We found 118894 price guide item(s) matching your search

Adams (Richard). Watership Down, presentation copy, London: Rex Collings, 1974, inscribed by the author to title 'For Robin and Paddy Borwick, with all good wishes from Richard Adams', original green cloth gilt, dust jacket, spine faded, lightly rubbed, 8vo, together with:Chatwin (Bruce). In Patagonia, 1st edition, London: Jonathan Cape, 1977, cartographic frontispiece, black and white illustrations after photographs, original blue cloth gilt, dust jacket (price-clipped), 8vo, plusCarré (John Le). Tinker Tailor Soldier Spy, 1st edition, London: Hodder and Stoughton, 1974, signed by the author to bookplate mounted to half-title, a few spots, small library stamp to title verso, original black cloth gilt, dust jacket, head of spine frayed with small loss, 8vo, withFleming (Ian). The Diamond Smugglers, 1st edition, London: Jonathan Cape, 1957, frontispiece, black and white illustrations after photographs, neat ownership inscription to head of front free endpaper, original black cloth lettered in silver, dust jacket, spine faded, lightly rubbed, 8vo, with 8 other modern first editions, many in dust jacketsQTY: (12)

Booker Prize. Winners and shortlisters, 1968-2023, a collection of mostly first UK editions, uncorrected proofs, hardbacks and softbacks, approximately 51 signed including The Public Image, by Muriel Spark, 1968, The Big Chapel, by Thomas Kilroy, 1971, signed by the author, Pasmore, by David Storey, 1972, Ending Up, by Kingsley Amis, 1974 (uncorrected proof), Heat and Dust, by Ruth Prawer Jhabvala, 1975, Peter Smart's Confessions, by Paul Bailey, 1977 (signed), Praxis, by Fay Weldon, 1978 (signed), A Bend in the River, by V. S. Naipaul, 1979, The Sirian Experiments, by Doris Lessing, 1981, An Ice-Cream War, by William Boyd, 1982, What's Bred in the Bone, by Robertson Davies, 1st US edition, 1985 (David Lodge's copy with his pencil annotations), Chatterton, by Peter Ackroyd, 1987 (inscribed), The Book of Evidence, by John Banville, 1989, Paddy Clarke Ha Ha Ha, by Roddy Doyle, 1993 (inscribed), The Folding Star, by Alan Hollingshurst, 1994 (signed), The Keepers of Truth, by Michael Collins, 2000 (signed), Atonement, by Ian McEwan, 2001 (signed), Fury, by Salman Rushdie, 2001 (signed), and Bring Up the Bodies, by Hilary Mantel, 2012, limited edition proof 49/500, a few duplicates etc QTY: (approximately 152)

The Nonesuch Press. Nonesuch Dickensiana, Retrpspectus and Prospectus; I. Charles Dickens and his Illustrations by Arthur Waugh, II. A Bibliographical list of the original illustrations to the works of Charles Dickens being those made under his supervision, now compiled for the first time by Thomas Hatton, III. Retrospectus, Editions of Dickens Works IV. Prospectus, The Nonesuch Dickens, Bloomsbury: The Nonesuch Press, 1937, burnt orange printed title wrappers separating each volume, form for advance subscription bound to rear, bookseller's ticket to lower corner of upper pastedown, light spotting to first and last few leaves, contemporary letter from B+H Blackwell Ltd loosely inserted, publisher's original blue cloth covers by Leighton-Straker, gilt decoration to upper board, spine a little faded, 8vo, together with: Wood Lea Press. Greenwood (Jeremy). Ravilious Engravings, with an Introduction by John Craig, Woodbridge: Wood Lea Press, 2008, portrait frontispiece, colour and black & white illustrations throughout, original grey cloth with silver gilt lettering to spine, contained within matching slipcase, folio, limited to 800 copiesUllman (Anne, editor). The wood engravings of Tirzah Ravilious..., with recollections by Henry Swanzy and Robert Harling, London: Gorden Fraser, printed by The Roundwood Press, 1987, many illustrations, plain paper wrappings with decorative dust jacket, contained within green cloth slipcase, 4to, limited edition 187/1000Whistler (Laurence). Pictures on Glass..., signed by the author, Ipswich: The Cupid Press, 1972, black and white frontispiece, black and white illustrations, letter from the author loosely inserted, original black cloth gilt, contained within matching slipcase, 8vo, limited edition 458/1400 QTY: (4)

Waugh (Evelyn). The Holy Places, limited edition, London: Queen Anne Press, 1952, wood-engravings by Reynold Stone, original publisher's red buckram gilt, dust jacket, margins spotted, spine toned, 8vo, 482 of 950 copies, together with:Ninety-Two Days, 1st edition, London: Duckworth, 1934, folding map, 24 black and white illustrations, publisher's advertisement leaf at end, original publisher's blue cloth gilt, lightly rubbed, 8vo, plusLabels, 1st edition London: Duckworth, 1930, frontispiece, 5 black and white illustrations after photographs, ownership blindstamp at head of front free endpaper, original publisher's blue cloth gilt, spine somewhat faded, 8vo, withRobbery Under The Law, The Mexican Object Lesson, 1st edition, London: Chapman and Hall, 1939, original publisher's blue cloth gilt, upper panel and front flap of dust jacket only, 8vo, with 6 other first edition works in dust jacket, one by Waugh, five by William GoldingQTY: (10)

AR * Shepard (Ernest Howard, 1879-1976), 'Ratty and Mole', [1959], fine pencil, ink and watercolour with body colour on off-white wove paper, signed lower left, 26.5 x 18.5 cm, framed and glazed with photocopies of Shepard’s manuscript labels to picture verso pasted to back of frameQTY: (1)NOTE:Provenance: Acquired by the vendors’ parents directly from the artist at an exhibition of his own work in Haslemere, Surrey, 29 May – 12 June 1965. Framed and mounted for the exhibition the picture was priced at 15 guineas.Shepard’s line drawings were first used to illustrate a new Methuen edition of Wind in the Willows in 1931. In 1959 Methuen published a new Shepard edition with an additional eight colour plates from watercolours by the artist.This watercolour of Ratty and Mole in a rowing boat by the reeds in the near foreground and Otter and his young son Portly on the far side of the river. The scene is described in Chapter 7, ‘The Piper at the Gates’, when Mole and Rat reunite the missing Portly with his father.‘They watched the little animal as he waddled along the path contentedly and with importance; watched him till they saw his muzzle suddenly lift and his waddle break into a clumsy amble as he quickened his pace with shrill whines and wriggles of recognition. Looking up the river, they could see Otter start up, tense and rigid, from out of the shallows where he crouched in dumb patience, and could hear his amazed and joyous bark as he bounded up through the osiers on to the path. Then the Mole, with a strong pull on one oar, swung the boat round and let the full stream bear them down again whither it would, their quest now happily ended.’The picture was also used as a full-bleed design for the upper panel of the dust jacket of the first edition in 1959, but later replaced with a design featuring all four of the book’s major characters and title lettering. The original watercolour of this latter design, which Shepard described as the cover design in his inventory for the Haslemere exhibition, was sold by Sotheby’s, London, 10 December 2019, lot 252. In the reed bed at the lower edge of the drawing Shepard has added a hand-painted roughly torn strip of paper that sits raised above the lower edge to give extra depth to the picture. This overlaid strip is original and intentional and is clearly visible in the reproductions.This 'trompe l'oeil' paper strip is an integral part of Shepard’s original drawing and is clearly visible in the reproductions.

AR * Shepard (Ernest Howard, 1879-1976), 'The Hour is Come’, [1959], fine pencil, ink and watercolour with body colour on off-white wove paper, signed lower left, 26.5 x 18.5 cm, framed and glazed with photocopies of Shepard’s manuscript labels to picture verso pasted to back of frameQTY: (1)NOTE:Provenance: Acquired by the vendors’ parents directly from the artist at an exhibition of his own work in Haslemere, Surrey, 29 May – 12 June 1965. This watercolour does not appear in Shepard’s manuscript inventory for the exhibition but was obtained directly from the artist at the same time.Shepard’s line drawings were first used to illustrate a new Methuen edition of Wind in the Willows in 1931. In 1959 Methuen published a new Shepard edition with an additional eight colour plates from watercolours by the artist.This watercolour features at the very end of the story in Chapter 12, ‘The Return of Ulysses’, and shows the moment Badger, with Ratty, Mole and Toad behind him, on the threshold and ready to burst in and attack the Weasels in Toad Hall.‘The Badger drew himself up, took a firm grip of his stick with both paws, glanced round at his comrades, and cried: “The hour is come! Follow me!” And flung the door open wide. My! What a squealing and a squeaking and a screeching filled the air! Well might the terrified weasels dive under the tables and spring madly up at the windows! Well might the ferrets rush wildly for the fireplace and get hopelessly jammed in the chimney! Well might tables and chairs be upset, and glass and china be sent crashing on the floor, in the panic of that terrible moment when the four Heroes strode wrathfully into the room!’

Yeats (William Butler). The Wanderings of Oisin and other Poems, 1st edition, first issue, London: Kegan, Paul, 1889, [1], viii, 155 pp. original publisher's black cloth gilt, lower cover with publisher's device in blind, a very good unblemished copy, 8vo, 17.5 x 11.5 cm (6 3/4 x 4 1/2 ins)QTY: (1)NOTE:Wade 2.First edition, first issue of Yeats' first trade book preceded only by the privately printed Mosada (published in 1886 in the Dublin University Review). 500 copies were printed, financed by Kegan Paul but with guarantees from subscribers arranged with the help of John O'Leary. When subscriptions weren't as forthcoming as hoped, Kegan Paul sold the remaining 98 copies to Fisher Unwin.

Grahame (Kenneth). The Wind in the Willows, illustrations by Arthur Rackham, introduction by A. A. Milne, deluxe limited edition, London: Methuen & Co, 1951, mounted colour frontispiece, 11 mounted colour plates, top edge gilt, remainder untrimmed, original full vellum gilt, spine lightly spotted with small amount of wear to head, 4to, contained in original slipcase with paper title label to upper cover (some marks)QTY: (1)NOTE:Limited edition, 329/500 copies. Riall, p. 200.'Published originally by The Limited Editions Club with 16 colour illustrations, and was not published in England until 1950 by Methuen. This is the 1st deluxe edition with text illustrations' (Riall).'This book was first issued in October 8th, 1908, since when it has been reprinted in a variety of editions, illustrated and unillustrated, 99 times. This one hundredth edition, published in 1951, is printed on handmade paper and is limited to 500 copies...' (limitation page).

Maugham (W. Somerset). The Book Bag, The Lugano Series No. 9, Florence: G. Orioli, 1932, signed by the author at foot of photogravure frontispiece, additionally inscribed by the author to Arthur Jeffress 'For Arthur, his friend, his ancient friend, Willie', with Jeffress' bookplate to front pastedown, uncut, original cloth-backed blue boards, dust jacket, lightly rubbed and marked, 8vo, together with:Ashenden, 1st edition, London: William Heinemann, 1928, small bookseller's ticket at foot of front pastedown, original blue cloth gilt, rubbed, 8vo, plusHaggard (H. Rider). Allan Quartermain, 1st edition, London: Longmans, Green, and Co, 1887, frontispiece, black and white illustrations, upper hinge cracked, original black cloth gilt, spine faded, lightly rubbed, 8vo, plusDickens (Charles). Master Humphrey's Clock, 3 volumes, 1st edition, London: Chapman and Hall, 1840, engraved frontispiece and illustrations, contemporary green half calf gilt, some wear and scuffing, tall 8vo, with 8 other works including a first edition of Dennis Wheatley's Come into my Parlour (inscribed and in dust jacket) and a first edition of H. G. Well's A Modern UtopiaQTY: (14)NOTE:The first work inscribed to Art Dealer and 'Bright Young Thing' Arthur Jeffress.

Gregynog Press. Laboratories of the Spirit, by R. S. Thomas, Gregynog Press at the University of Wales Press, 1976, printed in red and black on Batchelor hand-made paper, initials in red and blue, a little light spotting to a few early leaves, top edge gilt, original blue morocco by Sally Lou Smith (signed in initials to rear turn-in), covers with multi-coloured morocco onlays with gilt and silver geometric shapes (very small loss to one onlay to lower cover), 4 pp. prospectus (with folds) loosely inserted, contained in publisher's morocco-backed solander box (spine faded), folio, 295 x 20 cm QTY: (1)NOTE:Limited edition, copy number VIII/XV copies specially bound by Sally Lou Smith, signed by the poet, from a total edition of 215.The first book under the revived imprint Gwasg Gregynog under the stewardship of Michael Hutchins, after the original Gregynog Press closed in 1940.

Galbraith (Robert, i.e. J. K. Rowling). The Silkworm, 1st edition, signed, London: Sphere, 2014, signed by the author to title (with authenticity hologram at head), original black cloth lettered in silver, dust jacket, publisher's wraparound, 8vo, together with:Rowling (J. K.). Harry Potter and the Prisoner of Azkaban, 1st paperback edition, London: Bloomsbury, 1999, original pictorial paper wrappers, spine lightly faded, 8vo, plusFleming (Ian). Goldfinger, 1st edition, London: Jonathan Cape, 1959, ink ownership inscription to final text leaf, small library stamp to head of half-title, some loss to outer blank margin of rear free endpaper, original pictorial cloth gilt, faint tape residue to head and tail of covers, lightly rubbed and marked, 8vo, together with the Lord of the Rings trilogy (later impressions without dust jackets), a first US editon of Stieg Larsson's The Girl with the Dragon Tattoo, and 11 othersQTY: (18)

Shannon (Charles, and Ricketts Charles, illustrators). Daphnis and Chloe, a most sweet and pleasent pastorall romance for young ladies, done into English by Geo. Thornley Gent., limited edition of 210 copies, London: Elkin Matthews and John Lane, 1893, wood-engraved illustrations by Ricketts and Shannon, decorative initials, untrimmed, original green cloth, spine lettered in gilt, very lightly rubbed, 4to QTY: (1)NOTE:Watry A6. One of 210 copies.Issued by Shannon and Ricketts from The Vale, though the first Vale Press publication was Milton's Early Poems of 1896.An early Charles Shannon and Charles Ricketts collaboration. While not officially a Vale Press work, it does have 'The Vale' lettered in gilt to spine base.

Stoker (Bram). The Snake's Pass, 1st edition, London: Sampson Low, Marston, Searle & Rivington, 1891, one or two light stains, original red cloth gilt, spine skillfully rebacked with original spine relaid, gilt lettering and illustration dulled, light adhesion marks to upper cover, contained in crimson morocco gilt solander box, 8voQTY: (1)NOTE:Presentation copy, inscribed to half-title 'Mrs. Leycester, with most kind remembrance of Bram Stoker, Christmas 1890'.The author's first novel, published in November 1890 but dated 1891.

Austen (Jane). Pride and Prejudice, reprinted, London: Richard Bentley, 1846, engraved frontispiece and vignette title (both with imprints dated 1833), letterpress title, frontispiece with former owner's signature show-through, damp-staining and damp-mottling to leaves at front and rear of volume with some light fraying to fore-edge, endpapers also damp-mottled and with few adhesive tape repairs, near-contemporary burgundy half calf by Harrison of Pall Mall, gilt decorated raised bands, modern marbled paper sidings to boards, 8voQTY: (1)NOTE:Gilson D7. A reprint of Benson's first illustrated edition published in 1833 (see Gilson D5).

Hogarth Press. Stories of the East, by Leonard Woolf, 1st edition, London: printed and published by Leonard and Virginia Woolf at the Hogarth Press, 1921, 55 pp., publisher's list to last leaf verso, staples rusted, a few minor spots, text block separating at gutter from front endpaper, original buff wrappers, upper cover illustrated in red by Dora Carrington, 8vo, together with Composition as Explanation, by Gertrude Stein, 1st edition, Hogarth Essays series, Hogarth Press, 1926QTY: (2)NOTE:First work 300 copies printed. Woolmer 16 & 110 respectively.

Johns (W. E.). Biggles and the Plot That Failed, 1st edition, Leicester: Brockhampton Press, 1965, original light red cloth, dust jacket, head of spine lightly rubbed, 8vo, together with:Biggles Takes The Case, 1st edition, London: Hodder & Stoughton, 1952, black and white illustrations, small tape residue to endpapers, original red pictorial cloth, dust jacket, lightly rubbed, 8vo, withBiggles Hunts Big Game, 1st edition, London: Hodder & Stoughton, 1948, 11 illustrations, original red pictorial cloth, dust jacket lightly rubbed, 8vo, withBiggles Goes Home, 1st edition, London: Hodder & Stoughton, 1960, black and white illustrations in-text, original pictorial boards, 8vo with 55 other Biggles titles in dust jacket, some first editionsQTY: (59)

Vale Press. A Bibliography of the Books Issued by Hacon & Ricketts, Vale Press, 1904, wood-engraved frontispiece by Charles Ricketts, wood-engraved double-page border, printed in red and black, endpapers a little toned, original cloth-backed boards, 8vo, limited edition of 250, together with Essex House Press. The Last Records of a Cotswold Community: Being the Weston Subedge Field Account Book for the Final Twenty-Six Years of the Famous Cotswold Games, Hitherto Unpublished, and now edited with a study on the old time sports of Campden and the village community of Weston, by C. R. Ashbee, Essex House Press,1904, woodcut illustrations by Edmund New, light toning to endpapers, original buckram, spine toned, some dust-soiling, 4to, limited edition 16/75, plus Craftsmanship in Competitive Industry, by C. R. Ashbee, Essex House Press, [1908]QTY: (3)NOTE:First two works Tomkinson 50 & 46 respectively.

Essex House Press. A Book of Cottages and Little Houses for Landlords, Architects, Builders and Others: with suggestions as to cost, the housing difficulty, & the improvement of taste in these matters by C. R. Ashbee, M. A., Architect, Essex House Press, 1906, woodcut frontispiece and illustrations by F. L. Griggs, 29 half-tone illustrations bound at rear (one or two small marginal stains), top edge gilt, original cream buckram gilt, spine s little toned with small stain, light marginal dust-soiling, small 4to, together with The Last Records of a Cotswold Community; Being the Weson Subedge Field Account Book for the Final Twenty-Six Years of the Famous Cotswold Games, Hitherto Unpublished, Essex House Press, 1904QTY: (2)NOTE:Tomkinson 69 & 50 respectively. First work limited edition 36/50 copies, issued on paper with the Essex House Press mark and reserved for subscribers to the Press, from a total edition of 250.

Essex House Press. The Courtyer of Count Baldessar Castilio, divided into foure bookes very necessary and profitable for yonge gentilmen & gentilwomen abiding in cort, palaice, or place, done into Englyshe by Thomas Hoby, Essex House Press, 1900, woocut initials 'Alphabet of Bloomers' designed by C. R. Ashbee, partly unopened, a few minor spots front and rear, original limp vellum gilt, silk ties, tiny closed tear to foot of spine, light dust-soiling to covers, 4to, limited edition 60/200, together with American Sheaves & English Seed Corn: Being a series of addresses mainly delivered in the United States, 1900-1901, Essex House Press, 1901, woodcut initials, preface leaf initial in red, original vellum gilt, 8vo, limited edition 296/300, plus Of the Imitation of Christ in Four Books by Thomas A Kempis, London: Keegan Paul, Trench Trubner & Co., 1898, title printed in red and black within woodcut border, wood-engraved illustrations, wood-engravings by Clemence Housman after Laurence Housman, light offsetting, original limp vellum gilt, lacking ties, light dust-soiling, 8vo,limited edition of 660 QTY: (3)NOTE:Tomkinson 12 & 21 for first two works.

Nash (Paul, illustrator). Genesis. Twelve Woodcuts by Paul Nash with the first chapter of Genesis in the Authorised Version, Folio Society limited facsimile edition, 2017, 12 wood-engraved illustrations, original cloth gilt, dust jacket, 4 pp. text by Sebastian Carter, both contained in original solander box with mounted monochrome illustration to upper lid, 4to, limited edition 110/750, together with Gill (Eric, illustrator). The Song of Songs, Folio Society limited facsimile edition, 2017, wood-engravings by Eric Gill, original cloth, dust jacket, 4 pp. text by Sebastian Carter, both contained in original solander box with illustration mounted to upper lid, 4to, limited edition 110/750 QTY: (2)

Cummings (E. E.). The Enormous Room, 1st edition, 1st issue, signed, New York: Boni and Liveright, 1922, signed by the author to front free endpaper, original brown cloth, dust jacket, upper joint split, a few closed tears, some paper reinforcements, some loss to spine extremities, 8vo, contained in green morocco-backed box, spine lettered in giltQTY: (1)NOTE:The author's first book. A first edition, first issue, with "Shit!" present on final line of p. 219.

* Finnish playing cards. Baltic (or Russian) pattern, Finland, Helsinki: Gustaf Otto Wasenius (GOW), circa 1845, the complete deck of 52 stencil coloured lithographed playing cards (French suits), no indices, double-ended courts most similar to Baltic (or Russian) pattern, but without any turbans and QS without face on shoulder, AD with three ink stamps: maker's initials, Helsinki card stamp, and Krono Kort stamp, toned and dusty, finger-soiling to edges, some marks and stains (mainly to pip cards), few minor creases, spade courts each with single small hole, 6C lightly cockled, versos red dotted geometric pattern, each card 90 x 57 mm, with accompanying extract of a typewritten letter (see below), together with: Swedish playing cards, Swedish version of Provincial Paris pattern, Norrkoping: Lithografiska Aktiebolaget, 1872, a complete deck of 52 colour lithographed playing cards (French suits), double-ended courts, kings and queens named, kings & queens of clubs and spades still with rudimentary wheatsheaves, AH with tax stamp and dated maker's stamp, toned and dusty, some marks and brown stains (mainly to pip cards), loose cards somewhat bowed, 3 pip cards with small corner crease, versos blue dotted ovals and circles, each card 89 x 60 mm, plus: Indian playing cards, Children's Alphabet cards, first edition, Poona [now Pune]: Chitrashala Press, circa 1940, a complete deck of 52 plus 2 jokers chromolithographed playing cards (French suits), each (except jokers) with miniature playing card to lower right corner, single figure courts (head & shoulders only) depicting Maharajas, Maharanis, and princes, with rank, suit sign and Marathi letter (or letters), pip cards each with Marathi number, and a central illustration, with the corresponding Marathi word and initial letter above, the two jokers each have a different central illustration with no lettering, all cards with blue border, some very minor edge rubbing, 2 & AC with corner crease, 2D with crease to top edge (with tiny wear), AC & KH with horizontal crease seemingly original to manufacture, versos a boy making a house of cards, square corners, each card 80 x 60 mm, with original box, and with 21 other decks, all 20th century, all believed complete, comprising: Canada 1 pack, Sweden 1, South Africa 1, Poland 4 packs, Iceland 4, China 4, Hungary 2, Israel 2, Norway 1, Finland 1, a quantity of cards from each deck corner mounted onto 24 display boards, 3 encapsulated in clear plastic (none examined out of display boards), the remainder in plastic bags, the boards 54.5 x 40 cm and similarQTY: (24)NOTE:Provenance: Collection of Dudley Ollis.First item: an extremely rare early Finnish deck. The maker was identified by Eddie Scheulin, who found an article on a Gnav pack with exactly the same stamps (according to an accompanying typewritten letter extract). See World of Playing Cards webpage: Playing Cards from Finland for an example price list by this cardmaker.Second item: Mann, All Cards on the Table, #137 for a similar, slightly earlier, deck.Third item: Gordhandas: Playing-Cards of the Chitrashala Press - part 1, in The Playing-Card, vol.30, no.3, Nov/Dec 2001, pp.132-138.

* Transformation cards. Repository of Arts: Pictorial Cards [Beatrice or the Fracas], 1st edition, London: Ackermann [1818-1819], 13 hand-coloured aquatint plates, each depicting four playing cards (French suits), with figures and architectural motifs, single-figure courts, red pip signs hand-coloured, each plate with imprint to lower margin (including date and number of issue), and with plate and volume numbers to upper right corner, the plates mounted with photo corners onto black paper, the corresponding letterpress leaf describing each plate is mounted similarly, plates with a few faint foxing spots, two plates with brown marks to margins, occasional light toning, some offsetting, toning and foxing to text, each plate approximately 24 x 14.5cm, text leaves slightly larger, contained together in an A4-sized album of clear pockets, each plate facing its description leaf, together with Munchener Bilderbogen: Kartenspielereien, 4th edition, Munich: Braun & Schneider, circa 1860, 4 sheets, each depicting one complete suit (13 cards) of wood-engraved playing cards (French suits), red pip signs stencil coloured, single-figure courts, 4 club pip cards with caption, each sheet with imprint, edition and sheet number (77-80) at foot, and with title and a poem in German to upper margin, few faint foxing spots, margins finger-soiled, few minor marks, some edge-fraying and chips (mainly to sheets 77 & 78), edge tears extending into 2 cards: 7C (3mm) and 3H (35mm), 6S & 6C lightly toned, each sheet approximately 42.3 x 33.7cm, each in a large clear plastic sleeveQTY: (2)NOTE:Provenance: Collection of Dudley Ollis.First item: Rare. Field 22: 'One of the most artistic and imaginative transformation packs'. The cards were not issued in playable form, but were commonly cut up for use, and therefore rarely survive intact in their original format.Second item: Field 33-34.

* Ransome (Arthur, 1884-1967). A group of 5 Autograph Letters Signed and 9 Typed Letters Signed, 'Arthur Ransome', various places, 11 February 1953 to 4 September 1955, all to Morley Kennerley [of Faber & Faber], concerning fishing books and related including Ransome's idea to reprint a series of old fishing books, 'Here's the anthology back. Thanks for letting me see it. I have been through it and noted several possible candidates. Now then: those diaries:- I should like to look at them, though I dread adding to the pile of the last year's arrears due to my having been so often and for so long out of action' (11 February 1953); 'I have made several deep dives into that vast bag, and found a great deal of interest. I think the owner knowing all the people mentioned, should make a selection from all the diaries, from start to finish, thus making it the record of a whole fishing life... ' (3 June 1953); 'Here is a copy I made of the letter written by James Leisenring to G. E. M. Sques. I wish you would read it and see if you think as highly of it as I do. I go to the Itchen tomorrow (to catch cold and no grayling)' (28 November 1954); 'Smythe. I have been wasting a lot of time doing a job for the National Book League, producing their new "Reader's Guide" to Fishing books. In it, I have taken the chance of calling attention to the Smythe diary, quoting a sentence from it and saying that it "has been edited by his son and is shortly to be published"...' (19 February 1955); 'Of course Smythe must have his Fishing Gazette stuff if he wants it, even though it is poor beside the Provost's genuine diary' (25 May 1955); ‘Here is H. A. Morritt’s farewell book … Anyhow, I shall be most grateful to you if you will consider adding this to your growing list of really good fishing books. You might follow it up with other very short but very good books, such as a reprint of John Beever (1849), or The Northern Angler (1800), etc.’ (13 August 1955); ‘I think your idea of a series of reprints of all the smaller fishing classics is a very good one. All the best fishing books were written in the days when no one thought it necessary to inflate them. Such a series would allow the inclusion of such books as Morritt’s, and all the books would help each other. In the end the series would offer safe bets to mothers and wives wanting to give presents to sons and husbands. You might lead off with Beever for the fly-fishers and balance him with Nobbes (1682) on the pike. Two days ago by pure accident I came across the only copy I’ve ever seen of John Beever’s first edition of 1849… a small paper-bound of 64 pages… Blurb for Smythe. Do send me the proofs. I could send the blurb by return of post if only I had the proofs. If you have no proofs, let me know and I will, with greater difficulty, write an inferior blurb’ (19 August 1955), a few marks and filing pin holes, etc., a total of 16 pages, 4to/8vo, plus an Autograph Postcard Signed, 3 sheets of proof notes and a collection of 30 related carbon copies of correspondence from Kennerley to Ransome on the same subjectsQTY: (a folder)

Greene (Graham). Rumour at Nightfall, 1st edition, London: William Heinemann, 1931, a few small spots to preliminaries, original red blindstamped cloth gilt, backstrip lightly faded, extremities lightly rubbed, 8vo, together with:A Gun For Sale, 1st edition, London: William Heinemann, 1936, light occasional spotting, original red cloth gilt, some faint white staining to covers and backstrip dulling gilt, 8vo, plusThe Name of Action, 1st edition, London: William Heinemann, 1930, small stamps and excised bookplates to pastedowns and front free endpaper, original blue cloth gilt, small stain to head of upper cover, rubbed, 8vo, with 5 other Graham Greene first editions, including The Third Man and A Burnt-Out Case in dust jacketsQTY: (8)

King (Jessie M., illustrator). A House of Pomegranates by Oscar Wilde, [6th edition], London: Methuen & Co. Ltd., [1915], illustrated colour title, 16 tipped-in coloured plates, letterpress spotted, pictorial endpapers (free endpapers toned), top edge gilt, original decorative blue cloth, faded spine with ends lightly worn, 4to, together with The High History of the Holy Graal, translated from the Old French by Sebastian Evans, London: J.M. Dent & New York: E.P. Dutton, 1903, numerous illustrations, half-title and endpapers spotted and toned, top edge gilt, original pictorial cloth, spine faded and slightly stained, few minor marks, 8vo, plus The Defence of Guenevere and Other Poems, by William Morris, London and New York: John Lane, The Bodley Head, 1904, numerous illustrations, scarce light spotting to letterpress, front pastedown with pictorial bookplate of Henry J. Synnatt, top edge gilt, original pictorial cloth gilt, spine faded, covers rubbed and marked, 8vo, with 4 others illustrated by King and published by Foulis: Isabella or the Pot of Basil, [1907], with original Christmas 1907 greetings slip loosely inserted (with two ink manuscript names); another slightly later edition of the same (colour illustration adhered to front cover); two copies of The Grey City of the North, one 1910 (with red stain to front cover), the other 1914, plus 3 other Foulis envelope-type books: Rabbi Ben Ezra (illustrated by W. Russell Flint); A Little Book of Sundials (illustrated by Alfred Rawlings, 1919); The Dream of Gerontius (illustrated by Robert T. Rose), also another Foulis book (Corners of Grey Old Gardens), and 4 others similar, all narrow or small 8voQTY: (15)NOTE:First item: The sixth edition of this book, but the first edition to be illustrated by Jessie M. King.

Wilde (A., publisher). The Newest, Best and Very-Much Esteemed Book of Knowledge ... , 1st edition, London: A. Wilde, 1764, pp.[x]+156, possibly missing first leaf (blank?), engraved title with different woodcut to each side (partially detached and close-trimmed edges creased), woodcuts throughout, generally toned, lacking endpapers and stitching, contemporary sheep, worn, with spine vertically split and covers detached (old adhesive tape to lower cover), 12mo QTY: (1)NOTE:Rare; the last copy recorded at auction sold at Sotheby's in 1974.The title-pages list all manner of useful information pertaining, amongst other things, to astronomy and the planets, husbandry, natural phenomena such as meteors, thunder-bolts, and blazing-stars, medical conditions, such as the 'signification of moles on man or woman', the interpretation of dreams and Pythagoras's Wheel of Fortune, and the Seven Wonders of the World.

* Fowles (John, 1926-2005). A group of 4 Typed Letters and 1 Autograph Letter Signed, Belmont House/Underhill Farm, Lyme Regis, 1960-74, all to Anthony Rossiter, the first saying that their stepdaughter Anna has been accepted for Bristol, that Elizabeth and he are both sorry we missed the exhibition 'which I hope was successful - and the book. I saw only the rather nasty review from Jupiter Cyril; bad notices from that quarter are almost a compliment, I think, and I'm sure you got justice elsewhere', the second (16 May 1968) giving his thoughts about The Pendulum 'a very remarkable document of courage; a remarkable practical proof of what R. D. Laing has been on about for some time now (hope you've read his book), with the added pleasure of your being a much better writer than he is - and of course, writing from the inside. I wish only that there had been some illustrations - but I gather that's been corrected in the American edition. The book reminded me at times of Montaigne - that almost inhuman contemplation of objectivity about one's own journey through life - and you can't have higher praise from me than that', the last letter (18 December 1974) seemingly referring to his collection of novellas and short stories The Ebony Tower (1974), 'I was delighted the artistic side of the title story meets your approval. I was rather afraid it might be a case of fools rushing in... I think my stepdaughter and her recently acquired husband, who is doing pottery at the RCA, were a little horrified at the use I made of their own miscries in the art-education world. I have also just returned from shocking the Americans a little by suggesting that most of the New York School gigantists are ludicrously over-rated. But so many there have invested so much in the stuff that it is rather like attacking the New York Stock Exchange!', a total of 8 pages, 8vo, plus an Autograph Letter Signed from Elizabeth Fowles to Anneka (12 June 1968), plus the accompanying envelopes and Anthony Rossiter's first edition copy of Fowles's The Collector (Cape, 1963) with some pencil annotations, underscorings and coffee stains, hinges cracked, original cloth in worn dust jacket, 8voQTY: (7)NOTE:Provenance: From the family, by direct descent. For further information please see https://www.anthonyrossiter.co.uk

Potter (Beatrix). The Tale of Tom Kitten, London: Frederick Warne and Co, circa 1914, half-title, colour illustrations throughout, a few minor marks, and some foxing (mostly to edges), pictorial endpapers, original green boards, front cover with inset colour pictorial panel, in original printed glassine wrapper, slightly toned, edges chipped and frayed in places, 16moQTY: (1)NOTE:For the first edition see Linder, p. 427; Quinby 13.In the rarely-found opaque glassine dustjacket, designed to protect the book during its journey from publisher to customer. Typically, as here, the jacket was printed with advertisements to the rear panel and the flaps, whilst the front panel was left blank, enabling the book to be identified by the visible wording and illustration on the front cover of the binding. The dustjacket was usually discarded by the buyer or, in some cases, returned to the bookseller, marked up to indicate which books the customer was interested in purchasing next. Where the wrapper was retained by the reader it rarely survived subsequent handling, and consequently copies are now very rarely encountered with the glassine intact. The dustjacket provides fascinating information about Beatrix Potter's books and related merchandise as well as showing the book in its most original and complete form.

Yeats (William Butler). John Sherman and Dhoya, Pseudonym Library Series, 1st edition, London: T. Fisher Unwin, 1891, untrimmed in original yellow printed wrappers, upper joint splitting, small tears and losses at foot of spine, some dust-soiling and small ink stain to upper wrapper, circular stain to rear wrapper, slim 8vo, together with The Countess Kathleen and Various Legends and Lyrics, Cameo Series, 1st edition, London: T. Fisher Unwin, 1892, frontispiece, some toning to endpapers, original parchment-backed boards, spine a little rubbed with some toning, corners rubbed, slim 8vo, plus Poems, London: T. Fisher Unwin, [1913], portrait frontispiece, title printed in red and black, light toning to half-title, presentation inscription, original blue cloth gilt, spine ends repaired, 8vo, with others by or on Yeats including 1st editions Poems of Spenser, illustrated by Jessie M. King, [1906], The Cutting of an Agate, 1919, and Early Poems and Stories, 1925QTY: (29)NOTE:Wade 4 & 6 for first two titles respectively. John Sherman and Dhoya was written under Yeats' pseudonym 'Ganconagh'.

* English playing cards. Shakespearean Playing Cards, Swan Sonnenschein & Co Ltd, 1904, a complete presentation deck of 52 + 1 colour lithographed playing cards (French suits), double-ended courts portraying characters from Shakespeare's plays, designed by Frederic Colin Tilney, with joker representing the jester Touchstone, each named and with suitable quote alongside, decorative ace of spades with maker's details amidst swans and Tudor roses in wreaths, lightly toned, occasional minor rubbing (mainly affecting pip cards), 4D with very faint corner crease, 9 & 10H pip signs faintly scratched, rounded corners, versos elaborate yellow and white on dark blue pattern of swans within captioned border, each card 92 x 61 mm, with original box (spotted and worn), tuck-in flap with ink manuscript presentation inscription on inner surface: To Miss R. Appleton, wishing kindest regards, F.C. Tilney, Sep 30 1913, outer surface of flap with slightly later unrelated (apparently) ink manuscript ownership inscriptionQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Berry, The Playing-Cards of the World, [457]; Cartorama 62 #189.An unusual presentation pack, with the box inscribed by the designer Frederick Colin Tilney. This first edition of the Shakespearean Cards, although published by Swan Sonnenschein, was printed by Bemrose & Sons Ltd as stated on the ace of spades.

Meggendorfer (Lothar, illustrator). Für Brave Kinder, 7th edition, Munchen: Braun & Schneider, circa 1888, 8 coloured lithographs each with moveable elements, all working with tab (some renewed), first plate gutter reinforced, light offsetting from pivot pins, Dawson ex libris and Fritz ? Homburg stamps to front pastedown, original cloth-backed pictorial boards, a few small water stains to upper board, light rubbing to extremities, 4to, housed in custom-made modern slipcaseQTY: (1)

Tolkien (J. R. R.). The Lord of the Rings: The Fellowship of the Ring, 1st edition, London: George Allen & Unwin Ltd, 1954, folding map at rear, neat previous owner signature to front endpaper, top edge red, original red cloth gilt, dust jacket, some light toning to spine, one or two tiny closed tears, minor stains to rear panel, 8voQTY: (1)NOTE:Hammond A5a. 3000 copies printed of this first volume of the Lord of the Rings trilogy. Part 2, The Two Towers was also first published in 1954, the final volume, The Return of the King was first published in 1955.

Johns (W.E). Biggles - Charter Pilot, The Adventures of Biggles & Co. On a world-wide cruise of scientific investigation, 1st edition, London: Oxford University Press, 1943, colour frontispiece, black and white illustrations, original red pictorial cloth, light rubbing to extremities, dust jacket, priced 5/- to front flap, wear with loss to spine (affecting text), neat archival tape repairs to verso, 8vo, together with:Biggles Gets His Men, 1st edition, London: Hodder & Stoughton, 1950, black and white illustrations, original blue cloth, dust jacket, small vertical mark to spine, 8vo, plusBiggles at World's End, 1st edition, Leicester: Brockhampton Press, 1959, colour frontispiece, 5 black and white illustrations, original dark red cloth, dust jacket (price-clipped), lightly rubbed, 8vo, withBiggles Goes To School, 1st edition, London: Hodder & Stoughton, 1951, frontispiece, 7 illustrations, original pictorial red cloth, dust jacket, spine somewhat faded, lightly rubbed, 8vo, with 35 other first and early editions of Biggles titles in dust jacketsQTY: (39)

* Auden (Wystan Hugh, 1907-1973). Autograph Letter Signed, ‘Wystan’, Kirchstetten, Hinterholz 6, Austria, 20 May [1969], thanking him for the American edition of The Pendulum which he was delighted to receive 'and to find many more reproductions. Overleaf a poem which I send you because I was thinking of you when I wrote it', blue ballpoint pen on personal stationery, 1 page with the typed poem 'In Due Season' to letter verso, one manuscript correction in Auden's hand ('all' for 'each' in first line of second verse), old sellotape strips and adhesion remains at head affecting printed address only, 4to, together with a telegram from Auden to Rossiter, date indistinct, saying that he has written the foreword to Pendulum, ‘but like an idiot have lost name of America publisher stop please cable it’, 1 page, oblong 8voQTY: (2)NOTE:Provenance: From the family, by direct descent. For further information please see https://www.anthonyrossiter.co.uk

Adams (Douglas, 1952-2001). So Long, and Thanks for all the Fish. The Hitch Hiker's Guide to the Galaxy 4, 1st edition, London: Pan Books, 1984, author's signed presentation inscription in blue ballpoint pen to title, 'To Nicky, Best wishes, Douglas Adams', original cloth in dust jacket with holographic onlay to upper cover, slightly rubbed, together with first editions of Dirk Gently's Holistic Detective Agency, The Deeper Meaning of Liff, The Salmon of Doubt, 3 Douglas Adams omnibus editions, 3 Book Club editions and a paperback, all but the last original cloth in dust jackets, a little rubbed, 8voQTY: (11)

Greene (Graham). The Man Within, 1st edition, London: William Heinemann, 1929, one or two marginal spots, original cloth (very slight lean), dust jacket, spine very slightly toned, light vertical crease mark to rear flap, contained in a recent morocco-backed solander box by the Chelsea Bindery, 8voQTY: (1)NOTE:An excellent copy of the author's first novel.

Orwell (George). Down and Out in Paris and London, 1st edition, London: Victor Gollancz, 1933, some light spotting, original black cloth, spine lettered in gilt, tiny tear and nicks at spine ends, corners rubbed, 8voQTY: (1)NOTE:Fenwick A1a. The author's first published novel.

Yeats (W. B.) Poems, 2nd UK edition, London: T. Fisher Unwin, 1899, portrait frontispiece, advertisements at rear, some light spotting and marginal water stains, original cloth with elaborate gilt decoration by Althea Gyles in bright condition, 8voQTY: (1)NOTE:Wade 17. First published in 1895.

Steiner (Rudolf, 1861-1925). A Road to Self-Knowledge and the Threshold of the Spiritual World, 1st one-volume edition, London & New York: G. P. Putnam's Sons, 1922, scattered minor spotting, upper hinge slightly cracked, bookplate of Sunfield to front pastedown with bookseller ticket of B. H. Blackwell at foot, together with Metamorphoses of the Soul, Rendered into English by G. Metaxa from a Text Unrevised by the Author, Edited by H[arry] Collison, London: H. Collison, [1931], scattered minor spotting, pencil signature of David Clement to front free endpaper and bookseller ticket of Rudolf Steiner Bookshop to front pastedown, both original dark blue cloth gilt, slightly rubbed, 8voQTY: (2)NOTE:Both books are rare. The first title, an authorised English translation edited by Harry Collison was first published in 2 volumes in 1918. The Rudolf Steiner Archive does not appear to have a copy of this book. The second title bears the signature of the theosophist David Clement who purchased Broome Farm in Clent in 1933 and offered it to Sunfield for student land training. It exists today as Sunfield Independent Specialist School and children's home. A later edition was published in 1945 by the Rudolf Steiner Publishing Co., in conjunction with the Anthroposophic Press New York.Harry Collison (1868-1945) worked as a publisher and translator. From 1913 Steiner delegated the task of coordinating the translations to him, as well as arranging their publication. He also vested the English language copyright in him contractually, thus granting him authority for publication not only in Britain, but also in America and the rest of the English-speaking world.

Walton (Izaak); Rackham (Arthur(, Illus.: The Compleat Angler or The Contemplative Man's Recreation - first edition (thus), pub. London: George C. Harrap & Co. Ltd, 1931, green and black printed title, pictorial endpapers, 12 colour plates with tipped-in tissue guards, orig. blue-green pictorial cloth gilt with dust jacket, 4to.

Rackham (Arthur) illus.: The Ingoldsby Legends or Mirth & Marvels by Thomas Ingoldsby Esqre - pub. London: J.M. Dent, 1907, first edition, 24 mounted colour plates with tipped-in lettered paper guards, also tinted illustrations and black and white drawings to text, orig. pictorial green cloth gilt, decorated endpapers, 4to.

Otto van Veen (1556-1629): 'Amoris divini emblemate...', Antwerp, Plantin press, 16604to. Full title: 'Amoris divini emblemata, studio et aere Othonis Vaeni concinnata'. Gilt spine with five raised bands. Printed by Balthasar Moretus. Title + 60 pl. Otto van Veen (or Otto Vaenius ) was trained as a painter and humanist. He was born in Leiden in 1556. In 1572, because of the political situation, he fled to the Southern Netherlands with his family. In Liege he studied for a few years under Dominicus Lampsonius, then left for a five-year stay in Italy. After his return to the Southern Netherlands he stayed in Liege, Brussels and then settled in Antwerp. In each of these locations, he always tried to maintain favour with the Court. Until the return of his pupil Rubens from Italy, Vaenius was the leading painter in Antwerp. In his later years he turned to producing emblem books, notably Q. Horatii Flacci emblemata(1607),Amorum emblemata and Amoris divini emblemata. In 1612 he was appointed Master of the Archducal Mint. He moved to Brussels in 1615, where he died in 1629 (link). TheAmoris divini emblemata was published in 1615 (second edition: 1660). In the intro to the book, Vaenius relates how the archduchess Isabella suggested his earlier love emblems (Amorum emblemata, 1608) might be reworked ‘in a spiritual and divine sense.' After all, ‘the effects of divine and human love are, as to the loved object, nearly equal.' Both books indeed look very similar. Formally, the emblems are very much alike in structure: on the left-hand page first a Latin motto, then a group of quotations in Latin, and finally verses in several vernacular languages, on the right-hand page the picture. The visual unity ofAmorum emblemata, established among other things by the presence of the Cupid figure on all emblems but one is echoed inAmoris divini emblematain the ubiquitous presence of Amor Divinus and the soul (conveniently identified as such in the second emblem, link). Ref.: -Praz, p. 526 note. - Brunet V, p. 1025. - Landwehr, Low Countries 702.

Henri Gaudier-Brzeska (French, 1891-1915)Firebird (The Russian Ballet) signed 'BRZESKA' (on the base)bronze with a black patina61.6 cm. (24 1/4 in.) highClay conceived in 1912, this cast from the later bronze edition of 10Footnotes:ProvenancePurchased by the present owners circa 1970Private Collection, U.K.ExhibitedLondon, Royal Albert Hall, Allied Artists Association, July 1913, cat.no.1212 (another cast)London, Whitechapel Art Gallery, Twentieth Century Art: A Review of Modern Movements, 8 May-20 June 1914, cat.no.179 (another cast)London, The Leicester Galleries, A Memorial Exhibition of the Work of Henri Gaudier-Brzeska, May-June 1918, cat.no.2 (another cast)London, Mercury Gallery, 1987, cat.no.5 (as L'oiseau de Feu, another cast)LiteratureHarold Stanley Ede, Savage Messiah, William Heinemann, London, 1931, pp.156-57Horace Brodsky, Henri Gaudier-Brzeska, Faber and Faber, London, 1932, p.36 (ill., another cast)Mervyn Levy, Henri Gaudier-Brzeska: Drawings and Sculpture, October House, New York, 1965, pl.73 (ill., another cast)Roger Cole, Burning to Speak: The Life and Art of Henri Gaudier-Brzeska, Phaidon Press, Oxford, 1978, cat.no.14Evelyn Silber and David Finn, Gaudier-Brzeska, Thames and Hudson, London, 1996, cat.no.18 (ill.b&w, another cast)Soon after his move to London from his birthplace and hometown of Saint-Jean-de-Braye near Orléans, France, in 1912, Gaudier-Brzeska received a commission from Julian Lousada, an avid art collector and friend of the artist. Gaudier-Brzeska was to produce a series of work inspired by the Ballet Russe production of Stravinsky's Firebird, which was to be performed in London for the first time from June to August that year. The work depicts the moment when Prince Ivan Tsarevitch, portrayed by dancer Adolph Bolm, captures the eponymous Firebird, portrayed by Tamara Karsavina. Gaudier-Brzeska produced two plaster casts from the original clay sculpture. Lousada was given one of the plasters, and paid £20 for a bronze to be cast from it, the highest price ever paid for a work of Gaudier-Brzeska's during his lifetime. This cast was sadly destroyed by bombing during the Blitz, and ten casts were subsequently produced from the surviving plaster.For further information on this lot please visit Bonhams.com

Cartier. An unusual and very limited edition 18K gold manual wind wristwatch made as part of the Paris 1991 editionModel: CrashDate: Circa 1991Movement: 17-jewel Cal.160 manual windDial: Silvered, black Roman numeral hour markers, secret signature at 7, blued steel pointed baton handsCase: Polished 18K gold Crash form, back secured by 4 screws to band, sapphire set crown, No.266-91 A108562Strap/Bracelet: Black Cartier alligator leatherBuckle/Clasp: Signed 18K gold folding claspSigned: Case, dial & movementSize: 24mm x 39mm Accompaniments: Cartier pouch, Cartier service paperwork dated 2016Footnotes:Cartier started to produce wristwatches in their London workshops in the 1960s at the absolute height of the 'swinging sixties' when London's influence and creativity was reverberating around the world. At this time, under the oversight of Jean-Jacques Cartier, Cartier created some of the most interesting and now sought after designs of the vintage watch world including the Crash. The first Cartier Crash models were produced and sold exclusively at the Cartier Boutique London in 1967. Since then, just a small number of variants were produced over the following decades. The present watch was part of a limited edition that Cartier's Paris boutique released in 1991. Just 400 pieces were made and it is individually numbered 266 on its case back with Paris printed on the dial.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

dating: 1848 provenance: USA, Octagonal, rifled, 4', 31 cal barrel (some scaling and pitting inside, visible rifling) with brass conical front sight, dorsal marking 'ADDRESS SAM.L COLT / NEW-YORK CITY' in two lines between curly brackets. The barrel's serial number matching the frame, wedge with three matching numbers. Five-shot cylinder depicting a fighting on horseback between Rangers and natives, featuring a central cartouche marked 'COLTSS / PATENT' and matching serial number. Round cylinder stops. Frame with 'COLTS PATENT' mark on left side, serial no. '33xx'. Working mechanism. Brass handle bands numbered en suite. Squared trigger guard. Walnut handle. The first 'pocket' revolver produced by the Hartford company. Remarkably well-preserved, it is a piece that cannot be missing in the collection of a Colt enthusiast. Refer to Flayderman's Guide 9th Edition, pages 87-88. 5B-037. length 22,7 cm.

dating: 1860 - 1873 provenance: USA, Octagonal, rifled, 31 cal. barrel, (some signs of use, visible rifling), with conical foresight, a standard two-line mark. Smooth, five-shot cylinder, with remains of percussions. Smooth frame, large silver metal trigger guard. Inside, serial number '8xx', barrel with missing central number. Checkered, hard-rubber grip scales, one with matching numbering. Some pitting. Working mechanism. Rare. 2000 examples produced. The first with conical foresight (see also the low serial number). See 'Flayderman's Guide' 9th Edition, pp. 160-161 5E-004. length 17,1 cm.

dating: about 1880 provenance: USA, Round, 5-1/2' 38 cal. barrel, with a two-line mark 'HOPKINS & ALLENG MFG. CO. NORWICH CONN. USA PAT. JAN 24 / APR. 21 DEC. 15.74. AUG. 3.75. JULY 11. 76 APR. 17.77. PAT'S MAR. 6.77'. Bore with slight pitting but generally well preserved. Five-shot cylinder. Well working mechanism. Cock probably restored. Frame with single screw side plate and mark 'MERWIN HULBERT & Co. NEW YORK USA'. Checkered, bakelite grip scales. Grip shaped as a bird's beak. Finely preserving the 80% of old nickeling. Interesting. See 'The Story of Merwin Hulbert & Co. Firearms' by Art Phelps (first edition 1991) Taylor Publishing, Dallas Texas. On page 52 there is a photograph of a model which is identical to ours, described as a rare model with a 5-1/2', 38 cal. barrel, grip shaped as a bird's beak, and single screw side plate. According to the author, only one example of this single-action model is known. length 26.5 cm.

dating: 1850 provenance: USA, 7-1/2', octagonal, rifled, 36 cal. barrel (some pitting inside, clearly visible rifling), with conical foresight, clearly visible mark of the first type (New York City). Barrel wedge, cartridge rammer lever and barrel with serial number matching the frame. Six-shot cylinder with remains of the Texas-Mexico naval battle, more visible patent and serial number (also matching the frame). Well working mechanism. Frame marked 'COLTS PATENT', serial number '21xx'. Pin of the cylinder with matching numbering. Grip with brass bands, numbered en suite. Trigger guard of the first type, with square back. Walnut grip. Some signs of use and time, pitting (good/medium condition). Brass bands with remains of antique silver plating. Second model square-back trigger guard: square trigger guard and screw above the barrel wedge, serial numbers between 1250 and 4200. The serial number shows the first year of production. See 'The Book of Colt Firearms' by R.L. Wilson, Blue Book Publications, MN. Pages 121-132. See also Flayderman's Guide, 9th Edition, pp. 89-90. 5B-051. length 34 cm.

dating: Third quarter of the 19th Century provenance: USA, Octagonal, rifled, 7-1/2" barrel (visible rifling, pitting inside), provided with foresight, with dorsal marking "ADDRESS SAM.L COLT NEW YO..." (the rest is no longer legible). A crack at the breech for about 2.5 cm. Cartridge rammer and barrel with serial numbers matching with the frame, the barrel wedge with three different numbers. Six-shot cylinder with remains of a scene depicting the Texas-Mexico naval battle, still legible patent and serial numbers (also matching with the frame). Mechanism needs revision. Frame marked "COLTS PATENT" and Serial number "16xx", cylinder's pin with matching serial number. Brass handle bands with remnants of silvering and matching serial numbers. Small and squared trigger guard with marks "U" and "G". Smooth, walnut handle. Second model square-back trigger guard: square trigger guard and screw above the barrel wedge, serials between 1250 and 4200. The first year of production can be identified from the serial number. Refer to "The Book of Colt Firearms" by R.L. Wilson, Blue Book Publications, MN. Pages 121-132. Also refer to Flayderman's Guide, 9th Edition, pages 89-90. 5B-051. length 33,5 cm.

Registration No: HX51 UAO Chassis No: JSAEGA41S00200477 MOT: March 2025Limited edition 'GSR' which is one of six-hundred builtA genuine Japanese 'hot hatch' with a 16 Valve 1.8 Litre engine capable of accelerating from 0-60mph in 8.8 secondsIntroduced in 1995, the Suzuki Baleno was the European brand name for the Suzuki Cultus Crescent and it was Suzuki's first attempt to enter the competitive compact segment of the market. Initially available as a three-door hatchback and a four-door family saloon, it was fitted with either a 1.3 Litre or a 1.5 Litre engine. Restyled in 1998; in the European market a special 'hot hatch' version was made available known as the Suzuki Baleno GSR. Fitted with the 1.8 Litre J18A chain-driven DOHC engine, the GSR was considerably fast for the era, producing 119bhp and 112 Ib-ft of torque, propelling the car from 0-60mph in 8.8 seconds, somewhat quicker than the Volkswagen Golf 2.0 GTI from the same period. The car was fitted with a number of luxuries such as air conditioning, rear window wiper, fog lights and sports bucket seats. Having only produced around 600 units in total, the GSR has developed a following with enthusiasts as the plucky underdog hot hatch. First registered on the 28th September 2001, 'HX51 UAO' was supplied by Town & Country Suzuki cars in Ash, Surrey in the colour scheme described by Suzuki as 'Blue-ish Black Pearl' over a Grey Cloth interior and was PDI'd for delivery on the 17th October 2001. Supplied with the original service book, there are nine Suzuki main dealer stamps up to 72,000 miles. There are a number of invoices on file for further servicing and the Suzuki was recently serviced by the vendor. Supplied with a number of spares including original springs, after-market headlight covers, replacement crownwheel and pinion for the differential, CV joints, new fog lamps, gear linkages and more. Described by the vendor as being in 'very good' mechanical condition and cosmetically showing some small stone chips on the front, the vendor has advised that he will also be repainting the rear bumper in time for the sale. Now offered as a surprisingly rare hot hatch - we are sure this could be a great opportunity for any collector who fancies a car that is quite different from the usual choices and can be enjoyed as a cheap (and quite fast) runaround. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430

Registration No: P293 YGJ Chassis No: SCAZA12C3VCH59307 MOT: May 2025Just 17,500 miles from new1 of just 237 Silver Dawns produced and a believed unique Springfield interiorHighly original and very nicely presented conditionIn current family ownership since 2002 with just two previous keepersEntered from a significant private collectionDebuting in America during 1994, but not available to other markets including Britain until the following year, the ‘New' Rolls-Royce Silver Dawn was among the final variants to be spun from the accomplished but long-serving Silver Spirit platform. A late hurrah before BMW assumed control, the newcomer was based around the Crewe concern's familiar four-door monocoque bodyshell equipped with all-round independent suspension, adaptive ride control, power steering and ABS four-wheel disc brakes. Benefiting from Bosch Motronic fuel injection and digital ignition, its smooth 6750cc OHV V8 engine was allied to a four-speed automatic transmission. Available with a bewildering array of options not to mention Rolls-Royce's bespoke `tailoring' service, the ‘New' Silver Dawn remained in production until 1998. Expensive yet exclusive as befits the ‘World's Best Motor Car', just 237 are thought to have been made.Manufactured in 1997, the Silver Dawn offered was finished from the factory in Red Pearl over Silica paintwork with Silica fine lines, the Dawn was specified with the Springfield interior trim that was available at the time on limited edition Silver Spurs to commemorate the 75th anniversary of Rolls-Royce manufacturing cars at Springfield, Massachusetts, and is believed unique on a Silver Dawn. Constituting Chesterfield quilted buttoned style seats, door armrests, and door panels, the interior is trimmed in Magnolia hide upholstery, Sahara carpets, and Parchment hide headlining. In addition, the interior features cocktail requisites, picnic tables with enclosed storage/laptop receptacles, and a rear armrest bottle cooler compartment.Registered new as ‘30 PC’ on the 8th of January 1997, the Rolls-Royce had two keepers and covered the majority of its mileage during the first five years of its life. Purchased by the vendor's late father from Straight Eight Rolls-Royce and Bentley in the New Forest in 2002 as an addition to their significant private collection, chassis ‘59307’ had covered just 15,950 miles from new at this time. Pressed into gentle use during the first year of ownership, the Dawn was provided with a speedometer change later in 2002 (by Rolls-Royce Knutsford) at 16,415 miles and thereafter has only covered extremely minimal mileage as part of the collection. With just 17,600 miles from new (1,214 miles on the new odometer), this is an exceptionally low mileage example.Supplied with a history file, it includes the original owner’s manual, stamped service book, a selection of previous MOT certificates, an MOT certificate until May 2025, sundry paperwork, and a current V5C document. Provided with a fresh service for the sale by Rolls-Royce specialists Bowling Ryan (at the end of May 2025), the Rolls-Royce started and ran well during our photography session. This highly original, very well presenting and already rare Silver Dawn is particularly special, with its Chesterfield style Springfield interior, low mileage and ownership. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: K3 DCC Chassis No: WVWZZZ152MK MOT: June 2024One of just 470 UK supplied examplesc.50,750 miles and usual Rivage edition refinementsLast of the legendary Mk1 Golf GTi modelsOriginally supplied to a David Challenger by Listers of Stratford-Upon-Avon on 1st August 1992 and registered with the cherished mark ‘K3 DCC’, early servicing was carried out by Vindis & Sons Cambridge. With six previous owners the VW has covered a total mileage of just c.50,750 in its pampered life. The supporting paperwork shows a moderate 32,000 being completed in its first five years of life, 14,000 miles over the following sixteen years, then just 4,000 in the last eleven years. Garaged and used only sparingly whilst in the vendor’s care, it came from an eight year previous ownership and ten year ownership prior to that. The vendor informs us he has made contact with previous owners to verify its history and reminisce! A large folder of paperwork accompanies the car detailing maintenance work carried together with service book and original handbooks in the original VW wallet. Also included are sales brochures for the limited edition Rivage, Sportline and the Clipper models.The Mauritius Blue interior is said to be “outstanding and immaculate” with the only upgrades being a retro modern Blaupunkt Essen DAB BT stereo and VDO gauges. Furthermore, the “heated seats, power hood and electric windows all work correctly, as does everything including the digital MFI display”. The vendor further advises the Classic Blue Metallic exterior is in “remarkable condition for the car's age, completely solid with no rust or corrosion. The underside is solid with evidence of original Waxoyl rust-proofing”.In the current ownership the cambelt has been replaced for peace of mind, a new VW gearbox linkage kit fitted and a new battery fitted which has sat on a trickle charger when not in use. A custom-built stainless steel exhaust gives a “lovely throaty sound”. The “immaculate” forged alloys are shod with four Pirelli P7 Cinturatos. We are also informed the hood is in good condition and leak free, although it has a very small nick above the driver’s door. It is complemented by the original tonneau cover and optional VW wind deflector. The engine bay is said to be clean and well maintained with a battery shut-off key for easy storage if needed. Spare parts with the car include a set of poly bushes, a spare VW steering wheel and a Momo steering wheel and boss. This last of the line and now highly collectible Mk1 Golf is worthy of close inspection. For more information, please contact: John Markey john.markey@handh.co.uk 01428 607899

Registration No: F640 DNG Chassis No: SCC082910KHD65159 MOT: November 2024Just 37,000 recorded miles1 of just 1,562 Lotus Esprit Turbo (X180) cars understood to have been made from 1987-1991Benefitting from some £11,000 worth of improvements since 2021In current ownership since 2017Desirable and collectible modern LotusThe Esprit metamorphosed through several series over the next two decades before the model's ultimate expression - the V8 - arrived in 1996. Lotus had first employed turbocharged induction in 1980 on the Essex Turbo Esprit, a limited edition model featuring the Blue/Red/Chrome livery of the Essex Overseas Petroleum Corporation, sponsor of Team Lotus from 1979 to 1981. The Essex paved the way for the series production Turbo Esprit, the arrival of which in April 1981 coincided with that of the S3 models. Despite having a wet sump, the Turbo's 2.2-litre Garrett-blown engine produced the same power (210bhp) as the Essex's dry-sump unit. The Turbo Esprit retained the aerodynamic body kit of the Essex cars and featured prominent 'Turbo Esprit' decals on the nose and sides. The Turbo's top speed was 148mph, with 60mph attainable in 6.1 seconds. In 1987, the Esprit was comprehensively restyled by Peter Stevens, who produced a less angular, more rounded and much more modern look. The turbocharged car's name was changed to 'Esprit Turbo', while the major mechanical updates were a Renault GTA gearbox and outboard rear brakes.Manufactured new in 1989, chassis number 65159 is one of just 1,562 Lotus Esprit Turbo (X180) supplied and was sold new to the home market, being first registered as ‘F640 DNG’ on the 25th of May that year. Finished in Calypso Red with Cream leather interior upholstery, the Lotus is understood to have only resided in the United Kingdom for around 12 months, the Esprit Turbo was exported to the car-friendly climate of Japan thereafter. Residing in Japan for the subsequent twenty-seven years, the Esprit was acquired by the vendor in 2017 and was subsequently repatriated. Retained by the vendor ever since, the Lotus has been substantially improved during this period, receiving over £11,000 worth of enhancement, which included bodywork repairs and repainting, servicing with new spark plugs, new emissions and turbocharger control pipes, retrimmed boot compartment, a brake refresh, and alloy wheel refurbishment. Offered with just 37,000 miles on the odometer, this is a low mileage desirable and collectible Lotus modern classic! For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: LC51 ELX Chassis No: WDB1290682F204658 MOT: March 20251 of a limited production run of just 100 UK market carsWarranted 59,000 miles from new and just three former keepersVery nice example with the book pack in stamped service bookOffered from a private collection“One glance is enough to tell you just how special this glorious car is. So special, in fact, that only 100 models will be produced for the UK – with each one certified as authentic by Mercedes-Benz and Sir Stirling Moss” (Mercedes-Benz SL-Class, limited edition brochure)Unveiled at the March 1989 Geneva Motor Show, the fourth generation (R129-series) Mercedes-Benz SL was styled in-house by Bruno Sacco. Often cited as the highlight of his career, the sleek Roadster was beautifully engineered. Based around a two-door monocoque bodyshell, its sophisticated all-round independent suspension was augmented by a host of active and passive safety features including: electronic stability control, ventilated ABS disc brakes, adaptive-damping shock absorbers, front airbags and an integral rollover bar that deployed in less than a third of a second (if the car ever sensed an impending flip). Suitably cosseting, the convertible's impeccably built cabin was protected by a fully automated power hood and featured such niceties as memory seats, electric windows and mirrors and an adjustable steering column. Yet, lurking beneath all the luxury and refinement was a performance orientated grand tourer. Launch flagship, the mighty 500 SL (known as the SL 500 from 1994 onwards) was powered by the first of Mercedes' four-valve per cylinder, dual-overhead camshaft V8 powerplants. Credited with 326bhp and 332lbft of torque, this fearsome 4973cc unit was allied to four-speed (later five-speed) automatic transmission as standard. Reputedly capable of over 150mph and 0-60mph in 6.3 seconds, the model was updated with a more emissions friendly but marginally less powerful 4966cc engine from June 1998 onwards.Intended to be a fitting send off for the R129-series, and to pay homage to one of the greatest Mercedes-Benz works drivers, Sir Stirling Moss, the special edition SL500 ‘Silver Arrow’ boasted a unique specification which included: Silver Arrow ‘777’ paintwork, Black / Silver Nappa leather upholstery, AMG body styling, bespoke 18-inch multi-piece alloy wheels, Silver brake calipers, chrome-sheen aluminium exterior trim, illuminated door sills, ‘engine-turned’ aluminium instrument and gearshift surrounds and Bird’s-Eye Maple Black wood trim. Mercedes-Benz only allocated 100 special edition SL500 ‘Silver Arrow’ cars to the UK market. Manufactured in 2001, ‘LC51 ELX’ was one of the 100 UK Silver Arrows, being registered new on the 20th of September that year. Having now covered a warranted modest 59,000 miles from new, the SL 500 has had just three former keepers and is offered from a private collection. Recently benefitting from a service by a specialist in March this year and was supplied with an MOT certificate in March too, with no advisories.A very nice example, the Silver Arrow is offered with a large history file that includes the original book pack in the Mercedes-Benz wallet that contains the owner’s manual, supplementary manuals, and stamped service book which displays ten entries, all completed by specialists, with an additional service invoice in the history file. The file further contains a large selection of MOT certificates, numerous previous invoices, a selection of former tax discs, sundry paperwork, copies of previous logbooks, ‘Own A Limited Edition Mercedes SL’ sales literature, and a current V5C document, as well as having two sets of keys. Silver Arrows are surely a must for the Mercedes-Benz collector and to honour the great Sir Stirling Moss is something all enthusiasts and petrolheads can resonate with. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

A Royal Copenhagen limited edition Mussellmalet tureen with lid, blue fluted body, marks the 225 year anniversary of factory, No.43,first quality, 33cm high, marks to base and lid, boxed

Antiquarian books - The Compleat Angler, in two volumes, Lea and Dove edition, the 100th edition of The Compleat Angler, or, The Contemplative Man’s Recreation, being a discourse of Rivers, Fish-ponds, Fish and Fishing. By Izaak Walton (1593-1683), and Charles Cotton (1630-1687), edited by Robert Bright Marston, (1853-1927). The first volume Deny Quarto edition, number 212 of 500 copies, signed by the editor - along with an interesting photograph of relating to the author, (3).

BLAIR ATHOL 2009 10 YEAR OLD FIRST EDITION AND GLEN GARIOCH 2008 10 YEAR OLD FIRST EDITION HIGHLAND SINGLE MALT Each 46% ABV / 70cl Qty: 2 Despite being situated in the small town of Pitlochry, Blair Athol distillery is named after another town about seven miles further north. There is some speculation that this was done to ingratiate the distillery with the Duke of Athol who owned the land the distillery was built on. As with so many other distilleries, Blair Athol couldn’t weather the storm of The Great Depression and closed its doors in 1930. During this period of silence the distillery was acquired by Arthur Bell & Sons who reopened it in 1949. Today it still provides the heart of the Bell’s blend.

LAGAVULIN 12 YEAR OLD 2003 RELEASE ISLAY SINGLE MALT 57.8% ABV / 70cl The Islay distillery of Lagavulin first gained notoriety in 1862 when it was acquired by the well-known blender, John Logan Mackie. He then passed the reins to his nephew Peter, who is credited with the creation of the highly regarded White Horse Blend. This blend was so successful that by 1924 the Mackie group changed their name to White Horse Distillers, before becoming part of the DCL group a few years later. Lagavulin single malt was still produced under the White Horse Distillers name until the late 1990s when it became part of the Diageo conglomerate. The most famous advocate of Lagavulin is probably fictional character, Ron Swanson, from hit US sit-com Parks & Recreation. However, Nick Offerman (the actor who plays Ron) must also enjoy a drop, as he has partnered up with the distillery to create his own limited-edition whisky.

KILKERRAN LIMITED EDITION COLLECTION (6 X 70CL) AND FIRST CASK MINIATURE SELECTION (6 X 5CL) CAMPBELTOWN SINGLE MALT Kilkerran Limited Edition Collection:Port Wood 10 Year Old, Rum Wood 10 Year Old, Madeira Wood 10 Year Old, Bourbon Wood 10 Year Old, Fino Wood 10 year Old and Oloroso Wood 10 Year Old. All 46% ABV / 70clKilkerran First Cask Selection:Port Wood - 59.8% ABV / 5clRum Wood - 60.6% ABV / 5clMadeira Wood - 60% ABV / 5clBourbon Wood - 60.3% ABV / 5clFino Wood - 59.1% ABV / 5clOloroso Wood - 60.1% ABV / 5cl Qty: 2