day Gone By, An Autobiography, 1990, page 37-38). (1)

Adams (Richard). The Girl in a Swing, 1st edition, 1st issue, Allen Lane, 1980, corrected copy of the first (suppressed) issue, with numerous pencil (and a few red ink) annotations throughout, including Kathe corrected to Karin throughout, bookplate of Richard Adams, front free endpaper with ink stamp and various annotations, stitching broken, and textblock loose in original green boards, 8vo Richard Adams's own copy of his fourth novel. In 'The Girl in a Swing' Adams named his lead character Käthe Geutner. However, a woman of the same name threatened a libel action and so the book was subsequently issued with her surname variously changed to Forster or Wassermann, and her first name sometimes altered to Karin. (1)

Lockley (R.M.). The Private Life of the Rabbit, An account of the life history and social behaviour of the wild rabbit, Introduction by Richard Adams, Newton Abbot: Readers Union, 1976, numerous plates and illustrations, some marks and rubbing to front endpapers, bookplate of Richard Adams, original cloth, in dustjacket, some marks and short edge-tears, spine lightly faded, 8vo, together with twelve others by Ronald Lockley, eight with personal inscriptions to Richard Adams and/or his wife Elizabeth from the author (three with Adams's bookplate), and one signed by the author 'The Private Life of the Rabbit', first published in 1964, played a crucial part in shaping the behaviour and character of Hazel, Fiver, Bigwig and their rabbit friends and enemies in 'Watership Down'. In the introduction to this edition of Lockley's work Adams describes his subsequent realisation that he knew very little about the life and habits of rabbits, and so he searched for an informative book, happening, with good fortune, upon Lockley's work: "I quickly discovered not only how little I myself had hitherto known about 'the rabbit wild and free,' but also how little his true nature had been understood by the world in general. From Ron Lockley I learned that rabbits (as Strawberry protests to General Woundwort) had dignity and 'animality' - the quality corresponding to 'humanity' in men and women." The two authors subsequently became friends and in 1977 Adams made Lockley one of the characters in his third novel 'The Plague Dogs'. Later, in 1982, they went on a two month expedition together in the Antarctic. The resulting book, 'Voyage Through the Antarctic', was a collaboration between the two men. Adams said of their friendship "I can't recollect that we ever had a disagreement." (13)

M[ilton] (J[ohn]). Lycidas [in] Justa Edouardo King naufrago, ab Amicis moerentibus, amoris &..., 2 parts in one, 1st edition, Cambridge: Thomas Buck & Roger Daniel, 1638, [viii]+36+[ii]+25+[1] (blank), typographic head-pieces, woodcut initial letters and tail-pieces, title-page dust-soiled and with two closed marginal tears (one at gutter and one to fore-margin), tip of upper outer corner renewed, first part with intermittent water-staining (most prominent to fore-margin of first few leaves), second part with separate title-page and pagination (collation continuous), final two leaves with very short tears at blank gutter (emanating from stab holes), final leaf a little creased, bookplate of Richard Adams, free endpapers neatly replaced using laid paper, contemporary panelled calf, rebacked and one corner repaired, 4to (leaf size 18 x 13.5cm/7 x 5.25ins), housed in a green velvet-lined brown quarter morocco bookform solander box, lightly rubbed in one or two places, blind rule decorated raised bands, gilt lettered morocco label in second compartment, date lettered direct at foot Hayward 70. Pforzheimer 712. STC 14964. Provenance: Sotheby's 12th December, 1991. Notably rare first appearance in print of Milton's great pastoral elegy. Just thirty-three copies are thought to be in existence, with only a handful remaining in private hands. We have traced just five copies sold at auction in the last fifty years, including this copy. 'Lycidas' is John Milton's second published work, his first being a commendatory poem on Shakespeare published in the 1632 'Second Folio'. It is the final poetical work in this collection of elegies published in commemoration of Edward King, a fellow of Christ's College, Cambridge, who drowned when his ship sank off the coast of Anglesey on 10th August 1637. King had been a younger contemporary of Milton, who was evidently invited to make a contribution to the publication. In The Plague Dogs, by Richard Adams, the character of the Assistant Secretary, a partial portrait of the author, silently quotes Milton's Lycidas to himself, 'as often in moments of difficulty or depression' (The Plague Dogs, Knopf, 1978, page 205). (1)

Housman (A.E.). A Shropshire Lad, 1st edition, 1896, half-title present, title-page printed in red and black, generally lightly toned, bookplate of Richard Adams, contemporary ownership signature on front free endpaper, untrimmed, original Japanese vellum-backed boards with printed paper spine label, somewhat rubbed and marked, darkened spine a little frayed at head, 8vo Carter, Sparrow & White 2 (variant 'A' with 'Shropshire' on spine label measuring 33mm). Hayward 305. One of 500 copies printed. Richard Adams speaks of his early admiration for Housman in his autobiography: "... when I first came across A.E. Housman's lyric 'Tell me not now, it needs not saying', I was at once struck by the lines 'Or marshalled under moons of harvest,/Stand still all night the sheaves". I drew it to the attention of my father. 'Pooh!' he said. What d'you expect them to do - run about?'. It didn't hurt my feelings. He loved poetry. I felt he had a point; but I felt Housman had one, too. I knew exactly what he meant." (Richard Adams, The Day Gone By, An Autobiography, 1990, page 16). (1)

Browne (Thomas). Hydriotaphia, Urne-Buriall, or, A Discourse of the Sepulchrall Urnes lately found in Norfolk. Together with the Garden of Cyrus, or the Quincunciall, Lozenge, or Net-work Plantations of the Ancients, Artificially, Naturally, Mystically Considered. With Sundry Observations. 1st edition, printed for Hen. Brome, 1658, etched frontispiece of urns, and one etched illustration on letterpress, lacking second etched plate, separate title to The Garden of Cyrus, and three additional leaves at end all present (The Stationer to the Reader, Books Printed..., and Dr. Brown's Garden of Cyrus, the latter printed perpendicularly), first few gatherings with some toning and spotting, gatherings B, C, and K with waterstaining to lower blank corners, marbled endpapers, bookplate of Richard Adams, upper hinge split, all edges gilt, 19th century red morocco, gilt decorated spine with extremities rubbed (and slight loss at head), corners rubbed, 8vo Keynes 93. Pforzheimer 110. Wing B5154. (1)

Eliot (George, i.e. Marian Evans). Adam Bede, 3 volumes, 1st edition, William Blackwood and Sons, 1859, half-titles present, volume 3 with 16 pages publisher's catalogue at rear, each volume with original brown cloth spines bound in at rear, green morocco pastedowns, that to first volume stamped in gilt 'Ex libris Raymond Claude-Lafontaine', brown silk free endpapers backed with marbled paper, bookplate of Richard Adams in first volume, all edges gilt, early 20th century crushed tan morocco by Marius Michel, signed on front turn-ins, spines rubbed and a little faded, two pairs of raised bands, the two compartments gilt lettered direct, a few superficial scratches to covers, volume 1 with rear cover slightly faded along top edge, edges rubbed in places, 8vo Provenance: Raymond Claude-Lafontaine, bibliophile and Secretary of the Normandy Society of the Illustrated Book. (3)

Johnson (Samuel). The Lives of the Most Eminent English Poets; With Critical Observations on their Works, 4 volumes, 1st separate edition, printed for C. Bathurst et al, 1781, engraved portrait frontispiece after Joshua Reynolds (spotted), volume 3 with terminal blank present, volume 4 without advertisements, intermittent light spotting and toning to text, first volume with bookplate of Richard Adams on front free endpaper, contemporary bookplate with crest and motto 'Animum Rege' on front pastedowns, volume 1 with manuscript ownership signature dated 1830 on front free endpaper, contemporary green half morocco, rubbed, and extremities a trifle worn in places, spine divided by gilt metope and pentaglyph rolls, oval red leather labels in second and fourth compartments, remainder with alternating gilt urn and urn within foliate frame tools, 8vo Rothschild 1265. Tinker 1365. (4)

Clare (John). The Village Minstrel, and Other Poems, 2 volumes, 1st edition, 1st issue, printed for Taylor and Hessey, 1821, half-titles present, engraved portrait frontispiece to volume 1 (offset to title), each with 4 pages publisher's advertisements at rear, first and final leaves and endpapers spotted, bookplate of Richard Adams in volume 1, front pastedowns with book ticket bearing initials 'AHA', volume 1 with upper hinge split, and with faint oval ink stamp and evidence of label removed on front free endpaper, untrimmed, original boards with printed paper spine labels (Carter's variant 'A'), extremities rubbed, and some minor staining on rear covers, volume 2 with joints splitting, 8vo, each contained in a cloth folder, and housed together in a brown quarter morocco slipcase, raised bands, gilt lettered direct in second and fourth compartments and at foot Carter, 'Binding Variants', page 104. Tinker 637. Scarce in the original publisher's binding, John Clare's second publication is composed of three sections: the long, semi-autobiographical poem which gives the work its title; Poems, comprising seventy-one songs, ballads, and poems, which make up the rest of the first volume and part of the second; and Sonnets, which contains sixty pieces of writing. (2)

Owen (Wilfred). Poems, With an Introduction by Siegfried Sassoon, 1st edition, Chatto & Windus, 1920, photogravure portrait frontispiece, with tissue guard (offset to frontispiece and title-page), rough-trimmed, bookplate of Richard Adams, free endpapers partially toned (that at front with vertical crease), original red cloth, spine (with paper title label) faded and frayed at ends, with remains of frayed and spotted dustjacket (front panel and flap, and rear flap), slim 4to Hayward 337. Scarce first edition of arguably the greatest collection of First World War poetry ever published. Edited by Siegfried Sassoon and issued posthumously, 'Poems' contains some of the most poignant English verse, including 'Dulce et Decorum Est' and 'Anthem for Doomed Youth'. The dustjacket rarely appears in any form. Richard Adams was no stranger to the horrors of war, having lived through the Second World War, interrupting his studies at Oxford University to serve in the Royal Army Service Corps. Although he didn't himself come under enemy fire, he writes movingly in his autobiography of the hardships endured by many, and the loss of his closest friends when he returned to Oxford and found a changed world from the halcyon one he had left. (1)

Eliot (George, i.e. Marian Evans). Felix Holt the Radical, 3 volumes, 1st edition, William Blackwood, 1866, half-titles present, 4 pages and 20 pages publisher's catalogues at rear of third volume (last few leaves spotted), bookplate of Richard Adams in volume 1, original blindstamped terracotta cloth gilt, cocked, joints rubbed and spine ends frayed, covers with a few light marks, 8vo, together with The Mill on the Floss, 3 volumes, 1st edition, William Blackwood, 1860, half-titles discarded, toned and spotted, some marginal water-staining, B8 in volume 1 with repair to lower outer corner, bookplate of Richard Adams in volume 1, hinges split, near contemporary brown half morocco gilt, spines darkened, extremities worn, with slight loss to volume 2 at foot of spine, and rear cover of first volume near-detached, 8vo Sadleir 814 & 816. Wolff 2058 & 2060. (6)

Dickens (Charles). A Tale of Two Cities, 1st edition, 1st issue, Chapman and Hall, 1859, 1st issue bound from the parts, with page 213 mispaginated 113, sixteen etched plates by H.K. Browne, including frontispiece and additional title, plate list present (often wanting), plates and title-page spotted, first text leaf with some offset letterpress, marbled endpapers and edges, bookplate of Richard Adams, contemporary brown half calf gilt, rubbed, spine faded, 8vo Eckel, pages 86-90. Gimbel A142. Sadleir 701. Wolff 1811. (1)

Kipling (Rudyard). The Jungle Book, 1st edition, first printing, Macmillian, 1894 & The Second Jungle Book, 1st edition, Macmillan, 1895, b & w illustrations, some full-page, half-titles present, second volume with advertisement leaf at rear, intermittent spotting, first volume with early ownership name at head of title-page, second volume with upper hinge split, bookplate of Richard Adams in each volume, all edges gilt, original gilt decorated blue cloth, each with some rubbing and marks, first volume with gilt dulled on darkened spine, 8vo, housed together in a blue cloth slipcase Richard Adams was a huge admirer of Kipling, writing "... Kipling unimitated, inimitable Kipling, how shall I describe thee? Beyond argument, no one has ever written books more full of enjoyment for children." He goes on to describe Kipling's influence on his own work, saying "Kipling has his finger firmly in the 'Watership Down' pie, and without him those lines would never have been written...." (Richard Adams, Some Ingredients of Watership Down, in The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, 1977, pages 171-72) (2)

Milne (Alan Alexander). A complete set of first editions of the Winnie-the-Pooh Stories, comprising When We Were Very Young, 1st edition, Methuen, 1924, illustrated throughout by E.H. Shepard, blank verso of fly-title with slight skinning at gutter, plain endpapers toned, bookplate of Richard Adams, top edges gilt, remainder rough-trimmed, original dark blue cloth gilt, spine slightly sunned and a little rubbed at ends, 8vo, and Winnie-the-Pooh, 1st edition, Methuen, 1926, illustrated throughout by E.H. Shepard, pictorial endpapers, verso of front free endpaper with bookplate of Richard Adams, facing blank with mounted photograph cutting of A.A. Milne with Christopher Robin and Pooh, top edges gilt, remainder rough-trimmed, original green cloth gilt, spine ends rubbed, cloth on lower outer corner of upper cover slightly wrinkled, 8vo, and Now We Are Six, 1st edition, Methuen, 1927, half-title and final page partially toned, pictorial endpapers, verso of front free endpaper with bookplate of Richard Adams, top edges gilt, remainder rough-trimmed, original red cloth gilt, spine a little faded and a trifle rubbed at ends, 8vo, and The House At Pooh Corner, 1st edition, Methuen, 1928, illustrated throughout by E.H. Shepard, pictorial endpapers (free endpapers a little toned), top edges gilt, remainder rough-trimmed, original salmon cloth gilt, spine slightly faded, 8vo, housed together in a blue cloth slipcase with morocco edge One of the authors strongly present in the formative years of Richard Adams was A.A. Milne: "This was the heyday of A.A. Milne - 1924 to 1928. Everyone read 'When We Were Very Young' and Pooh: everyone quoted them. Everyone knew that Christopher Robin went down with Alice, and that he said his prayers." Although Adams thought that the stories were somewhat trivial he felt they were "redeemed by the marvellous characters... 'Pooh' will survive on the marvellous characters all right, no danger." (Richard Adams, The Day Gone By, An Autobiography, 1990, page 22). He thought the relationship between Pooh and Piglet "splendid" and that Tigger was "unforgettable", going on to note that Eeyore was "as far as I know, the first portrait in English literature of a type of neurotic we all know only too well." From the Pooh books Adams said he learnt "the vital importance, as protagonists, of a group of clearly-portrayed, contrasting but reciprocal characters", adding "though I wouldn't claim that Hazel, Fiver and Co, come anywhere near Pooh and his friends" (Richard Adams, Some Ingredients of Watership Down, in The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, 1977, pages 167-68). (4)

[Jefferies, Richard]. Wild Life in a Southern County, 1st edition, Smith, Elder, 1879, half-title present, scattered spotting, hinges split, bookplate of Richard Adams on front pastedown, rough-trimmed edges spotted, original green cloth, decorated in black, blind, and gilt, some minor rubbing and marks, spines ends a little frayed, 8vo, together with Hodge and His Masters, 2 volumes, 1st edition, 1880, half-titles present, 4pp. publisher's advertisements at rear of volume 2, each volume with bookplate of Richard Adams on preliminary blank, and with armorial bookplate of Harry Lawrence Bradfer-Lawrence FSA on front pastedowns, original brown cloth, decorated in black, blind, and gilt, extremities worn, with slight loss at spine ends, and lower joints split, 8vo, plus Field and Hedgerow, Being the Last Essays... Collected by His Widow, 1st edition, 1889, half-title present, 16pp. publisher's catalogue at rear, scattered spotting, hinges split, early ownership name and a few ink marks on front free endpaper, rough-trimmed, original pictorial brown cloth, occasional light rubbing and marks, 8vo, plus four others by Jefferies, including three first editions (Round About a Great Estate, 1880; The Open Air, 1885; The Toilers of the Field, 1892) (8)

Wilson (Angus). The Middle Age of Mrs Eliot, 1st edition, 1958, ownership signature of Richard Adams dated 1958 and his bookplate, additionally inscribed by the author in blue ballpoint pen for Richard Adams to the title-page and dated July 1984, original cloth in dust jacket, slightly browned and soiled to lower panel, together with Graves (Robert), Good-Bye to All That, An Autobiography, 1st edition, [2nd impression], 1929, plates including portrait frontispiece, original cloth gilt, a little soiled and faded on spine, plus Orwell (George), Nineteen Eighty-Four, 1st edition, 1949, bookplate of Richard Adams, original cloth, spine lettered in red, slightly spotted and soiled, spine and extremities faded, plus Williamson (Henry), Salar the Salmon, 1st edition, 1935, all edges gilt, bookplate of Richard Adams, modern crushed green morocco gilt by Bayntun Riviere, a little faded on spine, all 8vo, plus other British hardback literature and related including some first editions, many in frayed dust jackets, authors including Siegfried Sassoon, Graham Greene, Anthony Powell, Richard Jefferies, Richmal Crompton and A.A. Milne, some books with Adams's bookplate (60)

ROWLING J. K.: (1965-  ) British Author, creator of the Harry Potter fantasy series. Book signed, a hardback edition of The Casual Vacancy, First Edition, published by Little, Brown, London, 2012. Signed ('JK Rowling') in bold blue ink with her name alone to a clear area of the title-page and opposite the page bearing Rowling's personal hologram. Accompanied by the dust jacket. EX

WARHOL ANDY: (1928-1987) American Pop Artist. Book signed and inscribed, a hardback edition of Andy Warhol's Exposures, First Edition published by Hutchinson & Co., London, 1979. Signed ('Andy Warhol') and inscribed to the half title page, along with an original sketch. Also signed ('Andy') to the dust jacket. With minor age wear. VG

MOUNTBATTEN LOUIS: (1900-1979) British Admiral of World War II. T.L.S., Mountbatten of Burma, with holograph salutation and subscription, two pages, 8vo, Broadlands, Romsey, 8th May 1967, to William Clark. Mountbatten thanks his correspondent for sending a signed copy of the novel Number 10, informing him, 'I did not have an opportunity of reading it until I went to the Royal Naval Hospital, Haslar, for a hernia operation… I have two comments… in 1957 the title of the Chairman was changed to that of "Chief of the Defence Staff"… At the bottom of page 90 you write "This deed of Sebastian Fleming ranks with Winston Churchill's bold decision just 61 years ago this week, to keep the Fleet mobilized"… I have a complete memorandum showing that not only did Winston Churchill not make the decision to keep the Fleet mobilized but in fact he was spending the weekend in Cromer and left my father in charge of the Admiralty…' With a staple in the top left corner holding the two pages together, light stains to the right edges, and minor age wear.  Together with an unsigned copy of Number 10 a novel by William Clarke, First Edition, published by Heinemann, London, 1966 and an unsigned copy of Number 10 a play by Ronald Millar, based on the novel by William Clarke, First Edition, published by Heinemann, London, 1967, both books with dust jackets. With light age wear and a minor tear to one dust jacket. G to VG, 3William Clark (1916-1985) English Economist and Public Servant, Press Secretary to Prime Minister Anthony Eden, 1956.Ronald Millar (1919-1998) English Actor, Scriptwriter, and Dramatist. .

[CHARLES I]: (1600-1649) King of England, Scotland & Ireland 1625-49. A rare, substantial lock of dark hair cut from the beard of King Charles I, the strands approximately 1.5” each in length, neatly tied together and mounted to a maroon cloth background alongside a small card bearing the red wax seal of Sir Henry Halford and below the original folded square 12mo wrapper in which the hair was originally preserved, annotated in ink and stating, in full, ‘Hair cut from the upper lip of Chas: I by Sir Hy. Halford, April 1813’. Framed and glazed in a dark wooden frame to an overall size of 7 x 8.5. Some light overall dust staining to the wrapper, otherwise VG Sir Henry Halford (1766-1844) English Physician who served as Physician Extraordinary to King George III from 1793-1820 and then as Physician in Ordinary to his three successors, King George IV, King William IV and the young Queen Victoria. In 1813 Halford was involved in the exhumation of the hitherto missing body of King Charles I and he published An Account of what happened on Opening the Coffin of King Charles the First in the vault of King Henry VIII in St. George’s Chapel, Windsor, on the First of April MDCCCXIII in Essays and Orations read and delivered at the Royal College of Physicians (Second Edition, published by John Murray, London, 1833). Halford’s interesting account stated, in part, ‘…Lord Clarendon in his History of the Rebellion, [stated] that the body of King Charles I, though known to be interred in St. George’s Chapel, at Windsor, could not be found, when searched for there some years afterwards….the most careful search was made for the body by several people….On completing the mausoleum which his present Majesty [King George III] has built in the tomb-house….it was necessary to form a passage to it….In constructing this passage, an aperture was made accidentally in one of the walls of the vault of King Henry VIII, through which the workmen were enabled to see, not only the two coffins which were supposed to contain the bodies of King Henry VIII and Queen Jane Seymour, but a third also, covered with a black velvet pall, which….might fairly be presumed to hold the remains of King Charles I. On representing the circumstance to the Prince Regent, his Royal Highness perceived at once, that a doubtful point in history might be cleared up by opening this vault; and accordingly….ordered an examination to be made….in the presence of his Royal Highness himself….and Sir Henry Halford….On removing the pall, a plain lead coffin….bearing an inscription “King Charles, 1648” in large, legible characters….immediately presented itself to the view. A square opening was then made in the upper part of the lid, of such dimensions as to admit a clear insight into its contents. These were an internal wooden coffin….and the body carefully wrapped up…..The coffin was completely full….and great difficulty was experienced in detaching it successfully….At length, the whole face was disengaged from its covering. The complexion of the skin of it was dark and discoloured. The forehead and temples had lost little or nothing of their muscular substance….and the pointed beard, so characteristic of the period of the reign of King Charles, was perfect. The shape of the face was a long oval; many of the teeth remained….When the head had been entirely disengaged from the attachments which confined it, it was found to be loose, and, without any difficulty, was taken up and held to view….The back part of the scalp was entirely perfect, and had a remarkably fresh appearance….The hair was thick at the back part of the head, and, in appearance, nearly black. A portion of it, which has since been cleaned and dried, is of a beautiful dark brown colour. That of the beard was a redder brown. On the back part of the head it was more than an inch in length, and had probably been cut so short for the convenience of the executioner, or perhaps by the piety of friends soon after death, in order to furnish memorials of the unhappy king.’ An 8vo hardback copy of the second edition of Halford’s Essays and Orations, bound in contemporary half calf, with a gilt spine and label, and bearing the armorial bookplate of Lord Farnham, is included in the present lot. It is not known how much of the hair Halford removed from the beheaded King Charles I was then distributed amongst friends and colleagues, or indeed how much survives today. We have only been able to locate one other, very similar lock of hair that was presented to Hans Busk the younger (1815-1882) by Halford (and also authenticated by his seal) which was offered by Bonhams in their sale of Relics, Scientific Instruments and Barometers, Cameras, Photographs and Mechanical Music at their Chelsea salerooms on 6th April 1995 (Lot 1, Estimate £1000-1500, Sold for a hammer price of £3400).

 ROWLING J. K.: (1965-  ) British Author, creator of the Harry Potter fantasy series. Book signed and inscribed, a hardback edition of The Silkworm, First Edition, published by Sphere, London, 2014. Signed ('Robert Galbraith') in bold black ink with her pen name alone to the title page, and opposite the page bearing Rowling's personal hologram Accompanied by the dust jacket. Together with a 12mo printed ticket for the Theakstons Old Peculier Crime Writing Festival 18th July 2014, at which Rowling was appearing to discuss her novel The Silkworm and sign copies. About EX, 2 J.K. Rowling said of the Crime Writing Festival, 'It is a particularly fitting venue for Robert's first appearance because part of The Silkworm is set in Harrogate and its environs.' 

LINDBERGH CHARLES: (1902-1974) American Aviator who made the first solo non-stop flight across the Atlantic from Paris to New York in the Spirit of St. Louis, May 1927. Book signed, a hardback edition of The Lone Scout of the Sky, the Story of Charles A. Lindbergh by James E. West, published by The John C. Winston Co., Philadelphia, 1928. Signed ('C. A. Lindbergh') in bold black fountain pen ink, and dated 'Albuquerque April 16, 1942' in his hand, to a 12mo notebook page, neatly affixed with clear tape to the free endpaper, the page also featuring a modern American postage stamp depicting Lindbergh's aircraft Spirit of St. Louis above the annotation, 'obtained by P.E. Baldwin at Hilton Hotel 11-12pm'. With further holograph annotations to the inside cover and free endpaper explaining the circumstances of how the signature by Lindbergh was obtained, stating, in part, 'nobody recognized him other than myself, so I got up & walked over to a pinball machine where Col. Lindbergh was standing & asked him for an autograph…' No dust jacket. With a loose binding to the first two pages and light age wear to the covers. G

1983 Ovation Collectors Series Limited Edition 1983-B electro-acoustic guitar, made in USA, ser. no. 8x2; Back and sides: synthetic bowl; Table: green burst, minor imperfections; Fretboard: ebony; Fres: generally good, minor dent wear to first position; Electrics: working; Case: original hard case; Other: certificate of authenticity and tags; Overall condition: good

A collection of cased sterling silver coins and medals, predominantly proof and limited edition, to include Victoria Diamond Jubilee silver medal, RNLBI and Field Marshall Montgomery Crownmedals, seven Isle of Man (inc. Churchill) (x5), Guernsey and Elizabeth II Silver Jubilee commemorative crowns, Gambia 10 dalasis, Sierra Leone 1 leone and Hungarian 100 and 50 forints, Concorde First Passenger Flight, JFK and De Beers Diamond Research Conference 1975 (edition of 250) examples, the majority encapsulated with certificates, also 1909 Rolls Royce, Milestones of Manned Flight and St. James' Palace ingots and a hallmarked silver fob medal.

A collection of model railway items to include Hornby boxed R1039 Flying Scotsman set (mostly complete), R3208 BR4-4-0 Schools Class, R3371 LNER Class A4, R2669 Railroad Train Pack, R8017 Track Pack C and a quantity of further loose track (all 00 gauge), a number of boxed Tri-ang models to include R159 Double Ended Diesel Loco 'Electra', R29 Mainline Composite Coach, R228 Pullman First Class Car 'Anne' and further loose locos and tenders (all 00 gauge), also a quantity of accessories and components including boxed Hornby train controller, Gaugemaster model D electronic loco controller, pin terminals, Hornby 2014 edition 60 magazine/catalogue, etc, and a small number of model cars and other vehicles. CONDITION REPORT: Some components missing as stated, boxes where applicable generally worn, loose models in play worn condition, internal models appear ok.

'The Handbook of the Rolls-Royce Silver Shadow and Bentley 'T' drophead Coupe and 2-door saloon', 1969, first edition for cars from serial no. C.R.H.6002. Hard bound in beige, antique textured leather cloth. Data & personal memoranda pages clear and not annotated to any particular car or owner.

RIMMER, IAN W; Rolls-Royce and Bentley experimental cars first and only edition 1986. A fascinating bibliography and profusely illustrated volume from long term storage, unopened and still sealed in the original box, hard bound in green cloth, 372 pages.

Six motoring books; The Motor Car in Art-Zolomij first edition, Rolls-Royce Silver Cloud - Robson, Complete book of Automobile Body Design-Beattie, Rolls-Royce Silver Shadow-Bolster, Rolls-Royce & Bentley Coachbuilt Cars-Robson and Rolls-Royce-A Living Tradition-Buckley.

BENTLEY MOTORS (1931) LTD; a rare first edition introductory brochure for the Rolls-Royce Ltd newly produced 1933/34 'Derby' Bentley 3 1/2 litre cars. Showing the correct illustration of the veined radiator shell. Antiqued design cord tied card cover with coloured Bentley crest motif and containing six factory applied pale blue toned illustration plates including the Bentley streamlined saloon, the Sports tourer and the Chassis. 22 pages, 28.5 x 23.25cm.

HARPER, CHARLES G; The Romance of the Road, first and only original edition 1927, printed and published by Ed. J. Burrow & Co Ltd, 109 Kingsway, London, WC2 and Cheltenham. 64 numbered pages of text and illustrations plus approximately 68 unnumbered pages of colour and monochrome advertisements of the era. The products shown include Daimler, Bus and Omnibus Coachwork, coaches, Vanden Plas, tools, tyres, car parts & fittings, perfect bound in faux leather textured light card with gold embossed title, a horse drawn carriage and a period single deck motor bus, 30.5 x 25cm.