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van Dongen (Kees).- Badreddine-el-Bass Raoui (Hassan) Conte des 1001 Nuits, translated by J.-C.Mardrus, number 272 of 200 copies on Hollande van Gelder, from an edition limited to 310, decorative title, 7 pochoir plates coloured by J.Saudé and numerous illustrations by Kees van Dongen, with the 4 censored erotic plates bound at end, some light offsetting, small stain to corner of first censored plate, bound in dark blue goatskin, by M.Burkhart, upper cover onlaid with two birds in natural and tan calf against a sky tooled with stars in gilt and desert horizon in blind at foot across both boards, spine titled in gilt with stars, original wrappers with pochoir illustrations bound in (spine rubbed and torn, repaired), uncut, board slip-case (slightly rubbed), 4to (binding c.335 x 260mm.), Paris, [1918].*** The first book illustrated by van Dongen, in an attractive binding.

Douglas (Lord Alfred) Poems, first edition, Siegfried Sassoon's copy with his ink ownership inscription to front free endpaper and comment "Alfred Douglas. Will probably be remembered as a minor poet of considerable charm & accomplishment. Will certainly be manifest (to those who take the trouble to investigate his career) as a treacherous and dishonourable cad. SS." to frontispiece recto, text in French and English, light browning to text, portrait frontispiece, Esher bookplate to front pastedown, original cloth, spine browned, light rubbing to extremities, preserved in custom drop-back box, 8vo, Paris, 1896.*** Sassoon's copy with his superb comments on Douglas's work and character. 

[Utterson (Sarah Elizabeth, editor and translator)] Tales of the Dead, first edition, lacking half-title, light foxing and browning throughout, ink inscriptions to front free endpaper, modern half calf, spine gilt in compartments, [Garside, Raven and Schowerling 1813:60; not in Summers], 8vo, [by S. Hamilton] for White, Cochrane, and Co., 1813.*** First edition of this rare collection, partly a translation of the French Fantasmagoriana (itself allegedly a translation from the German) though including an original work by Utterson, "The Storm" as the fifth story.  Fantasmagoriana was famously read by Byron, the Shelleys and Polidori on the night that engendered Frankenstein and The Vampire. On publication this collection received several positive reviews from Francis Palgrave and others, with Utterson's original contribution in particular singled out for praise. 

[De Quincey (Thomas)] Confessions of an English Opium-Eater, first edition, ink presentation inscription "To the Editor of the Eclectic Review" to half-title, 2pp. advertisements at rear, reviewer's pencil markings to pp.86, 87, 99 & 113 marking passages for quotation, bookplate of Arnold & Janetta Whitridge to front pastedown, red crushed morocco, gilt, by Riviere & Son, neatly and sympathetically rebacked, retaining original gilt backstrip, minor chipping to spine ends, t.e.g., others uncut, original brown wrappers neatly laid down and bound in, 8vo, for Taylor and Hessey, 1822.*** A review copy of De Quincey's notorious account of his addition to opium. The passages marked here appear quoted in the Eclectic Review in full.In sending his book to the Eclectic Review, De Quincey wisely chose a magazine more modern in its tastes and coverage than many of its rivals. Though the magazine chose to review the book, where many refused to even acknowledge it, the review was nevertheless rather negative, commenting that the book "contains so much that is objectionable and positively disgusting that we should not have thought it advisable to give it a place in our pages."

Ghost Stories; Collected with a Particular View to Counteract the Vulgar Belief in Ghosts and Apparitions, first edition, aquatint frontispiece and 5 plates, all hand-coloured, offsetting, very light browning to endpapers, armorial bookplate of Ferdinand M. McVeigh to front pastedown, original boards, neatly and sympathetically rebacked, retaining original spine label, uncut, preserved in folding chemise and morocco-backed slip-case (spine sunned), 8vo, R. Ackermann, 1823.*** A very good copy of this charming work, containing several ostensibly supernatural stories that prove to have rational solutions. 

Macfall (Haldane) The Wooings of Jezebel Pettyfer, signed presentation inscription from the author "To my friend William Heinemann", spine browned, rubbing, marking and soiling to covers, chipping to spine ends, 1898; [Another copy], A.L.s. from the author to literary agent Morris Colles loosely inserted, spotting, light browning to spine, spine ends and corners a little bumped, 1898; [Another copy], signed presentation inscription from the author to Vincent Starrett on front free endpaper, Starrett's bookplate to front pastedown and his ink ownership inscription to half-title, image replicating upper cover illustration tipped in as frontispiece, initialled note by Starrett to rear pastedown "First edition - work of exceptional rarity - the 'circular' frontispiece was inserted by the author who inscribed and sent me this copy.", spotting, spine browned, spine end and corners bumped, rubbed and marked, 1898; [Another copy], 2 A.L.s. from the author to Scott Cunningham tipped in at front, bookplate of Scott Cunningham to front pastedown, slight toning to spine, spine ends and corners a little bumped and frayed, extremities a little rubbed, 1898, first editions, original pictorial cloth, housed together in yellow morocco hinged box, 8vo (4)*** A remarkable collection. Vincent Starrett devoted a chapter of his book Buried Caesars to Macfall, saying of The Wooings of Jezebel "Few better novels have been written in the language."

Gregynog Press.- Thomas (Edward) Selected Poems, number 5 of 25 specially-bound copies, from an edition limited to 275, printed on Japanese vellum and lined in blue, wood-engraved title device in blue and initials in red, bound in crushed blue morocco, gilt, by George Fisher at the Gregynog Press Bindery to a design by R.A.Maynard, covers with three vertically interlacing diamonds formed by leafy fronds attached to double gilt fillet border with gilt line and ornament, spine titled in gilt with five raised bands and gilt ornament to head and foot, Cockerell marbled endpapers, signed by Maynard and Fisher on rear turn-in, t.e.g., others uncut, [Harrop 6], 8vo, Newtown, Gregynog Press, 1927.*** The first book from the press to be printed on Japanese vellum. "The book was an immediate success, all copies being subscribed for within a month of publication". (Harrop p.42)

Beckford (William).- [Alison (Sir Archibald) & others.] Travels in France, during the years 1814-15. Comprising a Residence at Paris, during the stay of the Allied Armies..., 2 vol., first edition, ?lacking half-titles, William Beckford's copy with 3½pp. pencil notes in his hand on leaf tipped in at beginning of each vol., text lightly browned, a few spots or small stains, H.Bradley Martin's copy with his small bookplate, bound in typical contemporary half red straight-grain morocco, gilt, spines with title and cinquefoils in gilt, g.e., a little rubbed and marked, preserved in modern red morocco-backed drop-back box, spine gilt in compartments with ornaments and five raised bands, 8vo, 1815.*** With 22 notes by Beckford referring to passages in the text e.g. vol.2 p. 230 "Triumphant entry of Charigny the great worm Doctor - with all his bottles into Aix".Many of Beckford's books were bound with a gilt cinquefoil from his mother's Hamilton arms on the spine or corners. Hamilton Palace sale (1883) Part IV lot 686 (Jarvis & Son £1 1s.)

Beerbohm (Max) The Works, first edition, A.L.s. from Beerbohm to Clement Shorter laid onto rear endpaper, press cuttings and photographs of Beerbohm and other figures laid onto pastedown and endpapers, neat ink note in purple ink to front free endpaper, original cloth, spine label renewed, spine darkened, spine ends a little frayed, preserved in custom morocco-backed drop-back box along with 3 additional A.L.s. from Beerbohm, an A.L.s. from Constance Beerbohm and a letter from Lady Rhondda, all preserved in folding chemise, 8vo, 1896.*** "The whole thing places me in a rather awkward position with Beardsley as the drawings were among his best work..."A good group of letters from Beerbohm including two that show him imploring Shorter to retrieve two drawings by Beardsley, sent by Beerbohm to the offices of The English Illustrated Magazine. The drawings were to be included in an upcoming book (presumably Beardsley's Book of Fifty Drawings) and Beardsley wrote to Beerbohm in the hope of obtaining them. 

A silver and malachite necklace, design No. 4, designed by Henry Pilstrup for Georg Jensen, post 1945, the barrel-shaped links with hammered finish and suspending a foliate fringe with raised veining and scroll detailing, each drop set with two oval malachite cabochons, stamped ‘GEORG JENSEN’ in an oval punch, ‘925S’ and ‘DENMARK’, numbered ‘4’, length 42cm. £700-£900 --- Henry Pilstrup Henry Pilstrup (1890 - 1967) was Georg Jensen’s first apprentice in the early days of his workshop, starting in 1904 at the age of 14 years old. He progressed within the silversmithy very quickly, in due course becoming the foreman. Pilstrup was responsible for many of the jewellery designs, making him one of the principal designers of early Jensen pieces. Drucker records that Henry Pilstrup created necklace No. 4 in Georg Jensen’s workshop in 1909. It was exhibited and bought by the Danish Museum of Decorative Art in Copenhagen. Pilstrup was honoured with a grant for the most beautiful exhibit. For a similar example, see: Janet Drucker, Georg Jensen A Tradition of Splendid Silver, pub. Schiffer Publishing Ltd, 2nd edition, 2001, page 98. Condition Report Gross weight 65.5gm.

MARIA TUKE (BRITISH, 1861-1947) (7)Henry Scott Tuke. R.A., R.W.S. A Memoir. London: Martin Secker, 1933. 8vo (218 x 140mm). Half title, coloured frontispiece portrait, plates (some staining to title). original blue buckram gilt. FIRST EDITION, PRESENTATION COPY, with separate note inscribed 'from Mrs M.T Sainsbury/ 5 Provost Rd./ Hampstead/ NW3/ With many thanks/ for your idea & cheque/ I do hope you will/ like the book/ Dec 5 1933 MTS' Together with three letters from the author to Andrew Dennison and four from him in response (7)ProvenancePrivate collection, UKFootnoteDated between 7th September 1933 and 14th March 1934, the correspondence was prompted by a notice posted by Maria Tuke following the obituary of Mr S.M. Ellis who had written a biography of Tuke that was never published '...for various reasons, one being its  excessive length.'  Dennison writes how he '...knew Mr Tuke  quite well at Falmouth/ and I have somewhere, a number of photographs I took/ of him, and if by any chance these would be of any/ interest to the person writing the memoir, I would/ be pleased to look them up.'  Although not included in the biography Dennison sent an album to Maria including some twenty-two photographs with Maria responding 'I am very grateful for all/ the pictures, they do indeed/ bring back my brother and his life at Swanpool, all of/ them show the things he cared for, and all are excellent.'  Maria offers Dennison a complimentary copy of the biography but he responds '...I do not really/ want to take advantage of this' and encloses instead a cheque for two copies.

A SET OF SIX GEORGE III GILTWOOD ARMCHAIRS CIRCA 1770 93.5cm high, 71cm wide, 53cm deep Provenance: Possibly supplied to Philip Yorke, 2nd Earl of Hardwicke (1720-1790), for Wimpole Hall, Cambridgeshire, Wrest Park, Bedfordshire or St. James's Square, London, thence by descent Illustrated: The Connoisseur, May 1965, p.4Sets of giltwood Louis XV-style chairs were fashionable in Britain from the 1750s onwards with the publication of Thomas Chippendale's first edition of the Director (1754), which featured several designs for 'French chairs' (plates XVII, XVIII, XIX, XX). Chippendale's contemporary, John Linnell, was also making chairs derived from French patterns (Victoria & Albert Museum, E.59-1929; E.85-1929; E.102-1929). The 1835 inventory for Wimpole Hall, Cambridge, included two large sets of such chairs including: '8 Gilt Framed Cabriole Elbow Chairs stuffed seats & backs & Elbows covered to match' (No. 49, Red Drawing Room). A comparable set at Wimpole was probably commissioned by Philip, 2nd Earl Hardwicke, between 1777-80 when a new Eating Room and a Grand State Dining Room was added to the mansion; this set sold Sotheby's New York, 23 October 1998, lot 341. At Wrest Park, the 1917 sale of the contents of the mansion show that three sets of carved and gilt fauteuils in the Louis XV-style were sold (Wrest Park: Contents of the Mansion, Messrs. Foster, 10/9/1917 and four following days, lots 65, 77, 155). Condition Report: Condition Report Disclaimer

A CARVED AND WHITE PAINTED CONSOLE TABLE PROBABLY GEORGE III, MID 18TH CENTURY, IN THE MANNER OF MATTHIAS LOCK The rectangular Brocatello marble top above a pierced frieze of foliage, C-scrolls, and trellis, the cabriole legs carved with flower garlands and with foliate and block feet, redecorated, the marble replaced 86cm high, 141cm wide, 67cm deep The table relates to patterns by Matthias Lock, in particular, plate 5, as published in Six Tables (1746). Along with his other publications, these designs epitomise the advanced early rococo style of English furniture, some ten years before Chippendale's first edition (M. Heckscher, 'Lock and Copland: A Catalogue of the Engraved Ornament', Furniture History, vol. 15, 1979, plate 9). Several designs by Chippendale, for example in his Director, 3rd ed. 1763, pl. CLXXV and by Messrs Ince and Mayhew pattern book Universal System of Household Furniture, 1762, pls. LXXIII and LXXIV, served to popularise the pattern, called 'frames for marble slabs' or simply `slab frames'. Lock, of Long Acre, London, was one of the outstanding carvers and designers in the rococo style, and was acclaimed by the upholder James Cullen as 'reputed the best draftsman in that way that had ever been in England'. The first of his several published works was issued in 1740, he collaborated with Henry Copland in 1752, and then apparently worked in some form of partnership with Thomas Chippendale. Many of Lock's designs, including furniture for Earl Poulet at Hinton House, Dorset, are preserved in the Victoria and Albert Museum, London and in the Metropolitan Museum, New York. Condition Report: Good, structurally secure with wear and tear consistent with age and use. The catalogue illustration is accurate. The table has been previously stripped and freely white-painted. In places where the white paint has chipped the pine carcase wood looks grey and dry consistent with stripping. There are minor small chips and repairs to the carving including glued repairs to the central cartouche. There is a section of moulding loose to the front left foot. The marble top is associated but with some age, it is about 5cm too shallow, a strip of wood simulated as marble has been attached to the back edge of the table to make up the shortfall. While the table has the design and spirit of the 18th century, it might be noted that the construction of frieze and legs is unconventional but with the amount of white paint used it is not possible to be entirely confident in the dating. Condition Report Disclaimer

IRVINE WELSH, THE LONG KNIVES SIGNED FIRST EDITION, AND OTHER BOOKS including signed copies of 1000 Years of Joys and Sorrows by Ai Weiwei, Illuminations by Alan Moore, The dark Remains by William McIlvanney and Ian Rankin and 1979 and 1989 by Val McDermidNote: Whilst McTear's has no reason to doubt the authenticity of the signatures, we offer no guarantee in that respect.

SIGNED FIRST EDITION - HARRY POTTER AND THE CHAMBER OF SECRETS, ROWLING (JOANNE K.), BLOOMSBURY, LONDON 1998 signed to Iain Paterson, with best wishes, JK Rowling, hardback, with original dust jacket 10 9 8 7 6 5 4 3 2 1 serialNote: This copy was signed at an event held at Waterstones, Sauchiehall Street, June 1998. Overall, good condition with some small signs of age. The bottom edge of the binding is slightly bent, but no rips or tears. Otherwise, in good condition. Inscription pictured.

Wodehouse (P.G.), PSMITH IN THE CITY, first edition, illustrated blue cloth boards and spine, eleven full page illustrations by T.M.R. Whitwell (lacking frontispiece), Adam And Charles Black, London 1910 (at fault)

A collection of 1/76 scale die-cast model vehicles by Corgi, Gilbow Exclusive First Editions and others, to include a limited edition Corgi 33101 Dennis Lancet Coach Smiths Of Reading; a limited edition Corgi Bristol LL6B/Duple Coach Southern National; eight Gilbow Exclusive First Editions Commercials; various unboxed di-cast model vehicles to include a Matchbox Models Of Yesteryear Y44 Renault Aldershot & District Traction Co Ltd; and a further quantity of 1/87 scale model vehicles (Qty)

Twenty four 1/76 scale die-cast model buses and coaches by Corgi Classics, to include a limited edition 97198 The Southdown Guy Arab; a limited edition 97187 The AEC Regal; a limited edition 96985 The Thornycroft; a limited edition 97070 AEC Regal / Bedford OB Coach; and a limited edition Guy Arab / Leyland Tiger; with twenty nine Gilbow Exclusive First Edition 1/76 scale die-cast model buses and coaches, to include a limited edition Aldershot & District Traction Co Ltd Gift Set (53)

ROBERT POLHILL BEVAN (BRITISH 1865-1925) SMITHY BARN, BOLHAM - 1919 Lithograph, from the edition of 40, signed in pencil, with the stamped monogram  the sheet 28.5cm x 44.5cm (11.25in x 17.5in), unframed  Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 26Note: According to Graham Dry, this work was drawn the stone in the artist’s Hampstead studio and was printed by Vincent Brooks Day & Son under the artist’s supervision.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford. 

ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE WHITE HOUSE - 1921 Lithograph, 25/50, numbered in pencil to margin, with the stamped monogram the sheet 26.5cm x 33.5cm (10.5in x 13.25in), unframed  Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no.30Note: Graham Dry has explained that this lithograph is based on a painting of Gould’s Farm Luppitt, where the artist worked in 1920.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford. 

ROBERT POLHILL BEVAN (BRITISH 1865-1925) HORSE DEALERS AT THE BARBICAN (BARBICAN NO. 2) - 1921 Lithograph, from the edition of 70, inscribed ‘Barbican No 2’ in pencil to lower edge Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.35.Note: This print is one of eleven from the edition on thin white wove paper, with no signature. It is based on an oil painting of the same title, with some alterations, the location of which is unknown. ‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford. 

ROBERT POLHILL BEVAN (BRITISH 1865-1925) A POLISH HOMESTEAD - 1922 Lithograph, 34/45, signed and numbered in pencil to margin, with the stamped monogram  the sheet 33cm x 38cm (13in x 15in), unframed  Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 32‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford. 

ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE HORSE MART (BARBICAN NO. I) - 1920 Lithograph, from the edition of 65 the sheet 46cm x 59cm (18in x 23.25in), unframed  Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London, 1965, another example from the edition repr. b/w no. 34.Note: This work is based on the oil painting The Horse Mart of 1917-18, in the collection of the Yale Center for British Art (acc.no. B2001.2.110).‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford. 

ROBERT POLHILL BEVAN (BRITISH 1865-1925) THE PLANTATION - 1922 Lithograph, 13/40, signed and numbered in pencil to margin, with the stamped monogram, inscribed with title in pencil at lower edge the sheet 41cm x 56cm (16.25in x 22in), unframed  Estate of the Artist; and thence by descent to the present owner. Literature: Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.37.Note: This work is based, in reverse, on an oil painting of the same title of 1919, the location of which is unknown.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford. 

ROBERT POLHILL BEVAN (BRITISH 1865-1925) HORSE DEALERS (WARD'S REPOSITORY NO.I) - 1919 Lithograph, from the edition of 80 the sheet 44.5cm x 57cm (17.5in x 22.5in), unframed  Estate of the Artist; and thence by descent to the present owner. Literature: Bevan, R.A., Robert Bevan 1865-1925: A Memoir by his Son, Studio Vista, London 1965, another example from the edition repr. b/w pl.62 (as 'Horse Dealers' and dated 1921),Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.33 (as 'Horse Dealers (Ward's Repository No.1)' and dated 1919).Note: This work is also known as Ward's No.1. It is related to the oil painting Horse Dealers (Sale at Ward's Repository No.1) of 1918 which was purchased by Manchester Art Gallery in 1935 (acc.no.1935.157). Ward's Repository off the Edgware Road, London, was the first of the horse sale yards to close.‘Lithography was a very important part of his artistic expression. He found it a very suitable medium for his skills . . . At all times he loved the feel of lithographic chalk and the handling of it on the smooth stone’ - Robert Alexander Bevan, the artist’s son, 1968We are delighted to present a group of eight lithographs by Robert Polhill Bevan, which come from the Artist’s Estate and thence by descent to the present owner, in our Prints & Multiples sale of 26 March 2025. Consisting of four of his celebrated London horse images and four of his attractive rural scenes, each reveals his love of and technical brilliance in the medium of lithography.Bevan was born in Hove, Sussex in 1865 and grew up in Horsgate, near Cuckfield. He studied at Westminster School of Art, London and at the Académie Julian in Paris. His training during the 1890s also included two periods in Pont-Aven in Brittany – where he met Paul Gauguin – as well as time spent in Madrid and Tangier. He was a member of the Fitzroy Street, Camden Town, London and Cumberland Market Groups, founded in London between 1907 and 1914. In 1897, Bevan met and married the Polish artist Stanislawa de Karlowska (1876-1952). Three years later they moved to 14 Adamson Road, London, which remained their base for the rest of Bevan’s life. The couple became key figures in London’s art world before and after the First World War and held popular ‘at homes’ on Sunday afternoons during the 1910s.Printmaking was an important part of Bevan’s artistic practice. He used lithography early in his career but turned away from the medium in 1901. After 17 years Bevan returned to lithography with aplomb at the end of the War. A work like The Plantation, 1922 (lot 44), shows his mature mastery of the technique, along with a simplification of form, angular structure and clarity of composition. He brought this sensibility to all his landscape prints, capturing the essence of English villages and Polish homesteads in images including The White House, 1921 (lot 43), A Polish Homestead, 1922 (lot 42) and Smithy Barn, Bolham, 1919 (lot 41).Bevan was a highly-skilled horseman and his images of horses are amongst the most celebrated of his oeuvre. He would sketch during the horse sales in London, where he enjoyed the interaction between people and animals as much as the pace and spectacle of the event. This interest expanded into his printmaking practice and can be seen in lithographs such as Horse Dealers (Ward’s Repository No.1) (lot 38), The Horse Mart (Barbican No. 1) (lot 37) and Horse Dealers at the Barbican (Barbican No.2) (lot 39) produced from 1919 to 1921. Crocks of 1925 (lot 40) was his final lithograph and shows a pair of horses having been taken out of a cab’s shafts and led to a trough for a drink.Following Bevan’s death in 1925, memorial exhibitions of his work were held at the Goupil Gallery in London and at Brighton Art Gallery. Bevan is represented in many major public collections, including the British Museum, Victoria & Albert Museum and Ashmolean Museum, Oxford. 

Ian Fleming Dr No by Jonathan Cape First Edition hardback book. Spine damaged. 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

A George II astronomical clock by Gandy of Cockermouth dated 1757, with two train striking movement and 14" dial with broad chapter ring with wavy minute band surrounded by an annual calendar and signs of the zodiac.  The arch is considerably more than a semi circle to accommodate the major part of a 24 hour chapter ring which is traversed by the sun and has moving shutters to show sunrise and sunset.  The outer edge of the ring is divided into degrees to indicate the suns amplitude and the inner edge has signs of the zodiac, Cancer through to Sagittarius, on each side.  The arched centre has the remaining signs of the zodiac surrounding a lunar and tidal dial.  All housed in a red walnut case raised on ogee moulded bracket feet, complete with weights and pendulum.   Height 7' 2 1/4".  NOTE:  This complicated clock has been entered for sale form a local estate and its existence in the Cockermouth area has been known by Mitchells for at least the last 40 years.  This is a very important and interesting clock boasting features that rarely appear outside of London. It exhibits great individuality in both design and construction equalling that of many of the principal London makers.  All the more remarkable is that it was made nearly 270 years ago.  The Gandy family were originally of Cockermouth and later Maryport.  The business was started by James Gandy I who was born circa 1700 and who died a pauper in Cockermouth in 1779.  James's eldest son Samuel (1726-1803) and his younger son also James (1730-1793) were the principal clock makers of this name.  This information gleaned from "The Clockmakers of Cumberland" by John B Penfold 1977. The clock is nationally known and is illustrated and discussed in "The Longcase Clock" by Tom Robinson published by The Antique Collectors Club first edition 1981.  The clock is illustrated on page 224, 304 and 306 in the 1981 edition and discussed on page 305 (see illustration).

Two limited edition commemorative coin first day covers, Queen Mother memorial silver coin cover, Royal Mail definitive stamps collection, Victorian lilac and green series stamps, Victorian 1858-1881 low value denomination stamps and a small selection of British Armed Forces currency £5, £1 bank notes etc.

"Beyond The Border" by W D Campbell, published by Archibald Constable & Company 1898, first edition, pictorial gilt covers and spine.There is rubbing to the gilding on the spine top and bottom and the front board bottom right-hand corner.  The boards front and back internally are still attached but show the bindings as the paper is ripped the length of the boards.  The flyleaves are discoloured but internally the pages are in very good condition with a nice clean colour with no inscriptions.  Overall I would classify this book as being in good condition.

"The Flowerers, A Story of Ayrshire Needlework" by M H Swain, published by W & R Chambers London and Edinburgh, hard cover first edition with dust wrapper 1955, with signed dedication to book and card from the author.

Two first edition books by Kathleen Fidler, "Mr Simister Appears Again", illustrated by Margaret Horder, signed by the author, together with "Mr Simister Is Unlucky", both volumes have dust wrappers.

Fleming Ian "On Her Majesty's Secret Service", hard cover first edition, published by Jonathan Cape 1963, with dust cover, together with "The Spy Who Loved Me" 1964 sixth impression.Overall, the two books in this lot are in good condition, however ”On Her Majesty’s Secret Service” has the poorer dust jacket with small tears of a few milometers mostly to the spine and a 1 cm tear near the fold to the front cover board.  There is some discoloration and the dust cover is slightly grubby with two slight blemishes to the spine.  There is a previous owners name inside.  However the pages are nice and clean there is no major issues with the book. 

Fleming Ian "You Only Live Twice", published by Jonathan Cape, first edition 1964 with dust wrapper.There is a name inside in pen, slight foxing to the end papers, internal pages are clean as are the boards of the book. The dust wrapper has a 2 cm rip on the fold, a 1 cm rip on the spine, 2 or 3 small other tears and slight fold marks to the bottom left-hand corner and top edge, however the dust wrapper is generally clean, and the spine is in good condition.

Fleming Ian "Man With The Golden Gun", published by Jonathan Cape 1965, first edition with dust wrapper.

Alfred Wainwright (1907-1991), a Pictorial Guide to the Lakeland Fells, book 2 The Far Eastern Fells, published in 1955 by Henry Marshall, grey Rexine covers with rounded corners and red lettering, dust wrapper prices 12/6, first edition (see illustration).Underneath the dust wrapper on the front board is a name and address, date April 1957, the spine is severely faded, there is foxing to the dust cover, the internal pages are in good condition with no marks. 

Alfred Wainwright (1907-1991), a Pictorial Guide to the Lakeland Fells, book 3 The Central Fells published in 1958 by Henry Marshall, blue Rexine covers with rounded corners and silver lettering, dust wrapper priced 12/6, first edition. The book says published 1958 and book for in preparation.  The cover has a price of 12 shillings and sixpence. There are no later impression marks. There are no internal inscriptions or marks on the pages, the dust cover has been covered in plastic to repair the rips to the dust cover.

Two books on Gamebirds and Hunting, "Gamebirds and Wild Fowl of Sweden and Norway" by L Lloyd, published by Frederick Warne & Company, hard cover first edition 1867, with green boards and gilded decoration, together with "The English Sportsman The Western Prairies" by Grantley Berkeley, published by Hurst & Blackett London 1861, rear board detached but still present and spine damaged top and bottom but still securely attached.

Six topographical and local history books, "The Kirby Family" by Lewis Kirby, signed first edition 1994, limited to 250 copies, "A History of Whitby" by George Young, 1976 reprint and "A History of Whitby and Streoneshalh Abbey" 1990 reprint hard covers, "A History of The Parish Church of Burnside" by Elizabeth Bingham, "Carlisle Down Memory Lane" by Mary Scott Parker 2013, together with "The Rise and Fall of Ewanrigg Hall" by Doris Riley, signed.

Thirteen signed local interest books, "Cumberland's Rum Butter Coast" by Bob Orrell, "Lakeland Yesterday" by Irvine Hunt, "The Shepherds Life" by James Rebanks, "Even More Muck" by Joyce Wilson, "Last Post and Reveille" by Patrick of The Hills, "Patrick of the Hills" by Patrick Gordon Duff Pennington, "St Mary's Church in Applethwaite", "A Softer Landscape The Works of Jenny Cowern" by Valerie Rickerby, "Tale of Mrs William Heelis" by John Heelis, "Old Towns and Cities Carlisle" by Kenneth Smith, "The Allerdale Years" by Ted Winter, "Memories of The Lakes" by Mary Scott Parker and Melvyn Bragg "A Christmas Child" signed first edition.

Sir Peter Blake RA (born 1932), signed limited edition print "The First Print Target?" 64/75, signed bottom right, with CCA Galleries London certificate.   Sheet size 111 x 101 cm, image size 86.5 x 80 cm. ARR (see illustration).The print is in first class condition and is packed in a protective envelope 

Sir Peter Blake RA (born 1932), signed limited edition print "I Love You" 72/175, signed to the bottom right and with CCA Galleries London blind stamp, with CCA Galleries London certificate.   Sheet size 82 x 59.5 cm, image size 66 x 45.5 cm. ARR (see illustration).This print is in first class condition. It is unframed and currently housed in a protective plastic fronted cover.

Sir Peter Blake RA (born 1932), signed limited edition print "Sources of Pop VII" 50/175, signed to the bottom right. Sheet size 106 x 101 cm, image size 81 x 81 cm. ARR (see illustration).The print is in in first class condition.  It is unframed and currently housed in tissue paper and a protective cardboard wallet.

Sir Peter Blake RA (born 1932), signed limited edition print "Marilyn Monroe - Black" 138/175, signed to the bottom right, with CCA Galleries London certificate.   Sheet size 85 x 65 cm, image size 66 x 42.5 cm. ARR.The print is in first class condition.  It is unframed and currently housed in a protective plastic fronted wallet.

Sir Peter Blake RA (born 1932), "Replay" box set of signed limited edition prints (12 in total), portfolio number 16/175, with CCA Galleries London certificate.   Sheet size 82 x 60 cm, image size 66 x 46 cm. ARR (see illustration).The prints are in first class condition.  They are housed inside the portfolio which has some slight marks to the exterior and some slight rounding to the corners but nothing untoward. 

Sir Peter Blake RA (born 1932), "Classroom Suite" a set of four signed limited edition prints  8/100, signed to the bottom right, with CCA Galleries London certificate.   Sheet size 71 x 95.5 cm, image size 51.5 x 77.5 cm. ARR (see illustration).The four prints are in first class condition.  Although unframed they are housed in protective sleeves with cloth bound edges and metal corners. 

Sir Peter Blake RA (born 1932), "Paris Quartet" set of four signed limited edition prints 14/125, signed to the bottom right. Sheet size 83.5 x 59 cm, image size 66.5 x 43.5 cm. ARR.The four prints are in first class condition with no issues.  Whilst they are unframed, they are housed in Selwyn’s plastic protective covers with cloth bound edges and protective metal corners.

Sir Peter Blake RA (born 1932), signed limited edition print "Sources of Pop Art III"  58/175, signed to the bottom right, with CCA Galleries London certificate.   Sheet size 68.5 x 66.5 cm, image size 51 x 51 cm. ARR (see illustration).The print is in first class condition.  It is housed in tissue paper and a protective plastic fronted wallet.

Sir Peter Blake RA (born 1932), signed limited edition print "Sources of Pop Art IV"  76/175, signed to the bottom right, with CCA Galleries London certificate.   Sheet size 69 x 66.5 cm, image size 51 x 51 cm. ARR.The print is in first class condition.  It is housed in tissue paper and a protective plastic fronted wallet. 

Sir Terry Frost RA (1915-2003), a signed limited edition print "Swing Blue" 143/150, signed to the bottom right, framed and mounted, with CCA Galleries London certificate.  Image size 60 x 38 cm. ARR.The print is in first class condition.  It is housed in tissue paper and a protective plastic fronted wallet. 

Sir Terry Frost RA (1915-2003), a signed limited edition print "Sun Tree" 21/70, signed to the bottom right. Sheet size 84 x 80 cm, image size 60 x 60.5 cm. ARR (see illustration).The print is in in first class order.  As is the frame and mount, It is ready to hang.

Sir Terry Frost RA (1915-2003), a signed limited edition print "Spirals" 50/125, signed to the bottom right. Sheet size 54.5 x 67.5 cm, image size 35.5 x 51 cm. ARR.The print is in first class condition.  It is housed in a protective cardboard packaging with plastic front.  It is not framed.

Sir Terry Frost RA (1915-2003), a signed limited edition print "Swing Rhythm" 29/70, signed to the bottom right. Sheet size 79 x 103.5 cm, image size 63.5 x 86.5 cm. ARR (see illustration).The print is in first class condition.  It is housed in a protective cardboard packaging.

Sir Terry Frost RA (1915-2003), a signed limited edition print "Lilac and Red Tolcarne" 56/75, signed to the bottom right, with CCA Galleries London certificate.  Image size 85 x 47 cm, framed and mounted. ARR.The print is in in first class condition as is the mount.  The frame has a tiny bruise to the top right-hand side but this is barely noticeable.  

Graeme Lothian, a signed limited edition print Everest, 165/300, signed by Edmund Hilary, George Lowe (both on 1953 Everest Expedition), Chris Bonington, Doug Scott (first Brit with Doug Hasken to climb Everest), Rebecca Stevens (first British woman to climb Everest). 30.5 x 45 cm, framed and mounted.The print is in very good condition with no scratches or discoloration.  It is well mounted and under glass.  The black painted exterior frame has various scuff marks and is a little damaged in places. 

Registration No: XCL 14S Frame No: AP.81201J MOT: ExemptShowing just a creditable 3,235 miles from newUK market Triumph 'Limited Edition' Bonneville built to commemorate the 1977 Queen's Silver JubileeA commemorative Certificate of Authenticity, manuals and a current V5C on fileTriumph is one of the most iconic and revered names in the history of motorcycling. Established in Coventry in 1885, by the start of the 1900s the company had made its first motorcycle, beginning a continuous run of production under various ownership until its eventual closure in 1983. In 1937 the Edward Turner designed Speed Twin was released launching a range of Triumph twins that went on to epitomise British motorcycles of the post-war years. To mark Her Majesty Queen Elizabeth II’s Silver Jubilee in 1977, Triumph manufactured a special Silver Jubilee edition of the Bonneville. 1,000 were produced for the UK, with a further 1,000 for the USA and 400 more for other overseas markets, all featuring a stylish Silver, Red, White and Blue colour scheme. The side panels bore one of three legends: Limited Edition, One of a Thousand, or Limited International Edition. It is thought that the UK market machines got 'Limited Edition', the US machines got 'One of a Thousand', and the rest got 'Limited International Edition'. This 1977 Triumph Bonneville Silver Jubilee limited edition, is a genuine UK example, purchased by the current vendor to go with his collection of limited edition Triumphs. This machine has sat next to a 'Royal Wedding' edition and a US specification 'Jubilee' 'Bonnie', also on offer in the sale. In good all round condition for its age, showing some signs of use and showing c.3,235 miles from new, some light recommissioning would be advised before use due to having been in storage. It is offered with a current V5C and a Certificate of Authenticity. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Registration No: P90 OSL Frame No: 023455 MOT: February 2026No.58 of the Mk5 limited edition Superlight 900Speedo shows a credible 6,231 miles from newSupplied with receipts, manual, 2 keys and a V5CDucati was established in 1926 by Antonnio Ducati and his sons, initially producing electrical components. After WW2 they moved into motorcycles with the Cucciola, essentially a pushbike with a clip-on engine. By the 60s they had become associated with performance bikes selling a range of sporty 250 and 350 singles. In response to the demand for larger capacity bikes, Ducati's chief engineer Fabio Taglioni designed the classic V-twin bevel drive engine first used in the 1971 GT750. An immediate success, helped considerably by Paul Smart’s win in the 1972 Imola 200 race, started a tradition of race-winning V-twins that have gone on to dominate World Superbike racing over the years. The SS range of air-cooled twins in various capacities offered a simpler alternative to Ducati's more expensive 8-valve Superbikes with the ultimate version being the 900 Superlight. This limited edition model had a dry weight of just 381lbs making it lighter than some 250s. This rare and collectible 900SL is a Mk5 model, the last of the Superlight range incorporating all the upgrades developed over the preceding years. The plaque on the top yoke shows it as being number 58 of the limited edition run of Mark 5 bikes manufactured in 1996. Presenting to an excellent standard in unrestored and original condition, the speedo shows just a credible 6,231 miles. Owned by the vendor for the last 10 years, he has kept it maintained and is currently MOT'd until February 2026 and it will come supplied with an owner's manual, various receipts and both keys together with current V5C. Very fittingly, the registration number could be perceived to be 'P 90O SL' and complements the bike perfectly. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189

Registration No: FFY03 WUR Frame No: ZDMM400AAB037777 MOT: April 2025Fitted with Termignonis and a carbon mudguardExtensive service and MOT paperwork trailSupplied with original book pack and a V5CIn response to the demand for larger capacity bikes, Ducati's chief engineer Fabio Taglioni designed the classic V-twin bevel drive engine first used in the 1971 GT750. Twenty years later the un-faired Monster began as a styling exercise, designed by Miguel Angel Galluzzi, but it took time to convince the management at Ducati to build it. Once launched the model became an immediate success and has gone down in history as the bike that saved Ducati due to its popularity and cheap development costs with over 300,000 having been produced. The model was eventually made available from 600cc upwards with various engine and chassis permutations. This 620 Monster has been part of an enthusiast small private collection for the last couple of years. It is the Limited Edition 'Dark' version with a distinctive Matt Black finish and small nose cone fairing, presented in standard trim, apart from a pair of Termignoni exhaust and a carbon fibre front mudguard. The speedo displays a credible 4,903 miles supported by 12 old MOT certificates and many receipts documenting its extensive service history. The original book back is supplied with owner's manuals, the service book, key code card and Datatag pack as well as a current V5C. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415 871189

Registration No: P964 GJU Frame No: SMT372DD4TJ033391 MOT: NoneLimited edition Cosworth-tuned Daytona Super ThreeCarbon exhaust, single seat cover and carbon trimGood service history, old MOTs and a current V5CTriumph is the largest surviving British motorcycle manufacturer but it hasn’t been an easy path for the midlands-based manufacturer. The entire British bike industry collapsed in the 1970s and by the early 1980s Triumph went into receivership. After a few years and a lot of legal wrangling, British businessman John Bloor bought the name and manufacturing rights with his 'new' Triumph motorcycle company re-starting bike production in the early 1990s. Proving to be an instant success, the range developed through the 1990s with an eventual concentration on three cylinder sports tourers. When it was released the Daytona Super 3 became an overnight classic with a host of changes from the standard model, the major one being a more powerful engine. The power improvements were due to a collaboration with the tuning gurus at Cosworth and was accomplished by using flat slide carbs, higher compression pistons, re-profiled camshafts and a redesigned cylinder head. The end result was a power increase from 97bhp to 115bhp. Overall the Super 3 was a more responsive and higher performance ride with many parts in carbon fibre and improved brakes. This striking looking Daytona Super 3 is one of only 805 special limited edition models featuring many carbon fibre extras and engine tuning modifications developed by Cosworth Engineering on behalf of Triumph. Kept as part of a Hinckley Triumphs enthusiast private collection since 2008, in sight of the factory where it was built, it is presented in good original condition. Showing a credible 23,893 miles, backed up by a number of old MOT certificates, there is also a good history of nine services throughout its life from its first at 515 miles and then approximately every 3,000 miles thereafter up to its last one at 23,865. Presented in good original condition and recently recommissioned with new oil and filter, brake fluids and fuel tap overhaul, it will come supplied with many old MOTs and a current V5C. Whilst still a bike that can be ridden and enjoyed in modern day road conditions, as a rare limited edition it will surely become a future classic. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189

Joan Stevens, Old Jersey Houses, volume I, signed by the author, forth edition, Phillimore, 1980, with volume II, first edition, Phillimore, 1977, with dust jacket, (2)

AJ Wallis Taylor, Motor Cars or Power-Carriages for Common Roads, first edition, published by Crosby Lockwood & Son, London 1897, blue leather bound.