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Brewing.- [Child (Samuel)], “A Gentleman, lately retired from the Brewing Business”. Every man his own brewer; or, a compendium of the English brewery, first edition, half-title, 2 advertisement ff. at end, A6 cancelled, B11 cancel with drop-head title 'The Philosophy of brewing; or, a compendium of the English brewery', obliterated ink ownership inscription to head of A3 (some ink offsetting on to verso of title), occasional spotting or light staining, lightly browned, front endpapers water-stained, contemporary sheep, gilt, spine in compartments and with red morocco label, spine ends chipped, joints splitting, but holding firm, corners worn, some staining, rubbed, [Cagle 599 (uncancelled state of ff. A6 & B11) & 600 (cancelled state); Maclean p.26], a good copy, large 12mo, Printed for the Author: and sold by J. Almon, opposite Burlington House, in Piccadilly; and Mess. Robinson and Roberts, in Pater-noster Row, 1768.  *** Rare at auction. 

Pollard (Percival) Lingo Dan, first edition, 1p. advertisements, slight crack to upper hinge, bookplate of Arthur K. Brewer to front pastedown, original red cloth lettered in gilt, slight darkening to spine, a few patches of mottling but an excellent example overall, [Hubin p.650], 8vo, Washington, The Neale Publishing Company, 1903.*** An excellent example of the famous crime rarity, a Queen's Quorum title (no. 32). The novel's title character is the all-American anti-hero: a murderer, thief, con-man and patriot. This copy includes a note from the crime bibliographer Allen Hubin discussing the rarity of the present title and the possibility of using the present copy as the basis for a modern reprint.

Fleming (Ian) The Man with the Golden Gun, first edition, abrasion marks from removal of stamps to endpapers, half-title and several other pp., remains of label to head of title, light abrasion to fore-edge, light foxing to half-title and rear endpapers, first state boards with golden gun on upper cover, spine ends and corners rubbed and a little bumped, chip to foot of lower joint, dust-jacket, minor chipping to spine ends and corners, light rubbing to head and foot, vertical crease to upper panel, still an excellent example overall, 8vo, 1965. *** The very scarce issue with the gold gun on upper cover, considered by Jonathan Cape inadequate and subsequently reissued in plain boards.

Bible, English. [The bible in Englishe], 5 parts in one, [Great Bible version], double column, black letter, woodcuts in the text, decorative initials, lacks c.54 of 600ff. (all 8 preliminary leaves including title; part 1 A1-2, A7-8, B1, B5, B8, H7, I1 & K8; part 2 M3, M6, M8, N1, N3-6, O2-7, P1, P8, Q1-2, Q7-8, R1 & R8; NT [fleuron]A1 (title), [fleuron]C1-2 (a sliver remaining), [fleuron]I8, all after [fleuron]O8 (final 10ff.)), interleaved where leaves lacking, several ff. defective with serious text loss (see part 1 A3-6, G5 & I2; part 2 M3-4; part 4 3L1; NT [fleuron]I7), sometimes supplied in later ink manuscript, other portions of text loss and repairs, some woodcuts unfortunately cut away but many remaining, extensive marginal repairs to part 1 & NT towards end, a few instances of underlining, browned, some spotting and staining, modern morocco, preserved in custom drop-back box by Temple Bookbinders, [Herbert 117; STC 2096], folio (331 x 215mm.), [Richarde Harrison], [1562]; sold not subject to return.  *** The first folio edition published after Elizabeth I's accession. Harrison was fined for printing without licence. Provenance: Thomas Osborne of Codrington his Booke Anno Dom 1694 (ownership inscription to foot of T1 & several other ff.); "A Gift Received through Rev. Professor J.H. Thayer. 2 May 1868" (pencil inscription to front free endpaper). 

Carter (Charles) The Complete Practical Cook, first edition, title in red and black, 60 engraved plates, a few folding, slight worming to front endpapers and margin of folding frontispiece, occasional soiling and light water-staining, contemporary panelled calf, extremities worn, some surface abrasion to lower cover, [Bitting p.77; Maclean p.23; Oxford pp.61-62], 4to, Printed for W. Meadows, C. Rivington and R. Hett, 1730.*** "This is a large quarto with fine engravings of the courses at table" (Oxford).

Lake District.- Fielding (Theodore Henry) & J. Walton. A Picturesque Tour of the English Lakes, first edition, half-title, aquatint title-vignette and 48 plates, all hand-coloured, some tissue-guards loose, occasional light foxing and spotting slightly affecting the edges of one or two plates, contemporary red half morocco, spine gilt in compartments, a few surface tears to marbled boards, slightly rubbed, R. Ackermann, 1821 § Garnet (J., publisher) Views of the English Lakes, engraved title and 30 plates, some very light water-staining to upper edge, modern half calf, gilt, morocco spine label, Windermere [c.1860s], 4to and oblong 8vo (2) ***  To summarize Ackermann's introduction, this work unites the "most striking features of the various kinds of scenery of the lakes, executed by able artists in a style worthy of the subject" with "a description of all that is interesting and remarkable in the nature and appearance of the country... combining a judicious selection from the labours of former writers... with much new and original information." 

Greene (Graham) The Power and the Glory, first edition, usual light browning to half-title, light marginal toning, small bookseller's sticker on pastedown corner, original cloth, second impression jacket with "Second large printing" to front flap, light creasing and fraying to spine ends and extremities, spine a little toned, very faint surface soiling to lower panel, but an excellent example overall, [Wobbe A16a], 8vo, 1940.*** Hailed by John Updike as "Graham Greene's masterpiece", the work was chosen by TIME magazine as one of the hundred best English-language novels since 1923.  Many of the copies were seemingly lost in the bombing of Heinemann's publishing house during the war. 

Pollution.- Evelyn (John) Fumifugium: or the Inconvenience of the Aer and Smoak of London dissipated, first edition, first issue (with 'Published by His Majesties Command' on title), lacking final blank (as often), later pencil marginalia, title with neat repair to outer margin, some water-staining and a little soiling, a1&2 (To the Reader) small worm trace in text, affecting part or whole of a few letters, but with no loss of sense of text, b2 very small hole to outer margin, closely trimmed at head, just touching headline on D1r&v, some marginal water-staining, occasional spotting, lightly browned, bound between blank ff. in 19th century half calf over marbled boards, spine gilt, head of spine and corners little worn, rubbed, [Keynes 23; Wing E3488], small 4to, Printed by W. Godbid for Gabriel Bedel, and Thomas Collins, and are to be sold at their Shop at the Middle Temple Gate neer Temple-Bar, 1661.  *** The first English book on pollution, with suggestions on how to improve the poor air quality of London, including the planting trees and relocating of industries such as brewing, dyeing and lime-burning.Provenance: Henry Davies (late 19th / early 20th century bookplate to front pastedown). 

Brockman (Stuart, binder).- Morgan (Derek Llwyd, editor) Kyffin: A Celebration, one of 50 copies for the Designer Bookbinders, from a total edition of 360 copies, foreword by H.R.H. The Prince of Wales, 20 linocuts in blue and black and linocut endpapers by Kyffin Williams, bound by Stuart Brockman (with his label) in 2007 in thick boards covered in translucent vellum over a watercolour painting and tooled with chimney smoke in palladium punctuated with gilt diamond-shaped tooling, remarkable deep blue and silver patterned endpapers, original linocut endpapers bound in, spine lettered in gilt, all edges gilt, housed in perspex box for viewing within Brockman’s original black velvet-lined clamshell black cloth box with black morocco, gilt lettered spine label, small folio (binding 266 x 176mm.), Newtown, Gwasg Gregynog, 2007.*** An astonishing binding paying tribute to Kyffin Williams’s art with a bold image of a Welsh village in the mountains stretching across both boards and the spine in splendid colours. British Fellow of the Designer Bookbinders, Stuart Brockman has brought the technique of translucent vellum over painted boards, first developed by Chivers of Bath, into the 21st century with great skill and artistry.

Woolf (Virginia) Orlando: A Biography, first edition, one of 861 copies, this one of 800 signed by the author, plates, original cloth, gilt, one or two light marks, otherwise a fine copy, [Kirkpatrick A11a], 8vo, New York, Crosby Gaige, 1928.

Cicero against agrarian reform.- Loredano (Bernardino) In M. Tullii Ciceronis orationes de lege agraria contra P. Servilium Rullum tribunum pl. commentarius, first edition, collation: A-Z4 AA-OO4 PP2, title with woodcut printer's device, initial spaces with guide-letters, 3pp. errata at end, occasional spotting or light staining, lightly browned, later endpapers, contemporary limp vellum, spine in compartments, lacking ties, a few small stains, small 4to (203 x 145mm.), Venice, Paulus Manutius, June, 1558.  *** Rare copy at auction of this commentary on Cicero’s orations against land reform in favour of the poor, spoken against the tribune of the plebs P. Servilius Rullus. Cicero equated the agrarian movement to robbery, and believed that it had disrupted the 'concordia' of the Roman republic, and given rise to factions. Provenance: Baron Landau (engraved bookplate to front pastedown). Literature: Ahmanson-Murphy 535; Renouard 174:8; EDIT 16 CNCE 28035. 

Bees.- Butler (Charles) The Feminin' Monarchi', or the Histori of Bee's, third edition, verso of title with half-page woodcut illustration of the hive with a crowned queen at head (perhaps in honour of the dedicatee Queen Henrietta Maria) and with verses in Latin and English beneath, woodcut diagrams, musical notation for a bee's madrigal, head-pieces and historiated or decorative initials, printed side-notes, early ink pen trials to title and occasionally elsewhere (mostly in margins), R4 short tear to outer margin, just touching a printed side-note without loss, Z2&3 small hole in outer margin, occasional spotting or staining (including some ink), lightly browned, lacking endpapers and pastedowns, contemporary sheep, spine ends little worn, corners worn, rubbed, scuffed and scratched, but solid, [British Bee Books 18; Walker p.12; Madan II, 780; STC 4194], small 4to, Oxford, Printed by William Turner, for de Author, 1634. *** 'This is the greatest early British bee book and contains the best account of skep beekeeping which is available today.' (British Bee Books). First published in 1609, this is the first edition written in the phonetic spelling devised by the author.

Hieroglyphics.- Champollion (Jean Francois) Precis du Systeme Hieroglyphique des Anciens Egyptiens, 2 parts in 1, first edition, half-title, 48 lithograph plates, some folding, some foxing, specially bound for Pope Leo XII in contemporary red straight-grain morocco, the covers with his gilt arms in centre within elaborate gilt border and fillet, spine richly gilt with dark green morocco label, blue glazed endpapers, uncut and partly unopened, spine ends very slightly rubbed, preserved in modern velvet-lined morocco slip-case, 8vo, Paris, Strasburg & London, Chez Treuttel et Wurtz, 1824.*** A stunning copy of Champollion's landmark work on the deciphering of hieroglyphs from the Rosetta Stone, establishing him as the father of scientific Egyptology.In this remarkable work the author describes, step by step, with numerous examples and details, the method he followed to discover and document the three aspects of hieroglyphics: the phonogram images, the figurative representations, and the symbolic representations.Pope Leo XII was an active supporter of Champollion's endeavors to decipher hieroglyphs. Champollion (1790-1832) was an extraordinary philologist, who, by the age of sixteen, besides Greek and Latin, had mastered six ancient Middle Eastern languages, among these Coptic, the knowledge of which, unlike that of Egyptian, had never been lost. Champollion recognised the connection between the Coptic and the Egyptian language, and was able to identify many of the Egyptian words on the Rosetta Stone, as he could read them with their Coptic equivalents. He was the first to believe that both Demotic and hieroglyphs represented symbols, and not sounds as earlier presumed. After that he quickly realised that each single hieroglyph could represent a sign, and he began compiling a hieroglyphic alphabet.

Salinger (J.D.) The Catcher in the Rye, first edition, ownership name and light foxing marks to endpapers, original cloth, spine gilt, lightly dulled, extremities lightly bumped, first printing dust-jacket with correct positioning of 'R' on front flap and photographer credited on lower panel, some creases, a few nicks and chips to edges, small patches of staining to lower edge, spine faded, flap margins tender after expert lifting, lower flap with portion of loss to upper corner, still overall a bright example, 8vo, Boston, 1951. *** An excellent copy of Salinger's seminal novel, rare in an unrestored jacket. 

Blake (William).- Thornton (Robert John, editor) The Pastorals of Virgil, with a course of English Reading, adapted for Schools..., 2 vol., third edition (first Blake edition), numerous wood-engraved and engraved plates including 17 wood-engravings and 6 engravings by William Blake and 4 other designs by Blake engraved by others, folding lithographed maps, some very light spotting and offsetting (mostly to vol.1) but a good copy internally, contemporary sheep (not quite uniform), a little rubbed and scuffed, rebacked, spines ruled in gilt with blue morocco labels, corners repaired, preserved in modern sheep-backed marbled board drop-back box, spine ruled and titled in gilt, slightly rubbed, [Bentley 504], 8vo, J.M'Gowan for F.C.& J.Rivington [& others], 1821.*** Blake's wonderful and typically unconventional wood-engravings for the first Eclogue were the first and only he produced. Thornton rejected Blake's initial relief etchings and requested wood-engravings. He was obviously a little worried but was persuaded by John Linnell and others to include them, judging by his comment at the foot of the frontispiece, "they display less of art than genius, and are much admired by some eminent painters".These wood-engravings were hugely influential on contemporary artists, particularly Samuel Palmer, George Richmond, and Edward Calvert, and later artists such as Paul Nash and Graham Sutherland. Samuel Palmer wrote, after seeing them for the first time, "They are visions of little dells, and nooks and corners of Paradise; models of the exquisitest pitch of intense poetry...There is in all such a mystic and dreamy glimmer as penetrates and kindles the immortal soul...". 

Verlaine (Paul) Romances sans Paroles, first edition, first issue with "Paris chez tous les libraires" on upper cover, [one of 300 copies], half-title, handsome black morocco mosaic binding, by Huser, covers with semé of small flowers inlaid in cream, fawn, green & deep pink morocco and tooled in blind, spine titled in gilt and with compartments of onlaid cream & deep pink morocco, cream calf doublures, black silk flyleaves, original pale grey printed wrappers bound in, g.e., signed "Huser" at foot of front doublure, small stain to front endpapers where label removed, black morocco-backed marbled chemise with morocco yapp edges, board slip-case (very slightly rubbed), 8vo (c.190 x 120mm.), Sens, 1874.

*** Please note, the description of this lot has changed ***[Langland (William)] The vision of Pierce Plowman, nowe the seconde time imprinted..., printed in black letter, woodcut initials, lacking final blank, title soiled and little rubbed at head causing a few very small holes (no text loss), first 8 leaves with upper and lower corners torn away with diminishing loss, F1 small paper-flaw hole with loss to few letters, I3 with 2 corrections in ink, light soiling, some light damp-staining to head, the odd stain elsewhere, final few ff. little browned, 18th century marbled calf, spine gilt and with red and green morocco labels (chipped), upper cover detached, some wear to spine ends and corners, little rubbed, lower joint starting, [STC 19907a; cf. Pforzheimer 798, variant], 4to (190 x 130mm.), Roberte Crowley, 1550. *** Considered one of the greatest works of Middle English literature, Langland's allegory takes the form of a series of dream-visions, providing insight into the medieval conception of the true religious life. This copy is one of two variants of the second edition, the first edition having been published by Crowley in the same year. All three use the so-called "B-text" (one of three different versions of Piers Plowman to survive), a considerably extended version dating from around 1377–79. The two variants are distinguishable by the spelling of "time" (as here) or "tyme" in the title, the former also with the signatures of the preliminary leaves and foliation regularised. "The editions published by Crowley...are of interest and importance equal to that of the manuscripts which have survived" (Pforzheimer).Provenance: Robert S. Pirie (bookplate to front free endpaper); remains of engraved armorial bookplate to pastedown, owner unclear. 

Orwell (George) Nineteen Eighty-Four, first edition, ink ownership name from date of publication on front free endpaper, very faint spotting to endpapers and fore-edge, original cloth, spine faded, red dust-jacket by Michael Kennard, chips and creases to extremities, spine ends a little frayed, spine faded, [Fenwick A12a], 8vo, 1949.

Chess.- Damiano de Odemeira. Libro da imparare giochare a scachi, collation: A-H8 64 numbered ff., roman letter, text in Italian and Spanish, large woodcut of two chess players on title and numerous woodcut diagrams in text, fore-margin of title trimmed close with loss of a hyphen and just shaving border of woodcut, 18th century French pale brown calf, spine gilt, edges gilt, slightly rubbed, head and foot of spine slightly chipped, joints partly cracked but firm, 8vo (140 x 91mm.), Rome, [c.1524].*** Extremely rare early edition of the first book to deal with the complete game and the first to give directions for playing without seeing the board.First printed in 1512, this is the second of several undated editions (1520–1540) described in detail by Dr A.van der Linde, Geschichte des Schachspiels, Berlin 1874, vol. I pp. 337–47. The woodcut on the title is the one used in Antonio Blado’s 1524 edition.Little is known about the author, a Portuguese apothecary, but his compilation is the first Italian work on modern chess and includes variations of Petrov’s defence, the gambit now called after him, the Giuoco Piano, and the Queen’s Gambit Accepted. Of particular interest are some of his pieces of advice: don’t play aimlessly, don’t play too fast; when you have a good move look for a better one; and use the ‘king’s leap’ (i.e. castling) for protection. Damiano is also the first to state that the board should be placed so that the lower right square is white. The section headed ‘Artede giocare alla mente’, beginning on H5 of this edition, is an explanation of how to play blindfold.Provenance: ‘De Truchis’(?) (16th century ownership inscription at foot of title and on final leaf); ‘Di Giulio . . .’, (obliterated seventeenth-century inscription on final leaf); Rev. George Innes (1759–1842, Master of Warwick School for half a century from 1792, with his bookplate); J. W. Rimington-Wilson (ownership inscription on back of front free endpaper and with his notes on recto and verso of front flyleaf). Sale, Sotheby's, 28 February 1928, lot 314, to Quaritch; Bernard Quaritch Catalogue 428 (1929), no. 387 (‘a good copy, the text is not cut into in any way’).Literature: Sander no. 2295 (citing this copy, classifying it as the fifth edition, and dating it after 1524); Van der Linde I p. 341; Palau records two or three editions (nos. 68221 and note, and 68223) but without sufficient detail to distinguish between them; A. Chicco, ‘Le edizioni italiane del Libro di Damiano’, L’Esopo 22 (June 1984), pp. 46–58. Library Hub records copies of undated editions which may or may not be the present edition (Bodleian and British Library). OCLC records six copies only: Braunschweig, Cleveland, Library of Congress, Princeton, UCLA, and State Library of Victoria. 

Hornby (China) R3074 (limited edition) 4-6-0 GWR green King Class No.6002 "King William IV" complete with certificate 832 of 1200 produced along with souvenier first day cover issue of Hornby Great British Railways Stamps, as produced for the Royal Mail Company. Condition is assumed Mint (model is still factory tissue wrapped) in Excellent box. 

Motor Racing: Six related first edition hardback books, five of which are Signed, includes - VILLENEUVE (Jacques) and Gerald Donaldson. My First Season in Formula 1, Signed by Jacques Villeneuve on printed bookplate to title-page, photo. illustrated throughout, a race-by-race account of Villeneuves confrontations with other drivers during the 1996 F1 season and gives an insight into his private life, both on Grand Prix weekends around the world and at his Monaco home. In his first season in Formula 1, Jacques Villeneuve won his first Grand Prix in only his fourth race at the 1996 European GP, dust-jacket unclipped, publishers blue cloth, lettered in silver on spine, published Collins Willow, 1996. HENRY (Alan). Twenty-Five Years of Williams F1: The Authorised Photographic Biography, Signed on a printed bookplate by Frank Williams, and Patrick Head, foreward by Frank Williams, illustrated throughout with exclusive photographs of the team and their successes, selected from the Williams archive and published for the first time within a book, dust-jacket unclipped, publishers navy-blue boards, lettered in white on spine, published Orion, 2003. Former driver and founder of the Williams team, British businessman, Frank Williams established Williams Grand Prix Engineering in 1977 and recruited a young, talented engineer, Patrick Head to lead the teams technical department; KIRBY (Gordon). Mario Andretti: A Driving Passion, first US. edition, Signed by Mario Andretti and Gordon Kirby on printed bookplate, foreward by Dan Gurney, photo. illustrated throughout with the work of top racing photographers and memorabilia from Andrettis own scrapbooks, a definitive portrait of the Italian born former racing driver, and one of the most successful drivers in the history of motorsports, dust-jacket unclipped, publishers grey cloth, lettered in black on upper cover and spine, published Phoenix, AZ: David Bull Publishing Inc., 2001; EDWARDS (Robert). Stirling Moss: The Authorised Autobiography, first edition, photo. illustrated throughout, dust-jacket unclipped, publishers green boards, lettered in gilt on spine, and extensive work covering all aspects of the former British Formula One racing drivers career and beyond, published Cassell & Co., 2001. together with, BRUNDLE (Martin). Working the Wheel, Signed on title-page, dust-jacket unclipped, published, Ebury Press, 2004; and Mansell (Nigel). My Autobiography, Signed on front free, dust-jacket unclipped, published Collins Willow, 1995; 4to, 8vo. (6) Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes. Condition Report: near fine conditions with strong signatures

CATRIONA MILLAR, ALBERT WITH CELIE oil on canvas, initialled, further signed and dated 2024 versounframedoverall size 31cm x 21cm Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

CATRIONA MILLAR, GEORGE WITH JANE oil on canvas, initialled, further signed and dated 2024 versounframedoverall size 31cm x 21cm Note: Catriona Millar's work takes its inspiration from the stories that lie at the heart of the human condition, and the sparkle of a narrative behind the eyes of her subjects hints at everything from longing to melancholy. Her work often juxtaposes human characters with a variety of animal confidants, with some seeming physically present in the composition while others take on a talismanic quality. Born in Glasgow, Catriona Millar studied at Harrogate School of Art and Grays School of Art, Aberdeen. Since the success of her sell-out 2005 degree show she has exhibited across the UK including the Royal Scottish Academy, Edinburgh. In October 2006 she came to the attention of Charles Saatchi with her first solo exhibition at the Dundas Street Gallery, Edinburgh. Catriona Millar now lives and paints in the southeast of England. Catriona Millar is listed in the 2012 edition of Who's Who in Scotland. In the Scottish Contemporary Art Auction of 3rd May 2015 lot 2138 "The Agency" by Millar sold for £2800 (hammer).

* DONALD M SHEARER (SCOTTISH 1925 - 2017), STREET SCENE oil on board, signedframedimage size 18cm x 23cm, overall size 32cm x 37cm Note: Donald Shearer specialised in the landscapes and seascapes of the North of Scotland. Being a keen golfer and a leading Scottish painter, it is natural that one of his favourite subjects was golf courses of which there are many in his part of the world. But it is for his highly detailed and striking landscapes that he is best known, his original work and limited edition prints being collected by enthusiasts all over the world. Born in the Kyle of Lochalsh, on Scotland’s West Coast, Donald Shearer studied painting in Aberdeen at Grays School of Art where he achieved the RSA Award. He exhibited widely including at the RGI and at The Royal Scottish Academy. RSA records show his first painting was shown in 1959 when his address was 7 Simpson Place, Dingwall and from 1979 onwards he was living at "Rossal", Seabank Road, Invergordon. After more than thirty years, his final painting at the RSA was exhibited in 1990.

Todd White (American, b. 1969) - The Fighter - Embellished Canvas on Board. Limited edition No. 14/50. Framed. With CoA to back. Measures approx. 76cm x 40cm (30" x 15.5") The painting was released to celebrate the achievement of the legendary boxer, middleweight boxing champion Gennady Golovkin.  The painting was countersigned by the boxer, Gennady Golovkin ‘GGG’.  Michael Todd White (born October 10, 1969, in San Antonio, Texas) is a figurative expressionist painter. He has also been described as an avant-garde expressionist. White was named the official artist for the Grammy Awards by the Recording Academy in 2007. His painting appeared on the ceremony's invitation and program book and served as the official image for the event. His work was featured in the Inspirations of Oz Fine Art Collection, an exhibition commemorating the 70th anniversary of The Wizard of Oz. The collection toured designated cities all over the world including Miami, Los Angeles, Dubai, Japan, London, Toronto and Vienna. In 2010, White was chosen to provide sketches for Coca-Cola Light in Mexico. White's six sketches are depicted on different faces of Coca-Cola Light bottles and cans, each featuring his distinctive box signature. This was the first time that Coke had collaborated with a fine artist to depict artwork for its label.[citation needed] The bottles were released in August 2010. As a result of some of these career achievements White has earned international recognition and a lengthy list of celebrity collectors. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ted Jones (Irish, 1952) - Coel, Craic angus Rince - 2000 - A contemporary limited edition print on paper painting. Limited edition No. 148 / 500. Signed & numbered in pencil. Published by Killarney Art Gallery, Ireland. Framed & glazed. Measures approx. 40 x 31cm (16" x 11"). Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style unmistakably his own. His unique style probably owes a lot to the fact that he never attended Art College, left to his own devices his style was able to evolve without influence, save his admiration for great artists such as Klimt, Rossetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.

Patricia Lynch and Jack B. Yeats RHA (1871 - 1957)The Turfcutter's Donkey, First Edition, London, J.M Dent & Sons, 1934, with 13 illustrations by Yeats, 5 in colour (including frontispiece). With original d.j. Printed at The Temple Press, Letchworth

Gerard Byrne (b.1958) California Lilac Oil on canvas, 40 x 40cm Signed; together with the exhibition catalogue Turning Corners, Gerard Byrne Studio, 2022. With introduction by Susan Stairs. Hardback, limited edition of 1000. A volume showcasing the 150 artworks executed by Byrne during the three lockdown phases of the pandemic in 2020 and 2021.Exhibition: Gerard Byrne Studio, Dublin, Turning Corners, September 23rd - October 10th 2022Literature: Turning Corners, Gerard Byrne Studio, 2022, illustrated pp.86, 87This painting depicts Ranelagh's iconic red brick houses on Albany Road during the first lockdown, Spring 2020.

Sydney Alex Kumalo (South African, 1935-1988)St Francis of Assisi signed and numbered 'K VII | X' (beneath the figure's tunic)bronze on wooden base 70 x 27.5 x 22.5cm (27 9/16 x 10 13/16 x 8 7/8in). (including base)Footnotes:ProvenanceEgon Guenther Gallery, purchased 3rd November 1966;By descent;A private collection.ExhibitedJohannesburg, Egon Guenther Gallery, An Exhibition of Sculpture and Drawings by Sydney Kumalo, (8 May 1962). (edition i/x).LiteratureGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), SK13, p. 143.H. Toerien & G. Duby, ed. Our Art, vol.3, (Pretoria), p. 66. (illustrated).Elizabeth Rankin, 'Sydney Kumalo', ed. E. Burroughs & K. Nel, Re/discovery and Memory: The works of Kumalo, Legae, Nitegeka & Villa,(Cape Town: ABC Press & Norval Foundation, 2018), p. 131. (different edition of the same work illustrated). S. Sack, The Neglected Tradition: Towards a New History of South African Art (1930-1988), (Johannesburg Art Gallery, 1988), p. 51. (different edition of the same work illustrated), (edition 6/10).Born in 1935 and raised in the old suburb of Johannesburg known as Sophiatown, Sydney Kumalo grew up with and became absorbed into a community that would be destroyed by the apartheid, catalysing a generation of some of South Africa's most passionate, driven, and famous artists. Being Zulu in this community meant that Kumalo grew up surrounded people of different political beliefs and cultures, developing a grounding of cohesive societal understanding that would reflect in his later works of art. Kumalo was only seventeen when he began studying at the Polly Street Art Centre in Johannesburg under the guidance of Cecil Skotnes and Edoardo Villa, before becoming a teacher there himself in 1964. Kumalo would go on to exhibit alongside the two aforementioned artists (also prominent figures in today's market) in collaborative shows. Given his background Kumalo would establish himself as a prominent figure in modern African Art who overcame challenging adversity given his position as a Black creative during apartheid, emphasising his importance. Guenther Gallery cast two terrazzos and the first bronze (edition i/x) of this sculpture for the May 1962 exhibition, An Exhibition of Sculpture and Drawings by Sydney Kumalo. Further casts were created on a basis of supply and demand; the present rendition was cast in November 1966. Evidently a popular cast, Egon Guenther Gallery sold all future editions of St Francis of Assisi from 1966 to 1971. Elizabeth Rankin notes that Carlo Gamberini of the foundry remembered 'how Kumalo used to come to the foundry to oversee the finishing of the bronze casts, and also to work on the waxes of his sculptures, often using a saw blade to introduce surface texture.' This practise can be seen on the present work, with hairline etchings of texture most notable to the head, shoulders, and back of the work. This technique would further animate the figures the artist produced and displayed the artist's continuous passionate development of his works. Figures expressing spiritual emotion is a theme that is consistent within his oeuvre. With regards to his wider body of work, Kumalo's renditions of strong semi-abstracted figures, whether they be animals or humans, are somewhat characteristic of traditional African sculptures. As Jean Kennedy notes on the artist's technique: 'The solidity and central axis of his forms convey strength, the interpretation of which ranges from protest to endurance.' (Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.). In this instance, the image of St Francis of Assisi brings to the surface notions of peace which the figure is associated with. Differing from classical descriptive reproductions of the Saint, for instance often portrayed bearing stigmata in Old Master depictions of the Saint, Kumalo portrays the essence of Assisi, focusing on compositional form rather than the imitation of Christ which older western portraits tend to have leaned towards. While most associations of an animal interaction with the Saint are more famously through the legend of Francis and the Wolf of Gubbio, doves themselves are symbols of peace and therefore contribute to the humility of the figure. St. Francis is one of Kumalo's best known works. Conceived in 1962, the sculpture depicts the Christian saint renowned for his acts of compassion. It was described by Watter in Our Art 3 contemporary critic thus:'The mask-like head radiates spiritual serenity, yet the neck is rigid with strain. The wide-legged stance asserts confidence but the arms are pathetically thin. This is a representation of a man rent by spiritual conflict, caught in his frail human body. Movement is concentrated at two points: on the saint's left hand that cuddles a dove protectively against his chest, and on the strong thrust of the right arm reaching heavenwards in a gesture that combines blessing with threat. This double significance reinforces the tension caused by the amalgam of Christian content with forms redolent of African ritual. The soft pot-belly is opposed to hard purpose. The ludicrous little legs provide a stylised base for a gesture that challenges the universe. In Sydney Kumalo's St. Francis a man is portrayed who has galvanised himself through the strength of selfless compassion and so overcomes the limitations set by his fallible human body.'Since the creation of this work, Sydney Kumalo represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the Sao Paulo Biennale. Kumalo received a number of awards throughout his career; he was invited to the Artist of Fame and Promise Exhibition in 1960 further winning the award for most promising up and coming artist. In 1967 won a bronze medal from the Transvaal Academy and a travel bursary from the US-SALEP (the United States/ South African Leadership Exchange Programme) enabling him to travel to the US in 1967. It seems appropriate, given the religious motivation behind much of the artist's work such as the present lot, that Kumalo also received commissions from religious institutions, such as a mural in the Catholic Church in Kroonstad that was completed in 1957. Therefore, we see Kumalo's career extending beyond these art circle bounds and into physical and pivotal societal structures.We are grateful to Gavin Watkins for his assistance with the above footnote.BibliographyGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), pp. 142-145.H.Toerien & G.Duby, ed. Our Art, vol.3, (Pretoria), pp. 66-68.Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

ANDRÉ BRETON (1896-1966)Ensemble de 4 livres La Lampe dans l'horlogeEdition originale, tirage de tête, un des 350 exemplaires sur vélin d'Arches no 243, avec la seconde épreuve du frontispice en mauve et signé dans la planche.Illustrée d'une lithographie non signée de TOYEN en frontispice et d'une photographie d'André Breton dans le parc du château de la Coste.Edition non coupéeParis, Edition Robert Marin, 1948, collection L'Age d'homme.First edition, first printing, one of 350 copies on Arches vellum no 243, with the second proof of the frontispiece in mauve and signed in the plate.Illustrated with an unsigned lithograph by TOYEN as frontispiece and a photograph of André Breton in the park of the Château de la Coste.Unopened editionParis, Edition Robert Marin, 1948, collection L'Age d'homme.Ode A Charles FourierEdition originale, sur vélin, non numérotéeIllustrée de 21 compositions de Frederick Kiesler, dont deux en couvertureAchevé d'imprimer du 1er février 1947Paris, Éditions de la Revue Fontaine, collection « L'Age d'or », 1947First edition, on vellum, not numberedIllustrated with 21 compositions by Frederick Kiesler, including two on the coverApproved for printing on 1st February 1947Paris, Éditions de la Revue Fontaine, 'L'Age d'or' collection, 1947Notes Sur La PoésieEdition originale, non numérotéeIllustrée d'un dessin de Salvador Dali en reproductionParis, Editions GLM, 1936First edition, not numberedIllustrated with a reproduction drawing by Salvador DaliParis, Editions GLM, 1936ANDRÉ BRETON et PAUL ELUARD Les Vases CommunicantsEdition originale non numérotée, couverture illustrée par Max ErnstAchevé d'imprimer du 26 novembre 1932Paris, Edition des Cahiers Libres, 1932Unnumbered first edition, cover illustrated by Max ErnstApproved for printing on 26 November 1932Paris, Edition des Cahiers Libres, 1932Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

YVAN GOLL (1891-1950), CLAIRE GOLL (1890-1977)Ensemble de 10 livres, du fondateur de la revue Surréalisme Le Microbe de l'OrEdition originale, un des 50 exemplaires sur papier pur fil Lafuma (n°23), seul grand papierExemplaire non coupéParis, Editions Emile-Paul frères, 1927First edition, one of 50 copies on Lafuma pur fil paper (n°23), the only large paper.UnopenedParis, Editions Emile-Paul frères, 1927A Bas L'EuropeEdition originale, un des 50 exemplaires sur papier pur fil Lafuma (n°13), seul grand papierExemplaire non coupéParis, Editions Emile-Paul frères, 1929First edition, one of 50 copies on Lafuma pur fil paper (n°13), the only large paper.UnopenedParis, Editions Emile-Paul frères, 1929Agnus DeiEdition originale, un des 50 exemplaires sur papier pur fil Lafuma (n°9), seul grand papierManques et déchirure à la couvertureExemplaire non coupéParis, Editions Emile-Paul frères, 1929First edition, one of 50 copies on Lafuma pur fil paper (n°9), the only large paper.Cover missing and tornUnopenedParis, Editions Emile-Paul frères, 1929Sodome Et BerlinEdition originale sur papier d'éditionEnvoi de l'auteur « A Bernard Zimmer, ce récit d'un cauchemar qu'il vécut aussi, en amical souvenir »Paris, Editions Emile-Paul frères, 1929First edition on publisher's paperSent by the author « A Bernard Zimmer, ce récit d'un cauchemar qu'il vécut aussi, en amical souvenir »Paris, Editions Emile-Paul frères, 1929Pariser GeorgikaIllustré par Robert DelaunayCouverture jaquette illustréeHermann Luchterhand Verlag, 1956Illustrated by Robert DelaunayIllustrated dust jacket coverHermann Luchterhand Verlag, 1956Mythus Vom Durchbrochenen FelsenIllustré par Yves TanguyCouverture cartonnéeHermann Luchterhand Verlag, 1956Illustrated by Yves TanguyHardcoverHermann Luchterhand Verlag, 1956Nouvelles Petites Fleurs de Saint Francois D'AssiseEdition originale, un des 1000 exemplaires sur vélin de Ruysscher (n°686)Illustré de dessins de Salvador DaliExemplaire non coupéParis, Editions Emile-Paul, 1958First edition, one of 1000 copies on Ruysscher vellum (n°686)Illustrated with drawings by Salvador DaliUnopenedParis, Editions Emile-Paul, 1958Les Confessions d'Un Moineau du SiècleIllustrations de Chagall, Clavé, Delaunay, Louradour, Masson, VillonExemplaire non coupéParis, editions Emile-Paul, 1963Illustrations by Chagall, Clavé, Delaunay, Louradour, Masson, VillonUnopenedParis, editions Emile-Paul, 1963L'AntirosePoèmes et couverture illustrés par Marc ChagallParis, Editions Pierre Seghers, 1965Poems and cover illustrated by Marc ChagallParis, Editions Pierre Seghers, 1965Œuvres, Vol. 1Illustré par Chagall, Foujita, Delaunay, Léger, avec un portrait de l'auteur en 1919Paris, Editions Emile-Paul, 1968Illustrated by Chagall, Foujita, Delaunay, Léger, with a portrait of the author in 1919Paris, Editions Emile-Paul, 1968Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

PAUL ELUARD (1895-1952)Ensemble de 5 livres Comme Deux Gouttes D'eauEdition originale, un des 175 exemplaires sur papier vert, seul grand papier (n°95)Paris, Editions Surréalistes, chez José Corti, 1936First edition, one of 175 copies on green paper, the only large paper (no. 95)Paris, Editions Surréalistes, published by José Corti, 1936Le Poète Et Son OmbreEdition originale du tirage de tête, un des 75 exemplaires sur papier Vergé de Hollande (n°9)Illustrée de nombreux documents, reproductions, photographies.Textes inédits présentés et annotés par Robert Valette.UnopenedParis, Editions Seghers, 1963First edition, one of 75 copies on Vergé de Hollande paper (no. 9).Illustrated with numerous documents, reproductions and photographs.Unpublished texts presented and annotated by Robert Valette.UnopenedParis, Editions Seghers, 1963Les Dessous d'Une Vie ou La Pyramide HumaineEdition originale, non numérotéeBel envoi d'Eluard en page de garde, « à Victor Llona, en témoignage de toute ma sympathie »Reproduction d'une œuvre de Max ErnstAchevé d'imprimer du 12 décembre 1926Marseille, Les Cahiers du Sud, 1926First edition, unnumberedBeautiful letter from Eluard on the flyleaf, « à Victor Llona, en témoignage de toute ma sympathie »Reproduction of a work by Max ErnstApproved for printing on 12 December 1926Marseille, Les Cahiers du Sud, 1926Les Yeux FertilesEdition originale, un des 1440 exemplaires sur Alfa teinté (n°627)Avec un portrait et quatre illustrations par Pablo PicassoAchevé d'imprimer du 15 octobre 1936Paris, Editions GLM, 1936First edition, one of 1440 copies on tinted Alfa (n°627)With a portrait and four illustrations by Pablo PicassoApproved for printing on 15 October 1936Paris, Editions GLM, 1936Poésie Involontaire et Poésie IntentionnelleEdition originale, un des 1800 exemplaires sur vélin (n°410)couverture désolidariséeVilleneuve-les-Avignon, Editions Poésie 42, 1942First edition, one of 1800 copies on vellum (n°410)cover detachedVilleneuve-les-Avignon, Editions Poésie 42, 1942Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

ANDRÉ BRETON (1896-1966)Flagrant Délit : Rimbaud devant la conjuration de l'imposture et du truquage Edition originale, un des 100 exemplaires sur papier vergé de Hollande, tous signés par l'auteur (n°60)Avec une reproduction d'une lithographie d'Henri Rousseau, « La guerre », parue dans l'Ymagier en 1895Exemplaire non coupéEditions Thésée, Paris, 1949First edition, one of 100 copies on Hollande laid paper, all signed by the author (n° 60)With a reproduction of a lithograph by Henri Rousseau, 'La guerre', published in l'Ymagier in 1895UnopenedEditions Thésée, Paris, 1949Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

GUILLAUME APOLLINAIRE (1880-1918)Les Mamelles de Tiresias Edition originale, non numérotée, avec sept reproductions hors-texte de Serge FeratReliure cartonnée par Desaux, couverture et dos conservésAchevé d'imprimer du 1er janvier 1918Paris, Editions SIC, 1918First edition, unnumbered, with seven hors-texte reproductions by Serge FeratHardback by Desaux, cover and spine preservedApproved for printing on 1st January 1918Paris, Editions SIC, 1918Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).C'est dans ce drame surréaliste que le mot fut employé pour la première fois, si l'on met à part la notice qu'Apollinaire avait rédigé en tête du programme de Parade où le terme est orthographié en deux mots (sur-réalisme). C'est sept ans plus tard qu'André Breton lui donnera son sens actuel. Il avouera dans son Manifeste que c'est pour rendre hommage à Apollinaire qu'il avait précisément choisit ce mot.It was in this surrealist drama that the word 'Surrealism' was used for the first time, apart from the note that Apollinaire wrote at the head of the Parade programme, where the term is spelt in two words (sur-réalisme). However, it was only seven years later that André Breton gave it its current meaning. In his Manifesto, he admitted that he had chosen the word precisely to pay tribute to Apollinaire.This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

MAX ERNST (1891-1976)La Femme 100 Têtes Edition originale, un des 900 exemplaires sur papier vélin teinté (n°954), troisième grand papier après 12 exemplaires sur Japon Impérial, et 88 exemplaires sur Hollande PannekoekPréface d'André Breton. 146 collages par Max Ernst.Paris, Édition du carrefour, (20 décembre) 1929. 1 vol. (185 x 245 mm) non paginéExemplaire non coupéLe premier des « livres-collages » de Max Ernst.First edition, one of 900 copies on tinted vellum paper (n°954), third large paper after 12 copies on Japon Impérial, and 88 copies on Hollande Pannekoek.Preface by André Breton. 146 collages by Max Ernst.Paris, Édition du carrefour, (20 December) 1929. 1 vol. (185 x 245 mm) unpaginatedUnopenedThe first of Max Ernst's 'livres-collages'.Footnotes:ProvenanceCollection particulière, Paris.Collection particulière, Paris (par descendance).This lot is subject to the following lot symbols: ## A reduced TVA rate of 5.5% will be charged on Buyer's Premium. This is subject to government change and the rate payable will be the rate in force on the date of the sale.Pour les livres, la commission acheteur est soumise à un taux de TVA réduit de 5,5 %. Ce taux est susceptible à être modifié par les autorités françaises et le taux à payer sera celui en vigueur à la date de la vente.For further information on this lot please visit Bonhams.com

Yosy (Ann) Switzerland, as now divided into Nineteen Cantons...with Picturesque Representations of the Dress and Manners of the Swiss, 2 vol., first edition, half-titles, 50 fine hand-coloured aquatint plates of costumes, paper guards, 2pp. engraved musical notation, most plates very clean but light soiling to plate 16 and slight smudge to plate 20, some foxing to text, pp.73-82 and plates 29 & 30 misbound after p.100, H.Bradley Martin's copy with his bookplate, original blind-stamped cloth, t.e.g., a little rubbed and faded, rebacked preserving original spines, new endpapers, [Bobins 507; Colas 3102, erroneously calling for 50 plates in vol.2 and therefore 70 plates in total], 8vo, 1815. *** Including a 6pp. 'Short Guide to Travellers' at end of vol.2.

Alken (Henry) The Beauties & Defects in the Figure of the Horse, first edition, engraved pictorial title and 18 hand-coloured soft-ground etched plates by Alken, light spotting and browning, mostly to text, a few small stains, bookplate of Maxine & Joel Spitz of Glencoe IL., contemporary diced russia, gilt, a little worn, rebacked with gilt spine, corners repaired, [Tooley 20; Schwerdt I p.12], small 4to, [1816].

[Combe (William)] Doctor Syntax in Paris or A Tour in search of the Grotesque, first edition, hand-coloured aquatint frontispiece, title vignette and 17 plates by Charles Williams after Thomas Rowlandson, some offsetting and occasional foxing, uncut in modern red crushed morocco by Riviere, inner gilt dentelles, joints slightly rubbed, [Abbey, Travel 109; Tooley 432; Lipperheide 3555; Bobins 1364 ], 8vo, 1820. *** Provenance: Ralph Edward Lambton (bookplate); H. Harvey Frost (bookplate). 

Martin (Charles & Leopold) The Civil Costume of England, from the Conquest to the Present Time, first edition, additional hand-coloured etched title and 60 hand-coloured plates, many heightened with gold and/or gum arabic, occasional light foxing and some soiling to edges, original blind- and gilt-stamped cloth, a little rubbed and scratched, [Colas 1995], 4to, Henry G. Bohn, 1842. 

Alken (Henry) Illustrations to Popular Songs, first edition, second issue, additional pictorial title and 42 plates, all hand-coloured soft-ground etchings, the plates with multiple images, borders with water-colour wash, with letterpress title and 'Address' leaf, extra-illustrated with 3 original drawings that were used to prepare the soft-ground printing plates, each of which is imprinted verso with melted ground transfer from the prepared plate, with ink or pencil captions and signs of red chalk under-drawing on the original drawings (slightly cropped, some small repairs to tears or chips at edges, lightly browned from previous mounting), light spotting to pictorial title, some soiling and light staining to plates, mostly marginal, endpapers creased, Prince Henry, Duke of Gloucester's copy with his bookplate, contemporary half red straight-grain morocco with gilt-stamped label to upper cover, rubbed, spine with small nick at head and chip at foot, [Siltzer p. 71; Tooley 37, 1822 first issue], oblong folio, Thomas M'Lean, 1823 [plates water-marked 1821-23]. *** The three additional preparatory drawings are tipped to blank leaves facing the relevant plate. 

Marta (Luigi) Costumi della data da S. Maesta il di 20 Feb. 1854. Nella Reggia di Napoli, first edition, tinted lithograph pictorial title incorporating numerous coats-of-arms, lithograph dedication leaf (heavily foxed and browned), 31 hand-coloured lithograph plates, one leaf of letterpress (also foxed), some other mostly marginal foxing and soiling, one plate with repaired tear, contemporary half morocco over marbled boards, rubbed and scuffed, [Colas 1994; Lipperheide 2781; Bobins 589], oblong folio, Paris, 1854. *** A scarce work on Neapolitan costumes dedicated to the Infante di Spagna D. Sebastiano Gabriele.  

Rowlandson (Thomas).- Markwell (Marmaduke, pseudonym) Advice to Sportsmen, Rural or Metropolitan..., first edition, half-title, 16 etched plates by Rowlandson, rather browned, text foxed, original boards, uncut, rubbed, rebacked, new endpapers, [Bobins 1193; Schwerdt II p.14; Tooley 407], 12mo, Thomas Tegg, 1809. *** "An attractive book with humorous plates by the foremost caricaturist of this date". (Schwerdt).  

Roberts (David) Military Instructions: including each particular motion of the Manual and Platoon Exercises, first edition, half-title, 24 hand-coloured engraved plates after Robert Ker Porter, occasional foxing and soiling, contemporary calf, rebacked, rubbed, 4to, Printed for T. Egerton, 1798. 

Crawfurd (John) Journal of an Embassy from the Governor-General of India to the Court of Ava, in the Year 1827... With an Appendix, containing the Description of Fossil Remains, by Professor Buckland and Mr. Clift, first edition, lacking half-title, with 5 aquatint plates (3 hand-coloured, 2 with sepia or grey wash), 5 lithographed plates of fossils, engraved plan, folding engraved map, wood-engraved illustrations, some light foxing to lithographed plates, map and plan, map also offset and with small hole at fold, text very clean and bright, contemporary calf, very slightly rubbed, a few minor scratches, rebacked preserving old roan label, new endpapers, [Abbey, Travel 405], 4to, 1829. *** Account of a successful mission to Burma to establish a trade treaty.

[Egerton (Michael)] "Peter Pasquin". A Day's Journal of a Sponge, first edition, 6 hand-coloured aquatint plates, first 2 with marginal repairs, original printed upper wrapper bound in (but heavily darkened and with corner torn away and repaired), endpapers foxed, later red half morocco, gilt, with gilt-lettered red morocco label to upper cover, upper joint a little rubbed, [Abbey, Life 289; Bobins 854], oblong folio, Published for the Propietor, by Rowney & Forster, 1824. 

Aure (Antoine Cartier d') Traite d'Equitation, first edition, half-title, lithograph frontispiece and 26 plates by Frey after Ledieu, all hand-coloured, wood-engraved illustrations, errata leaf at end, colour in a few plates oxidised, repairs to a few text leaves at end, some light foxing and offsetting, contemporary brown half roan, rubbed, head of spine nicked, [Bobins 1391; Nissen, ZBI 165], 4to, Paris, 1834. *** Rare work by the riding master at the Ecole de Versailles and, later, Saumur. Provenance: Gaston Guitton (1825-91, sculptor, his small ink stamp on title)  

Cruikshank (Robert) Lessons of Thrift, first edition, hand-coloured engraved title and 12 hand-coloured aquatint plates by Robert Cruikshank, advertisement leaf at end (often lacking), some light soiling and browning, plates a little offset, original cloth, paper spine label, uncut, rubbed, spine faded, corners bumped, [Abbey, Life 276; Bobins 846; Tooley 165], 8vo, 1820.

[Apperley (Charles James)], "Nimrod". Memoirs of the late John Mytton, Esq., second edition, additional engraved title with aquatint vignette, 18 hand-coloured aquatint plates by Henry Alken and T.J.Rawlins, tissue guards, without 8 pp. publisher's catalogue at end, lightly browned, occasional spotting or soiling, later green morocco, gilt, by Morrell, spine gilt in compartments, g.e., with original pictorial cloth gilt upper cover and spine bound in at end, spine slightly rubbed and faded, a couple of marks to lower cover, [Abbey, Life 385; Bobins 769; Tooley 67], 8vo, R.Ackermann, 1837. *** Including six more plates than the first edition and with three others replaced.

Lange (Edouard) and Wilhelm Frenzel. Das Hoffest zu Ferrara, in den Saelen des Koeniglichen Schlosses zu Berlin, first edition, 42 hand-coloured lithograph plates, heightened with gum arabic, some trimmed a little short, some foxed, contemporary half roan, rubbed, upper cover worn and stained at top, [Colas 1758; Lipperheide 2545; Bobins 585], folio, Berlin, C.G. Luederitz, 1846. *** Rare, no copy traced at auction. "The plates herein represent fancy-dress costumes for this 1843 recreation of a celebration at the Court of Ferrara, bedecked in Renaissance splendour." (Bobins).  

Alken (Henry) Driving Discoveries, first edition, bound without title, 7 hand-coloured  aquatints, modern half-burgundy morocco, label tooled in gilt to upper cover, [Bobins 749], oblong folio, S. and J. Fuller, 1817. 

Planché (J.R.) Souvenir of the Bal Costumé, given by Her Most Gracious Majesty Queen Victoria, at Buckingham Palace, May 12, 1842, first edition, additional chromolithograph title, 52 fine hand-coloured lithograph plates after Coke Smyth, each with decorative floral border printed in gold, text printed in blue, occasional foxing (including to plate of Prince Albert), upper hinge broken and front endpaper torn, contemporary half morocco, rubbed, [Colas 2403; Bobins 899], folio, Colnaghi and Co., 1843. *** The fine plates depict the elaborate costumes designed for and worn by the hosts and guests, royalty and aristocracy, at the fancy-dress ball given by Queen Victoria in May 1842.  

[Harding (Edward)] Costume of the Russian Empire, second edition, additional engraved title and 72 plates, all hand-coloured stipple-engravings, titles and text in English and French, some foxing (mostly to text) and light offsetting, contemporary green straight-grain morocco, stamped in gilt and blind, [Colas 704; Lipperheide 1342; Bobins 194] small folio, Printed by T. Bensely...for John Stockdale, 1810. *** A handsome copy of this second edition, Colas remarking that the impressions of these plates are as good as the first edition of 1803. Provenance: N.C. Colthurst of Ardrum, Co. Cork (bookplate). 

Rowlandson (Thomas).- [Combe (William)] Journal of Sentimental Travels in the Southern Provinces of France, first edition, later issue, 18 hand-coloured aquatint plates by Thomas Rowlandson, without 4pp. of advertisements at end as usual, a little offsetting but plates clean, bookplate of F.Reddaway, original blind-stamped orange cloth, spine gilt, t.e.g., others uncut, a little rubbed, an excellent copy, [Abbey, Travel 89; Tooley 415], 8vo, R. Ackermann, 1821 [but later, some plates dated 1822].

Meyer (Felix) Collection de Costumes Suisses originaux/ Costumes Suisses en mignature, first edition, hand-coloured aquatint frontispiece of arms of the cantons printed in blue, additional title with hand-coloured aquatint vignette, 23 fine hand-coloured aquatint plates, tissue-guards, some plates lightly browned, one or two with small marginal stains, foxing to text, original brick red boards with decorative gilt border and title to upper cover, g.e., a little rubbed and marked, rebacked in red calf and titled in gilt, corners neatly repaired, [Bobins 1053; Colas 2049], small 4to, Zurich, H.F.Leuthold, 1836. 

Lisch (Georg Christian Friedrich) Meklenburg in Bildern, 4 parts in 1, first edition, general title printed in gold with embossed arms at head (frayed at edges and mounted on stub), 4 engraved vignette titles and 96 hand-coloured lithographed plates (80 views, 16 costumes, portraits etc.), some foxing (mostly to titles and costume plates), p.63 in part 2 torn at fore-edge affecting border but not text, broken and becoming loose, contemporary cloth, rubbed, spine faded, [Bobins 1048; Colas 1881], 8vo, Rostock, J.G.Tiedemann, 1842-45.  *** Colas calls for only the 16 costume plates to be coloured.

Cruikshank (George).- Combe (William) The Life of Napoleon, a Hudibrastic Poem in Fifteen Cantos, by Doctor Syntax, first edition, hand-coloured aquatint pictorial title and 29 plates by George Cruikshank, text lightly browned with offsetting from plates but a good copy bound in handsome crushed crimson morocco, gilt, by Rivière & Son, spine gilt in compartments, g.e., [Abbey, Life 356; Cohn 153; Tooley 151], 8vo, T.Tegg, 1815.

[Surtees (Robert Smith)] Jorrocks's Jaunts and Jollities, second edition, additional engraved pictorial title and 14 plates, all hand-coloured aquatints by Henry Alken, 8pp. publisher's catalogue at end, hinges weak, original pictorial cloth, gilt, 8vo, Rudolph Ackermann, 1843. *** The first edition with Alken's plates. 

Busby (Thomas Lord) The Fishing Costume and Local Scenery of Hartlepool, in the County of Durham, first edition, 6 fine hand-coloured etched plates, slight offsetting onto one text leaf, contemporary green half morocco, gilt, with gilt-lettered morocco label to upper cover, a little rubbed, [Abbey, Scenery 154; Tooley 125; Bobins 625], 4to, 1819. *** Rare work with charming plates depicting various people involved in the booming fishing industry set against backdrops of views of the town. Only 2 copies at auction since 1965. 

Hentzy (Rodolphe) Promenade Pittoresque dans l'Eveche de Bale aux Bords de la Birs, de la Sorne, et de la Suze, 2 vol., first edition, 44 hand-coloured soft-ground etched plates, some shaved close just touching caption, occasional foxing and light offsetting, upper hinges strengthened, contemporary blind-stamped calf, joints skilfully repaired, vol.1 upper cover scuffed, The Hague, G. Bakhuysen, 1808-09. *** Rare coloured copy of this charming work by the author of Vues remarquables des Montagnes de la Suisse, 1785. Provenance: Mary Addington (bookplate, one defective) 

Egan (Pierce) Life in London; or, the Day and Night Scenes of Jerry Hawthorn, Esq. and...Corinthian Tom, first edition, third issue with footnote on p.9 and first sheet of music numbered, half-title, hand-coloured aquatint frontispiece and 35 plates by Robert & George Cruikshank, wood-engraved vignettes, 6pp. engraved musical notation on 3 folding sheets (a little foxed), 8pp. advertisements and smaller 16pp. catalogue at end, some spotting and offsetting, mostly to tissue guards, with 4pp. prospectus loosely inserted, original pictorial printed boards with 5 vignettes on each cover and 2 on spine, uncut, very slightly rubbed but an excellent copy, preserved in later red calf-backed cloth drop-back box, spine gilt with roan labels, rubbed, [Abbey Life 281; Cohn 262; Tooley 196], 8vo, 1822.