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Leon Claire Metz Signed Book The Shooters Hardback Book 1976 First Edition with 300 pages Signed by Leon Claire Metz on the Third page published by Mangan Books some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Tess Gerritsen Signed Book The Bone Garden Hardback Book 2007 First Edition with 370 pages Signed by Tess Gerritsen on the Title page published by Ballantine Books (Random House) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Andrew White Signed Book Jaguar The History of A Great British Car Hardback Book 1980 First Edition with 249 pages Signed by Andrew White on the Second page published by Patrick Stephens Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

David Essex Signed Book A Charmed Life Autobiography Hardback Book 2002 First Edition with 248 pages Signed by David Essex on the Title page published by Orion Books Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Frederick Forsyth Signed Book The Afghan Hardback Book 2006 First Edition with 343 pages Signed by Frederick Forsyth on the Title page published by Bantam Press (Transworld Publishers) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Adam Henson Signed Book Like Farmer, Like Son Softback Book 2016 First Edition with 312 pages Signed by Adam Henson on the Title page published by BBC Books (Ebury Publishing) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Frederick Grisewood Signed Book The World Goes By Autobiography Hardback Book 1952 First Edition with 256 pages Signed by Frederick Grisewood on the Title page published by Martin Secker and Warburg Ltd some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Multisigned Book The Regency Detective Softback Book 2013 First Edition with 319 pages Signed by David Lassman and Terence James on the Title page published by The Mystery Press some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Wagon Train by Maurice Templar Illustrated by S Chapman (Adventure Stories) 1959 First Edition Hardback Book published by Daily Mirror / Revue Productions Inc / Western Printing and Lithographing Co, some ageing outer spine cover is loose at the front but still intact at rear, fair / good condition. Sold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

Dick Francis Signed Book Trial Run Hardback Book 1978 First Edition with 238 pages Signed by Dick Francis on the Second page published by Michael Joseph Ltd (Penguin Books) some ageing good condition. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

COLLECTION OF FIVE HARRY POTTER FIRST EDITION BOOKS comprising of 'Harry Potter and thee Deathly Hallows' (3), 'Harry Potter and the Half-Blood Prince' and 'Harry Potter and the Order of the Phoenix', all hardback and with dust jacketsQty: 5

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,8 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 970/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,8 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 970/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,5 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9364/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,8 x 55,5 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9364/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,6 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 5370/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197084,6 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 5370/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 7970/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 7970/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM-NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9570/10000686 Friedensreich HundertwasserGOOD MORNING CITYVenedig 197085 x 55,6 cmHerausgegeben von: Dorothea Leonhart, München 1969 (41a); Ars Viva, Zürich, 1970/1971 (41b) Siebdruck in 10 Farben mit Metallprägungen in 8 Farben Gedruckt von: Studio Quattro, Campalto, Venedig 1969/70, in Kooperation mit dem Drucker Lino CoinKoordinator: Alberto della VecchiaAuflage: Die Gesamtauflage von HWG 41 und HWG 42 Good Morning City – Bleeding Townmit 10 000 Abzügen wurde in drei Auflagen geteilt:HWG 41a (Normalausgabe) 6.400HWG 41b (Normalausgabe) 1.600HWG 42 (Phosphorausgabe) 2.000signiert und nummeriert 1-10000 (von Hand)/10000 (Prägestempel).Published by: Dorothea Leonhart, Munich, 1969 (41a); Ars Viva, Zurich, 1970/1971 (41b) Silk screen in 10 colours with metal embossings in 8 colours Printed by: Studio Quattro, Campalto, Venice, 1969/70, in cooperation with the printer Lino CoinCoordinator: Alberto della VecchiaEdition: The total edition of HWG 41 and HWG 42 Good Morning City – Bleeding Townwas 10,000, subdivided into three editions:HWG 41a (initial edition) 6,400HWG 41b (initial edition) 1,600HWG 42 (phosphorescent edition) 2,000,signed and numbered 1-10000 (by hand)/10000 (mechanically).HWG 41:8000 Exemplare in 40 Farbvarianten zu 200 Abzügen / 8000 prints in 40 colour variants of 200 each:B-C-D-E-G-H-I-J-L-M-N-O-Q-R-S-T-W-X-Y-Z-BB-CC-DD-EE-GG-HH-II-JJ-LL-MM- NN-OO-QQ-RR-SS-TT-WW-XX-YY-ZZKoschatzky / Fürst HWG 41Nr. 9570/10000Hundertwassers Kommentar zum Werk:Dies ist meine erste durchnummerierte Großauflage, die eigentlich gar keine ist, da sie aus vielen Variationen besteht. …. Ich habe Monate in der Druckerei in Campalto verbracht, während ich auf der "Regentag" nicht weit davon in einem Kanal der Lagune bei Ca'Noghera lag. Es war wie ein Simultan-Schachspiel mit über vierzig Gegnern. Ich tat dies noch konsequenter mit dem späteren Siebruck 860 Homo Humus come va. Ich glaube nicht, dass mir jemand dieses gigantische Unternehmen gleichtun kann, das mich zwei Jahre beanspruchte. Ich verwendete völlig neue Techniken in der Druckgraphik: Metallprägedruck, Phosphorfarben, die in der Nacht leuchten, reflektierende Glasperlen-Aufdrucke, konvexe Prägungen und eine unglaubliche Anzahl von Farbüberdrucken, die ich einzeln auf Transparentfolien malte und die dann auf Sieb übertragen wurden. Dann die Probedrucke der unendlich gewordenen Farbkombinationen. Ich wollte das Fließband ad absurdum führen. In die Enge getrieben, zwischen einer unglaublich einsetzenden Nachfrage und meinem Stolz, Originale und nicht Massenware zu schaffen, und bestrebt, soviel von meinem inneren Selbst wie nur möglich zu geben. Es kam zu einem Prozess, den ich auch gewann, weil ich die Preise (…) niedrig halten wollte - 100 Mark pro Blatt, damit es vielen zugänglich ist. Es war verlorene Mühe. Den freien Marktwert konnte ich nicht bestimmen. Es war Sieg und Niederlage zugleich. (aus: Hundertwasser 1928-2000, Catalogue Raisonné, Bd. 2, Taschen, Köln 2002, S. 812)Hundertwasser's comment on the work:This is my first large print edition, which I numbered from beginning to end; but actually it isn't one, since it consists of many variations. (…) I spent months in the print shop in Campalto, while the Regentag lay in berth not far away, in a canal of the lagoon near Ca' Noghera. It was like a simultaneous chess match with more than forty opponents. I did this even more radically later with the silkscreen print 860 Homo Humus come va. I don't think anyone can outdo me in this gigantic enterprise, which took up two years of my life. I used completely new techniques in print graphics: metallic-stamp printing, phosphorescent colours that glow in the dark, reflecting glass-bead appliqués, convex embossing and an incredible number of colour overprints which I painted separately on transparent foil, from where they were transferred to the screen. Then the proofs of the infinite number of colour combinations. I wanted to reduce the conveyor belt to absurdity. I got myself into a bind between the incredible demand which had materialised and my pride in creating something original, not mass-produced, and I wanted to give as much of my inner self as I could. I went to court and won because I wanted to keep the prices low (…) - 100 marks per print, to make it accessible to many people. It was all for nought. I could not fix the price on the open market. It was a victory and a defeat all in one. (from: Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2, Taschen, Cologne, 2002, pp. 812-813)

715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 1972100 x 69,8 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben und 1 Filzfaser-Applikation auf weißem Papier Gedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: Originalversion: 416, signiert von Hundertwasser und Sonnenstern, nummeriert 1-416/416Published by: Ars Viva, Zürich, 1972 Silk screen in 8 colours with metal imprints in 5 colours and an electrostatic application of felt fibrils on white paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 416, signed by Hundertwasser and by Sonnenstern, and numbered 1-416/416Koschatzky / Fürst HWG 56a OriginalversionNr. 317/416Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 1972100 x 69,8 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben und 1 Filzfaser-Applikation auf weißem Papier Gedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: 416, signiert von Hundertwasser und Sonnenstern, nummeriert 1-416/416Published by: Ars Viva, Zürich, 1972 Silk screen in 8 colours with metal imprints in 5 colours and an electrostatic application of felt fibrils on white paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 416, signed by Hundertwasser and by Sonnenstern, and numbered 1-416/416Koschatzky / Fürst HWG 56Nr. 317/416Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.

715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 197299,7 x 69,7 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben auf grau-braunem PapierGedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: Posterversion: 4.200, stempelsigniert "Hundertwasser" und "Sonnenstern", stempelnummeriert 1-4200/4200Published by: Ars Viva, Zürich, 1972Silk screen in 8 colours with metal imprints in 5 colours on gray-brown paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 4,200, imprint-signed: "Hundertwasser" and "Sonnenstern", and mechanically numbered 1-4200/4200Koschatzky / Fürst HWG 56b PosterversionNr. 1985/4.200Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.715 Friedensreich HundertwasserHOMMAGE TO SCHRÖDER-SONNENSTERNHOMMAGE À SCHRÖDER-SONNENSTERNLengmoos 197299,7 x 69,7 cmHerausgegeben von: Ars Viva, Zürich, 1972 Siebdruck in 8 Farben mit Metallprägungen in 5 Farben auf grau-braunem PapierGedruckt von: Dietz Offizin, Lengmoos, Bayern, 1972, in Kooperation mit Günter DietzAuflage: Posterversion: 4.200, stempelsigniert "Hundertwasser" und "Sonnenstern", stempelnummeriert 1-4200/4200Published by: Ars Viva, Zürich, 1972Silk screen in 8 colours with metal imprints in 5 colours on gray-brown paperPrinted by: Dietz Offizin, Lengmoos, Bavaria, 1972, in cooperation with Günter DietzEdition: 4,200, imprint-signed: "Hundertwasser" and "Sonnenstern", and mechanically numbered 1-4200/4200, Koschatzky / Fürst HWG 56Nr. 1985/4.200Hundertwasser war einer der ersten, die das Genie des Malers Friedrich Schröder-Sonnenstern, Schöpfer von surrealen Buntstiftmalereien, erkannten. Bereits 1964 hatte Hundertwasser das "Sonnensterngedicht" als eine Hommage für einen Ausstellungskatalog des Künstlers verfasst. Beide Künstler erarbeiteten gemeinsam den Siebdruck, wobei das zentrale Motiv der "Eva" von Schröder Sonnenstern stammt. Hundertwasser was one of the first to recognize the genius of painter Friedrich Schröder-Sonnenstern, creator of surreal coloured pencil paintings. As early as 1964, Hundertwasser had written the "Sonnenstern Poem" as a homage for an exhibition catalog of the artist. Both artists worked together on the silk screen, with the central motif of "Eva" coming from Schröder Sonnenstern.

ANSON GEORGE.  A Voyage Round the World ... Compiled from Papers & Other Materials of the Right Honourable George Lord Anson ... by Richard Walter. Subscriber's list. Eng. frontis (corner repair), 37 fldg. eng. plates & charts (these on the plate list & lacking nos. 18, 19, 20, 24 & 34). 2 eng. extra illus. of a parrot & Turkish dogs (the plate list refers in manuscript to other extra illus. but these are not present). Quarto. Rebacked qtr. calf, marbled brds., mixed cond., some plates with tears or repairs, marginal tears at hinge at upper corner of leaves c. pp.150s to 190s but a useful copy of this first edition (1st issue). 1748.

MILNE A. A. The House at Pooh Corner. Decs. by E. H. Shepard. Orig. pink cloth gilt, rubbing & wear, tending to split internally at hinge, occasional internal browning & spotting. First Edition, 1928; also a 2nd ed. of When We Were Very Young, December, 1924.  (2).

GRAHAME KENNETH.  The Wind in the Willows. Frontis by Graham Robertson. Orig. green cloth, rubbing & fading, foxing & offsetting from tissue to frontis & title. First U.S. Edition, 1st issue. New York, Charles Scribner's Sons, 1908.

LE CARRE (John): 'Smiley's People', 2nd impression, 1980: inscribed in black ink to title and opposite page 'For Rick Churchill with  my sincere good wishes from John Le Carre on a beautiful autumn day in Hampstead - Nov 5th 1981, and a smell of woodsmoke coming off the heath..' adding 'the picture on the back is still said by those who know me to be the best..':  'The Pigeon Tunnel..stories from my life': Viking, 2006 FIRST EDITION: inscribed to title page 'Dear John and Anthea, I'm in your debt: chapter 36 on page 302...with much love to you both David aka John Le Carre 26/X/17: with 19 others by Le Carre, including 2 inscribed copies and 2 signed Franklin Library first editions, all but last 2 mentioned in dustjackets, VG, 8vo. (21)

JOHNS (Captain W E): 'Biggles Delivers the Goods..', Hodder & Stoughton 1946: FIRST EDITION, publishers red cloth with dustjacket, a bit chipped and marked but a good copy: 'Biggles Breaks the Silence', 1949 FIRST EDITION, dustjacket: with 6 other titles by W E Johns, Biggles and Worrals, mostly first editions, all in dustjackets, including 'Biggles Sweeps the Desert', 1942. (8)

FOLIO SOCIETY: PATRICK O'BRIAN: Works, a run of 17 vols, VG in slipcases: together with a copy of Dean King's biography, 'Patrick O'Brian, a Life Revealed', FIRST EDITION 2000. (18)

SARIS (Wilhelm): 'Handbook of the Hitler-Jugend..Bann Numbers and Gebiet Triangles..': Bender Publishing, 2009: publishers boards, 8vo: FORMAN (Adrian) 'Bravery Courage and Valour..Decorations and Awards of the Third Reich', FIRST EDITION, 2008: original boards, sm.folio, VG: together with approx 38 other books, mixed military and antiques reference. (A tray)

VESUVIUS: PALMIERI (Professor Luigi): 'The Eruption of Vesuvius in 1872..', London, Asher & Co, 1873: FIRST EDITION. Publishers blue cloth blocked in black and gilt, frayed along joints else a good copy. (1)

TREVOR (William): 'Fools of Fortune', London, Bodley Head, 1983: FIRST EDITION: dustjacket, publishers blue cloth, 8vo: together with approx 100 other volumes, mixed fiction and non-fiction, largely hardback publications in dustjacket, G-VG. 

DICKENS (Charles): 'The Posthumous Papers of The Pickwick Club..': London, Chapman & Hall, 1838: 19thc calf gilt, recased, browning and waterstains, 8vo: 'Bleak House': illustrations by H K Browne: London, Bradbury & Evans, 1853, FIRST EDITION, some toning and foxing, contemporary calf gilt, rubbed, 8vo: with 22 other vols, Dickens. (24)

HARDY (Thomas): 'Human Shows, Far Phantasies, Songs, and Trifles..', London, Macmillan, 1925: FIRST EDITION, publishers green cloth with dustjacket, chipped with losses, 8vo: DAHL (Roald) 'The Wonderful Story of Henry Sugar..', London, Jonathan Cape, 1977: dustjacket, VG with minor nicks and wear, 8vo: 'The Witches': illustrations by Quentin Blake, 1983: dustjacket, VG, 8vo: with a carton of misc. other children's and illustrated books, generally in very good condition. (Box)

FLEMING (Ian): 'You Only Live Twice': London, Jonathan Cape, 1964: FIRST EDITION. 8vo, publishers black cloth with dustjacket, price clipped, minor wear and spotting else VG. (1)

FORESTER (C S): 'The Sky and the Forest': FIRST EDITION, Michael Joseph, 1948: publishers red cloth with dustjacket, a little rubbed and chipped: together with a small carton of misc. other literature, mid-20thc. (Sm. Box)

FLEMING (Ian): 'Dr No': London, Jonathan Cape, 1958: FIRST EDITION: publishers black cloth with dustjacket, a little rubbed with some chipping to top edge, end leaves thumbed and a few minor spots and marks, generally a good or better copy. (1)

GRAHAME (Kenneth): 'The Wind in the Willows': London, Methuen, 1908: FIRST EDITION. Publishers blue cloth, backstrip frayed and split along one side with upper hinge strained, scattered light foxing and some leaves carelessly opened, o/w good condition internally, 8vo. (1)

DICKENS (Charles): 'A Tale of Two Cities': London, Chapman & Hall, 1860: FIRST EDITION, 3rd impression, illustrated by H K Browne: publishers blind stamped green cloth, recased with backstrip laid down, new endpapers, waterstain to initial quire, scattered foxing, 8vo. (1)

PHOTOGRAPHY: BRANDT (Bill): 'Shadow of Light': Bodley Head, 1966: FIRST EDITION, publishers black cloth with dustjacket, torn to extrems, 4to: 'Perspective of Nudes', 1961, dustjacket with tears round upper edge: with 7 others, 20th century photography. (9)

HASKINS (Sam): 'Cowboy Kate & Other Stories', London, Bodley Head, 1966: 3rd impression: 'Five Girls', 1965 First Edition: 'November Girl', 1967 First Edition: publishers cloth, all with dustjackets, some chipping to extrems, small folio. (3)

MILNE (A A): 'The House at Pooh Corner': London, Methuen, 1928: FIRST EDITION, contemporary blue ink gift inscription to half title, publishers pink cloth gilt with slight lean, spine slightly sunned, aeg, 8vo: with Lewis Carroll's 'Alice's Adventures in Wonderland' and 'Through the Looking Glass', Macmillan 1959-48, dustjackets. (3)

MILNE (A A): 'The House at Pooh Corner': London, Methuen, 1928: FIRST EDITION, contemporary owner's address tipped onto half title, publishers pink cloth gilt, a bit rubbed and marked: together with Kelly's Directory of Pinner for 1938, plus one other. (3)

MILNE (A A): 'Now We Are Six..', London, Methuen, 1927: FIRST EDITION, publishers red cloth, spine a little sunned and edges rubbed: with a second edition of Winnie the Pooh, 1926. (2)

WHITE (Patrick): 'The Eye of the Storm', London, Jonathan Cape, 1973: FIRST EDITION, VG in dustjacket: together with a large collection of modern fiction including others by White, VG condition, some signed. (6 shelves)

GREENE (Graham): 'Our Man in Havana', FIRST EDITION, Heinemann, 1958: publishers blue cloth with dustjacket, rubbed: HEMINGWAY (Ernest) 'A Moveable Feast', Jonathan Cape, 1964: FIRST UK EDITION: publishers cloth with dustjacket, a little chipped to top edge else VG: together with 3 shelves of other mainly mid-century fiction in dustjacket, generally in very good condition. (3 shelves)

WILLIAMSON (Henry): 'Donkey Boy': London, Macdonald, 1952: FIRST EDITION, publishers green cloth with dustjacket, a little chipped to extrems else VG: together with 3 shelves of other misc. 20thc fiction, most in dustjackets, generally in very good condition. (3 shelves)

LORD DUNSANY: 'The Chronicles of Rodriguez..', London & New York, G P Putnams, 1922: FIRST EDITION. Signed by Dunsany and illustrator S H Sime, No.394/500 copies printed, original half vellum gilt, teg, 4to. (1)

ALPHONSE DAUDET: LETTRES DE MON MOULIN, ill Pierre Belves, Flammarion, 1954, large 4to, original pictorial laminated boards a little worn plus CHRISTIAN VAN ABKOUDE: JOLIG STRANDLEVEN, Alkmaar Gebr Kluitman, 1916, first edition, 4pp adverts at end, original pictorial cloth plus MARIE HONIG: VERTELSELBOEK SPROOKJES EN VERTELLINGEN, Zutphen P Van Belkum [1918], first edition, original pictorial cloth, plus JOHAN FABRICIUS: DE SCHEEPSJONGENS VAN BONTEKOE, The Hague, H P Leopold's Uttgevers Mij 1924, first edition, original cloth soiled, pictorial paper label plus MARTIEN BEVERSLUIS: T JAARTJE ROND, ill Freddie Langeler Alkmaar Geber Kluitman ND, 4to, original boards, pictorial paper label plus A B VAN TIENHOVEN: DE SCHATTEN VAN JANTJE, ill Freddie Langeler Alkmaar Geber Kluitman ND, oblong 4to, original boards, pictorial paper label (6)

JOHN RONALD REUEL TOLKIEN: THE LORD OF THE RINGS, London, Readers Union, George Allen & Unwin, 1960, first Readers Union edition, 3 vols, original cloth, spines gilt lettered, dw, very fine condition (3)

SIR WALTER SCOTT: TALES OF A GRANDFATHER BEING STORIES TAKEN FROM SCOTTISH HISTORY.. THIRD SERIES, Edinburgh for Cadell & Co, London, Simkin & Marshall, Dublin, John Cumming, 1830 first edition, 3 vols, added engraved vignette titles and frontis pieces, vols 1 and 2 2pp adverts at front, vol 3 6pp adverts at end, 12mo,original quarter roan, spines gilt lettered and numbered (3)

JOHN STEINBECK: CANNERY ROW, London, William Heinemann, 1945, first edition, original cloth

EZRA POUND: SELECTED POEMS, Ed/Introduction T S Eliot, London, Faber & Gwyer, 1928, first edition, inscription on ffep, original cloth spine faded

ROBERT GRAVES: THE GREEN-SAILED VESSEL POEMS, Hatfield, The Stellar Press, 1971, (536), (500), privately printed, numbered (103) and signed, original cloth d/w (very small part losses and closed tears) plus JOHN BERRYMAN: 3 Titles: HOMAGE TO MISTRESS BRADSTREET AND OTHER POEMS, London, Faber & Faber, 1959, first edition, original cloth, 77 DREAM SONGS, London, Faber & Faber, 1964, first edition, original cloth, HIS TOY HIS DREAM HIS REST 308 DREAM SONGS, London, Faber & Faber, 1969, first edition, original cloth plus ROBERT LOWELL: 2 Titles: FOR THE UNION DEAD, London, Faber & Faber, 1965,first edition, original cloth, NEAR THE OCEAN, London, Faber & Faber, 1967, first edition, original cloth, plus LOUIS MACNEICE: COLLECTED POEMS 1925 - 1948, London, Faber & Faber, 1949, first edition, original cloth worn, plus LAURENCE BINYON: COLLECTED POEMS OF LAURENCE BINYON, London, McMillan, 1931, first edition, original cloth, spine toned plus 12 other poetry titles (20)

EUGENE FIELD: POEMS OF CHILDHOOD, ill Maxfield Parish, New York, Charles Scribner's Sons, 1904, first edition, coloured title and 8 plates as list, original cloth, large pictorial paper label

JOHN BETJEMAN: 16 Titles: FIRST AND LAST LOVES, London, John Murray, 1952, first edition, original decorative cloth, GHASTLY GOOD TASTE, London, Anthony Blond, 1970, original cloth backed decorative boards d/w, (part losses), A NIP IN THE AIR, London, John Murray, 1974, first edition, original cloth d/w, CONTINUAL DEW, London, John Murray 1977 facsimile edition, inscription on ffep, original cloth d/w, IN PRAISE OF CHURCHES, London, John Murray, 1996, first edition, original cloth d/w plus 11 others plus FRANK DELANEY: BETJEMAN COUNTRY, London, Hodder & Stoughton, 1983, first edition, inscription on half title, original cloth d/w plus BEVIS HILLIER: YOUNG BETJEMAN, London, John Murray, 1988, first edition, original cloth d/w plus PENNIE DENTON (Ed): BETJEMAN'S LONDON, London, John Murray, 1988, first edition, original pictorial wraps (20)

EBENEZER MILLER: SCRIPTURE HISTORY WITH THE LIVES OF THE MOST CELEBRATED APOSTLES DESIGNED FOR THE IMPROVEMENT OF YOUTH, London for T Kelly, 1841-42, new and improved edition, 3 vols in 2, added engraved title, 201 engraved plates including folding frontis (damaged and old repairs), lacks vol 3 title page, 16mo, contemporary half calf worn, vol 1 top board loose and lacks part of back strip, plus ANON: THE OLD MAN'S RAMBLES, Leeds, T W Green, London, J G F & J Ravington, 1842-44, Ramble the First-Twelfth, 12 works in 1, first and second works, second edition, third- twelfth works first edition, engraved vignette titles, 16mo, contemporary half calf worn (3)

ALEXANDER POPE: THE POETICAL WORKS - THE ODYSSEY OF HOMER - THE ILIAD OF HOMER, London, printed for F J Roveray by T Bensley, 1804, 1806, 1813, new edition, 6 vols, 6 vols, 6 vols, first work, engraved port frontis, second and third work, engraved frontis pieces in each vol, uniform calf gilt, spines gilt in compartments, morocco gilt spine labels, inner dentelles gilt, marbled end papers, all edged marbled, vgc (18)

THOMAS HOOD: POEMS BY THOMAS HOOD, Ill Birket Foster, London, E Moxon, 1872, first edition, 22 engraved plates, 4to original decorative blind stamped cloth, gilt and blue, worn

OCTAVIEN DE GUASCO COMPTE DE CLAVIERES: DE L'USAGE DES STATUES CHEZ LES ANCIENS ESSAI HISTORIQUE, Bruxelles, J L De Boubers, 1768, first edition, engraved vignette title printed in red and black, 14 engraved plates including some folding, 4to, contemporary calf gilt worn, all edges stained red plus JAMES DALLAWAY: OF STATUARY AND SCULPTURE AMONG THE ANTIENTS WITH SOME ACCOUNT OF SPECIMENS PRESERVED IN ENGLAND, London, printed by T Bensley for J Murray, 1816, first edition, 29 etched plates as list, some foxing, rebound half cloth, new end papers, ex Lib (2)

JOHN RUSKIN: 2 Titles: THE SEVEN LAMPS OF ARCHITECTURE, London, Smiths Elder, 1849, first edition, 13 plates as list, 16 pp adverts at end, original embossed cloth designed by the author, rebacked new ep's, FORS CLAVIGRA..., London, printed for the author by Hazell Watson & Viney and to be sold of Mr George Allen, 1878-84, new series, vol 8, contemporary half green morocco gilt, top edges gilt (2)

JUSTIN McCARTHY : A HISTORY OF THE FOUR GEORGES, London, Chattow & Windus, 1884, 1890, 1901, 1901, first edition, 4 vols, uniform half calf gilt, spines gilt in compartments, morocco gilt spine labels by Hatchards (4)

HENRY BATHURST BISHOP OF NORWICH (ATTRIBUTED TO) "AN ENGLISHMAN": THE LATE SESSION OF THE HOUSE OF C-M-S OR THE GREAT MORAL LESSON A POETICAL EPISTLE TO L-D-C-GH TO WHICH ARE ADDED THE TEARS OF VICTORY IN TWO CANTOS AND A WORD TO THE AUTHOR OF "THE TALENTS RUN MAD", London, printed for J Ridgway, 1816, first edition, 2pp adverts at end, modern half calf, very scarce, from the collection of the late Ron Fiske of Morningthorpe Manor

THEODORE E STEINWAY: PEOPLE AND PIANOS A CENTURY OF SERVICE TO MUSIC, New York, Steinway & Sons, 1953, first edition, signed and inscribed to Natan Milstein (1904-1992), 4to, original cloth d/w (very small part losses)

MIHAIL CHEMIAKIN: ST PETERSBOURG 1974..., Paris, J C Gaubert, 1974, first edition, signed and inscribed on ffep, 4to, original pictorial laminated boards