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Click here to subscribeLizars (John) A System of Anatomical Plates of the Human Body, second edition, engraved vignette title and 103 hand-coloured plates (numbered 1-101 and 9 & 32 bis plates), tissue guards, occasional spotting or marginal soiling but mostly to guards, contemporary half morocco, rubbed, rebacked preserving old spine, [cf.Wellcome III, 531, first edition of 1824], folio, Edinburgh, W.H. Lizars...S.Highley...W.Curry, [c.1839].
Mercuriale (Girolamo) De arte gymnastica libri sex, second edition, title with woodcut device, woodcut initials, 2 full-page plans and 21 illustrations, all but one full-page, slight worming and some light soiling and staining, all mostly marginal, colophon leaf torn (repaired), modern vellum, [Adams M1320; EDIT 16 46968; G & M 1986.1; Mortimer/Harvard Italian 302], 4to, Venice, Giunta, 1573.⁂ The first illustrated edition of this important work on exercise and health, first published in 1569. "One of the earliest books to discuss the therapeutic value of gymnastics and sports generally for the cure of disease and disability, and an important study of gymnastics in the ancient world". (Garrison-Morton)
Swammerdam (Jan) Disputatio medica inauguralis, continens selectas de respiratione positiones, 4pp., only edition, title with woodcut printer's device, woodcut initial and tail-piece, light spotting, unbound (spine reinforced with strip of marbled paper), preserved in modern cloth portfolio with gilt-stamped roan label to upper cover, [Not in Wellcome], 4to, Leiden, Elzevier, 1667.⁂ Swammerdam's rare inaugural dissertation on respiration and his first published work. Based largely on research carried out in 1663 it predates his Tractatus physico-anatomico-medicus de respiratione usuque pulmonum issued later in 1667 which is generally regarded as his first work on respiration.Library Hub records only 4 UK copies, WorldCat adds 2 in Germany and the Netherlands.
Tuson (Edward William) Myology..., 2 vol. including Supplement, mixed set, vol.1 second edition, with 8 hand-coloured lithographed plates with multiple flaps, each with explanatory leaf of text, with prospectus for Supplement tipped to title and flyer for Tuson's lecture course mounted on front pastedown, plate 6 lacking flaps A & B, light water-staining at end affecting loose final plate, original cloth-backed boards with paper label to upper cover, rubbed and stained, spine torn and frayed, Supplement first edition, with 9 hand-coloured lithographed plates with multiple flaps, each with explanatory leaf of text, plate 2 with one flap torn, one small flap detached and tipped in at beginning, first two plates with short tear to fore-edge, the first affecting image, ink inscription to front pastedown, contemporary half calf (slightly smaller), rubbed, spine torn and chipped, both rather soiled internally with a few spots or small stains, one or two flaps detached, large folio, 1828.⁂ Complex teaching atlas with superb plates printed by Hullmandel, some with numerous flaps to simulate dissection. Tuson was a protégé of Astley Cooper and succeeded Charles Bell as surgeon at the Middlesex Hospital.
Vittori (Leonello) De aegritudinibus infantium tractatus..., first edition, large woodcut device to verso of Aa8, with final blank, extensive contemporary ink manuscript annotations to title and numerous leaves, slight worming to inner margin of signatures D & E affecting a few letters, small repair to inner margin of final two leaves at foot, ink library stamp to verso of title and final leaf of text, modern mottled calf with decorative border in blind, red calf label, [Durling 4668; VD16 V 1768; Not in Adams], 8vo, Ingolstadt, A.Weissenhorn, 1544.⁂ Scarce 16th century Italian handbook of paediatric treatment, including advice on diarrhoea, constipation, earache, and disturbed sleep, and this copy with the addition of many contemporary notes. We have been unable to trace any other copies at auction except for this one, sold in America in 2017. Library Hub cites 5 UK copies.
Smellie (William) A sett of anatomical tables, with explanations, and an abridgment of the practice of midwifery, first edition, 39 engraved plates by Grignion after Jan van Rymsdyk, Pieter Camper and the author, each plate with accompanying leaf of text, a little browned, some spotting and light offsetting, endpapers brittle and frayed, contemporary ink inscriptions to front pastedown, also bookplates of doctors Henry Marshall and Chas.S.Fisher Jr., old boards rebacked and recornered in calf, red morocco label, gilt spine, [Norman 1955; Wellcome V, 127], folio, 1754.⁂ Possibly one of only 100 copies printed. "Smellie was the leading forceps practitioner in London, and several of the plates illustrate the use of this instrument in various presentations of the foetus. These engravings are the first accurate anatomical illustrations of the foetus in utero." (Norman).
Vesalius (Andreas).- Geminus (Thomas) Anatomes totius, aere insculpta delineatio..., edited by Jacques Grévin, first Continental edition, title with woodcut printer's device and full-page large woodcut coat-of-arms to verso, 36 engraved plates by Geminus after Vesalius only (of 40, lacking Adam & Eve plate and 3 others), some soiling and water-staining, slight worming passing through most of text and plates but mostly minor and unobtrusive (in many cases reduced to single small hole), some plates sharp but several rather flat and dull, ink stain to D5 slightly affecting following plate, nineteenth century ink inscription of W.A.R.Braybrooke of Wokingham, Berks. to front pastedown, contemporary calf ruled in blind, rubbed and stained, a few wormholes, upper joint split, spine ends and corners repaired, [Adams V599; Cushing VI.C.5], folio, Paris, André Wechel, 1564; sold not subject to return⁂ The first edition of Vesalius to be published in France, with plates by Geminus pirated from Vesalius.
Pantaleon (Heinrich) Prosopographiae herorum atque illustrium virorum totius Germaniæ, 3 parts in 1, first edition, collation: ()6 a-z6 A8 †6; a4 A-Z Aa-Nn6 Oo8 *6; A6 AA-ZZ AAa-ZZz Aaa6 a6, titles with woodcut printer's device recto and small woodcut portrait of the author verso, numerous woodcut portraits in text, part 1 colophon f., part 2 errata f. at end, part 3 final f. blank, occasional spotting and staining (for latter see in particular part 3 CCc6 and DDd1&2), lightly browned in places, Basel, Nicolaus Brylinger, 1565-1566 bound with Pantaleon (Heinrich) Chronographia ecclesiae Christi, in qua dilucide patrum et doctorum praecipvorum ordo, collation: A-V4, title with woodcut printer's device, first few ff. (including title) little frayed, occasional light spotting or staining, Basel, Heirs of Nicolaus Brylinger, 1568, together 2 works in 1 vol., attractive ornately blind-stamped pigskin over wooden boards, including small portraits of Erasmus, amongst others, lacking clasps, lower corners and edges worn, lightly soiled, rubbed, folio (312 x 192mm.)⁂ A solid wide-margined copy of this biographical dictionary, which is rarely found complete. Entries include an early biography and portrait of the anatomist Vesalius; also Erasmus (a lengthy entry); the printer Froben and Luther. Provenance: Paul Anton Wickart (engraved bookplate and ink inscription dated 1802 to final verso). Literature: I: Adams P179; VD16 P 228, P 229 & P 230. II: Adams P175; VD16 P 218.
More (Sir Thomas) A dyaloge of Syr Thomas More knyghte...Wherin be treatyd dyvers maters as of the veneration of Worshyp of ymagys & relyques, prayng to sayntys, & goyng on pylgrymage, first edition, printed in black letter, double column, woodcut colophon at end, woodcut initials, errata leaf [Z]1 (slightly torn at inner margin) present, but lacking final blank, some early ink annotations, some light water-staining, wide margins, [STC 18084], Enpryntyd...[by] Johannes Rastell, 1529; bound after Omnia...Latina Opera, first collected edition, printed in roman and italic, double column, woodcut device on title, woodcut initials and decorations, ink name cut out from top left corner of title not affecting text, occasional soiling, reasonable margins, Louvain, Apud Joannem Bogardum, 1565, together 2 works in 1, later vellum, gilt, endpapers detached and binding becoming detached, morocco spine labels chipped, folio (269 x 180mm.)⁂ The first item is the rare first edition of which ESTC locates only 8 copies (4 each in British Isles and N. America). The second includes Utopia (contrary to Lowndes and Brunet) and the first printing of the original Latin version of Historia Richardi Tertii. Later issues have the date 1566 and copies are also known with either Bogard or Zangre (who jointly produced the work) or both, in the imprint. Provenance: Rob. Tetlow (ownership inscription on title of first work, dated 1617); 'Bass' (ink inscription on title of second work); Gavin Hastings Wheler (ink inscription at head of title of second work and bookplate, dated 1725)
Bible, English. The Most Sacred Bible, Whiche is the holy scripture, conteyning the old and new testament, translated...by Rychard Taverner, printed in black letter, preliminaries single column, text double column, lacking 2 preliminary ff. and blank leaf 3N4 at end of OT, otherwise complete, titles within woodcut architectural borders, OT trimmed to edge of border, mounted on 19th century paper with some surface abrasion causing slight loss, and loose, woodcut initials, several preliminary leaves badly torn, frayed and creased, first c.60 leaves and a few at end with 19th century guards/repairs to inner margins and sometimes elsewhere with some loss to side-notes, other tears to various leaves throughout, some leaves, especially near beginning trimmed at upper edge affecting headline, some staining, particularly at beginning and end, a few early ink annotations, mostly to verso of final leaf with some partially obscured by later paper repair, signature A (first 6 leaves of Genesis misbound after signature B, NT without signature K as in all known copies, 19th century vellum, gilt, black leather spine labels lettered in gilt, one slightly chipped, a little soiled and stained, front cover starting to bow, [Herbert 45], folio (271 x 190mm.), Prynted...by John Bydell, for Thomas Barthlet, 1539.⁂ An almost complete copy of the first edition of Taverner's Bible, a revision of Matthew's Bible of 1537. Despite the poor condition of the preliminary leaves, they are probably for the most part reparable and the vast majority of the text is in generally good condition."Richard Taverner (1505?-1575), the author of this revision, was born in Brisley in Norfolk about 1505. He was a scholar of both Cambridge and Oxford and received his Master's degree of Cambridge in 1530. He had high repute for his Greek scholarship, and was at this time Clerk of the King's Signets, and in the employ of Thomas Cromwell. He lost his position under Queen Mary but under Queen Elizabeth I was appointed High Sheriff of Oxfordshire. In his corrections of the text, Taverner aims at compression and vividness. He substitutes in many places a Saxon for a Latin word, as spokesman for advocate; and does not hesitate to coin words, as mercystock (1 John i.2). Many marginal notes are omitted, and some new comments added. Taverner's work exercised practically no influence on later revisions (Westcott, History, p. 219), although he introduced parable, passover and a few other terms still in use. There are many peculiarities in the spelling - e.g. peax for peace, hable for able, etc." (Herbert).Only four copies have appeared at auction since 1988 and all have been substantially less complete than this.
Bible, English. [The whole Byble. that is the holy scripture of the Olde and Newe testament faythfully translated into Englysshe by Myles Coverdale], the last reprint of the 1535 Bible issued during the translator's lifetime, black letter, double column, lacking first 10ff. (ie all before A3) and last 3ff. (ie qq2-4), otherwise complete, woodcut initials, many illustrating the Dance of Death, a few tears, repairs and minor defects with occasional loss, trimmed close with some loss to side-notes, headlines and foliation, occasional light soiling and staining, the missing opening leaves replaced with engraved title, preliminaries and opening chapters of Genesis from a c.1630s Cambridge, Thomas and John Buck edition, the end with incomplete The Whole Booke of Psalmes (John Daye, 1579) bound in, later vellum, gilt, spine with gilt-lettered black morocco labels (Holy Bible/ MDLXXIX), [Herbert 84], 4to (214 x 175mm.), [Zurich, C. Froschover,] [1550].⁂ A substantially complete copy of this rare edition and the last Coverdale version issued in his lifetime.Provenance: Thomas Pirsiffall [ie Percival] (ink inscription dated 1581 to verso of final leaf of OT, with other ink annotations ?in his hand on recto); Granville Hastings Wheler (morocco book label dated 1725).
Bible, Latin. Psalterium Davidis carmine redditum per Eobanum Hessum, cum annotationibus Viti Theodori Norimbergensis, quæ commentarij vice esse possunt, title with woodcut printer's device, woodcut head- and tail-pieces and decorative initials, trimmed at outer and top edges, affecting some printed side-notes and headlines, single wormhole to lower inner margin, water-stained, occasional staining or spotting, lightly browned, later sheep, rebacked, corners worn, covers rubbed and scuffed, [STC 2356], 8vo, Thomas Vautrollier, 1575.⁂ First London edition of this Latin verse translation by the German poet and Lutheran humanist Eobanus Hessus. It is rare at auction.
*** Please note, the description of this lot has changed ***Thucydides. The Hystory...of the warre, whiche was betwene the Peloponesians and the Athenyans, first English edition, translated by Thomas Nicolls, printed in black letter, fine woodcut title (repaired at head and foot), without the final errata leaf (as often), closed tear to inner margin of C2, affecting a few words but with no loss, some water-staining and occasional soiling but generally a crisp and well-margined copy, old blind-stamped calf, rebacked preserving old label, rubbed and scuffed, [STC 24056], folio, Imprinted [by William Tylle], 1550.⁂ A very good copy of one of the earliest translations of Greek literature. Thucydides recounts the 5th-century B.C. war between Athens and Sparta and analyses the political and moral policies that fueled the combat.Provenance: Henrie Bushell (early ink inscription on final leaf of text); Col. F. Isaac (ink inscription in Stephen Gaselee's hand, from whom acquired in 1935)
Calvin (John) A Commentarie of Iohn Caluine, vpon the first booke of Moses called Genesis, translated by Thomas Tymme, first edition in English, title within woodcut architectural border, half-page woodcut map to E1, woodcut head-pieces and decorative initials, final verso with large woodcut printer's device, lacking blanks ¶8 and 3M8, title trimmed and neatly window-mounted on stub, I2-I7 repairs to outer margin, affecting printed side-notes, 2Q8 torn and repaired with loss of text, occasional wormholes / trace to inner gutters, just touching text on the odd f. on sigs. S-U, stained, some spotting, lightly browned, [STC 4393], [By Henry Middleton] for Iohn Harison and George Bishop, 1578 bound with Calvin (John), A commentarie of M. Iohn Caluine, vpon the booke of Iosue, finished a little before his death: Translated out of Latine into Englishe by W.F., translated by ?William Fulke, title and small woodcut ornament within woodcut typographic border, large woodcut historiated initials, worm trace to some inner gutters, some water-staining, mostly marginal, occasional spotting, lightly browned, [STC 4394], [By Thomas Dawson] for George Bishop, 1578, together 2 works in 1 vol., trimmed at head, affecting the odd headline, 19th century half calf, richly gilt spine in compartments, corners little worn, rubbed, small 4to (the first work in 8s)⁂ Provenance: 'Wm. Herbert' (17th century ink inscription to front free endpaper); Wm. Bateman, F.A.S., of Middleton, Derby (engraved armorial bookplate to front pastedown).
Machiavelli (Niccolò) The Florentine Historie, translated by Thomas Bedingfeld, first edition in English, title within woodcut border with printer's device at foot, woodcut head- and tail-pieces and decorative initials, lacks final blank, title edges torn with small loss to margins, title browned, trimmed and laid down, occasional slight staining in margins, slightly browned, later endpapers, later panelled calf, slightly rubbed, rebacked in modern calf, new morocco label, [STC 17162], sm. folio, Printed [by Thomas Creede] for VVilliam Ponsonby, 1595.⁂ Dedicated to Sir Christopher Hatton.
Ashley (Robert) Almansor. The Learned and Victorious King that conquered Spaine, first edition, title soiled and torn, water-staining, leaves loose, BM stamp and withdrawn stamp on title verso, disbound, [STC 354], 4to, Printed for John Parker, 1627.⁂ A tired copy of a work which rarely appears at auction, the last one traced being in 1966. According to ESTC "Translation of selections of Part 2 of: Aly Abencusian [i.e. Miguel de Luna] Verdadera historia del rey Don Rodrigo." This copy with p.3 line 8 ending "accor-" (another setting has "ac-"); p.74 penultimate line has "bee God" (another setting has "bee the God").
Theatre.- Prynne (William) Histrio-mastix. The players scourge, or, actors tragædie, divided into two parts. Wherein it is largely evidenced...That popular stage-playes...are sinfull, heathenish, lewde, ungodly spectacles, and most pernicious corruptions, first edition, state with errata on 3*4v, first leaf and 5N4 blank, woodcut head-pieces and decorative initials, title trimmed at head, just touching first word, 3A3 very small burn hole at foot, with loss of 3 or 4 letters, without loss of sense, 5X1 short tear at head, without loss, water-stained, some soiling, occasional spotting, lightly browned, 19th century antique style panelled calf, rebacked, preserving original gilt backstrip in compartments, crackled, rubbed and scuffed, [Pforzheimer 809; STC 20464a], small 4to, Printed by E. A[llde]. [Thomas Cotes, Augustine Mathewes,] and W[illiam]. I[ones]. for Michael Sparke, and are to be sold at the Blue Bible, in Greene Arbour, in little Old Bayly, 1633.⁂ Prynne's vehement attack on the theatre, with his disgraceful epithet on actresses, widely supposed to have been directed at Henrietta Maria, who was at that time taking part in a ballet rehersal. For this Prynne was sentenced to life imprisonment, a fine of £5,000, and to stand in the pillory and lose both of his ears (all commuted).
Warfare.- Du Praissac (Sieur) The Art of Warre, or Militarie Discourses..., translated by J[ohn] C[ruso], 2 parts in 1, first English edition, numerous woodcuts, with the extra leaf after L1 (after p. 156), 2ff. [par] 1 & 2 bound at end instead of beginning, lacks the engraved leaf "The Military Encycle", later ink signature of George Gerbier on front free endpaper, contemporary calf, gilt, rubbed, spine worn with tears, red morocco label, [STC 7366], 8vo, Cambridge, Printed by Roger Daniel, sold by John Williams, 1639.⁂ First part deals with all subjects, such as levying, marching, building forts, ordnance, fireworks, duties, etc. The second part, A short method for the easie resolving of any military question propounded.Provenance: George Gerbier (fl. 1638-61), soldier and author; probably the son of Sir Balthazar Gerbier, art agent and architect.
Astronomy.- Gassendi (Pierre) Tychonis Brahei, equitis dani, astronomorum coryphaei, vita. Accessit Nicolai Copernici, Georgii Peurbachii, & Joannis Regiomontani, astronomorum celebrium, 2 parts in 1, second edition, first title in red and black, engraved portraits of Brahe and Copernicus, woodcut diagrams of the solar system, woodcut head-pieces and decorative initials, portrait of Brahe and title lightly browned / soiled, a couple of marginal tears with loss, occasional spotting or staining, later endpapers, later panelled calf, richly gilt spine in compartments, upper joint splitting, but holding firm, corners worn, rubbed and scuffed, small 4to, The Hague, Adrian Vlacq, 1655.⁂ The Macclesfield copy of these biographies of celebrated astronomers. Includes an account of Tycho Brahe's duel following a mathematical dispute, in which he famously lost his nose, and the story of his pet elk, who died after drinking beer at a banquet and falling down stairs.Provenance: Earls of Macclesfield (North Library engraved armorial bookplate) and small armorial blind-stamps.
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 E2 as often, title and final leaf soiled, modern sprinkled calf, gilt, covers slightly stained, [Keynes 23; Wing E3488], 4to, Printed by W. Godbid for Gabriel Bedel, and Thomas Collins, 1661.⁂ The first English book on pollution with suggestions on how to improve the poor air quality of London, including planting trees and relocating industries such as brewing, dyeing and lime-burning.
Wilkinson (Henry) Characters of a sincere heart, and the comforts thereof, collected out of the Word of God, first edition, woodcut head-pieces and decorative initials, purple library stamp within text on second A1, D2 and G3, text perfectly legible, F2 short tear, just touching a couple of letters without loss, some staining, including red on A7, [Wing W2229], 8vo, Oxford, Printed by Leonard Lichfield, printer to the University, for Ric. Davis, 1674.⁂ Scarce work by the parliamentarian one-time Principal of Magdalen Hall, Oxford, where he entertained Cromwell and Fairfax. Provenance: 'Isaack Laysell, servant to Dr. Wilkson...' (contemporary ink signature to final verso).
Murder.- Wright (Thomas) God's Revenge Against Murther and Adultery..., second edition, additional engraved title, 2 engraved plates (1 with edges silked, outside plate margin), single leaf of advertisements at rear, contemporary ink ownership inscription to front endpaper, very occasional spots or instances of finger soiling, endpapers renewed, eighteenth century calf, rebacked, spine gilt with red morocco label, [Wing 3710], 8vo, for B. Crayle, 1688.⁂ Rare. ESTC lists only 5 copies for the US, and a single copy only at the Bodleian Library within the UK, that seemingly without additional engraved title (not in BL). We can trace no copy of this edition at auction, meanwhile the last copy of the first edition (1688) appeared in 1978.
[Walsh (William)] Letters and poems, amorous and gallant, first edition, title in red and black, some worming at head, occasionally touching the odd letter of a headline, foxing, occasional staining, lightly browned, engraved armorial bookplate mounted on verso of title, 18th century speckled calf, sympathetically rebacked, spine in compartments and with green leather label, corners worn, [Wing W647], 8vo, Printed for Jacob Tonson at the Judges-Head in Chancery-lane, near Fleet-street, 1692.⁂ William Walsh (1662-1708) English poet, critic and politician. He was a mentor to the young Alexander Pope, with whom he maintained long friendship. 'Mr Walsh used to tell me that there was one way left of excelling; for though we had several great poets, we never had any one great poet that was correct, and he desired me to make that my study and my aim' (Pope).
Het Groote Tafereel der Dwaasheid, vertoonende de opkomst, voortgang en ondergang der Actie, Bubbel en Windnegotie, first edition, 74 engraved plates only (of 76), many folding, printed on various paper stocks, some plates trimmed at platemark and laid down, one detached, bookplate removed from pastedown, frontispiece repaired with tape verso, spotting and browning, contemporary panelled calf, gilt, worn, [Goldsmiths 5879; Kress 3211], folio, [Netherlands], 1720.⁂ First edition of The Great Mirror of Folly. "Of the volume's significance in economic literature there can be no doubt.... In neither [England nor France] did there appear such a stout and extravagant piece as this Dutch volume. Constituted of folio size, its bulk is made up largely of satirical plates.... No two specimens, even of approximately the same actual issue date, are exactly the same" - Cole, The Great Mirror of Folly... an Economic-Bibliographical Study, 1949.
Murder.- A Warning Piece Against the Crime of Murder:..., first edition, B4 lightly soiled, some light spotting and instances of finger soiling, repairs to hinges, contemporary calf, rebacked, recornered, 8vo, for William Owen, 1752.⁂ Rare. ESTC lists only three copies in the UK and five in the US. We can trace no copy at auction in the last several decades.
Economics.- Smith (Adam) An Inquiry into the Nature and Causes of the Wealth of Nations, 2 vol., second edition, vol.2 with half-title as called for, both vol. without final blanks, vol. 1 2D2 and 2D3 supplied in excellent modern facsimile, both with neat "facsimile" blindstamp to lower margin, vol. 2 2L1 with repaired tear to upper margin running into headline without loss, 3X3 with neatly repaired tear running into text without loss, occasional very light toning to text but a good, clean copy generally, ink ownership inscription of Preston Hulton to endpapers, vol. 1 with armorial bookplate of Samuel Hartley to front pastedown, contemporary speckled calf, gilt, neatly and sympathetically rebacked, spines gilt in compartments with red and green morocco labels, a few neat and expert repairs to extremities, Goldsmiths' 11663; Kress B.154; cf.PMM 221, first edition], 4to, W. Strahan; and T. Cadell, 1778.⁂ The second edition is the rarest of the early editions of Wealth of Nations, of which only 500 copies were printed. A number of these sheets for this edition may well have been used from the first edition of 1776."The Wealth of Nations is not a system, but as a provisional analysis it is completely convincing. The certainty of its criticism and its grasp of human nature have made it the first and greatest classic of modern economic thought." - PMM.
Coleridge (Samuel Taylor) Conciones ad Populam, or Addresses to the People, first and only edition, bookplate of Robert, Marquess of Crewe on front pastedown, mid 19th century half calf, gilt, [Wise 3], sm. 8vo, [Bristol, for the Author], 1795.⁂ A rare early work by Coleridge, printing two lectures in the Corn Market, Bristol. The first, on contemporary English Jacobins such as Paine, Godwin and Gerrald, had been printed as A Moral and Political Lecture, but the second, On the Present War, against Pitt, his policies and the war against France, is first printed here.Provenance: Robert Milnes, Marquess of Crewe (1858-1945). Perhaps inherited from his father, Richard Monckton Milnes (Lord Houghton), who left an enormous library, considerably extended by his son.
Coleridge (Sara, writer and literary editor, 1802-52).- Southey (Robert) [The Works], Sara Coleridge's collection of Southey's works, 8 volumes inscribed, and most given to her by him, together 16 vol., uniformly bound in contemporary half red morocco, gilt spines faded, 8vo, London, 1815-29.⁂ A unique association collection from the library of the poet and philosopher Sara Coleridge (1802-52), only daughter of Samuel Taylor Coleridge and Sara Fricker. Many of the books were presented to her by her uncle, Robert Southey, and inscribed as such either by Sara, Southey or her husband Henry Nelson Coleridge, whom she married in 1829. "The ongoing literary labours of Wordsworth and Southey thus ensured an almost constant stream of visitors at Greta Hall, and by the age of twenty Sara had met many of the most famous writers of her day. This stimulating environment, the excellent tutelage of her mother and uncle, her own intellectual prowess, and the impecunious state of the Coleridge family all contributed to Sara's first literary efforts." - Oxford DNB.Collection comprises: (1). The Minor Poems of Robert Southey, 3 vol., inscribed on first title: "Sara Coleridge/Greta-hall/Keswick". The inscription in Sara Coleridge's hand, vol. II small stain at beginning, lacks half-titles, 1815 (2). The Poet's Pilgrimage to Waterloo..., Second edition, 8 plates (some discoloured), inscribed on title: "Sara Coleridge/from/Robert Southey. 1830"; in the hand of Henry Nelson Coleridge, 1816 (3). The Curse of Kehama..., 2 vol., The fourth edition, inscribed on half title to volume I: "Sara Coleridge/from/Robert Southey. 1830", in Henry Nelson Coleridge's hand, 1818 (4).Thalaba the Destroyer..., The fourth edition, inscribed on both titles: "Sara Coleridge/from Robert Southey/1829", inscription in the hand of Henry Nelson Coleridge, inscribed on endpaper of both volumes: "Ellen Coleridge/May 1886", presumably Ellen (née Phillips), widow of Herbert Coleridge, philologist, Sara's only son, who had died of consumption in 1861 (5). Carmen Triumphale..., Second edition, 1821 (6). The Expedition of Orsua..., 1821 (7). Madoc..., Fifth edition, inscribed on first half title: "Sara Coleridge/from/Robert Southey/1830", in the hand of Henry Nelson Coleridge (8). A Tale of Paraguay..., First edition, inscribed by Southey at head of title: "Sara Coleridge, - from the Author" (9). Roderick, The Last of the Goths..., Sixth edition, 1826 (10). All For Love; and the Pilgrim to Compostella..., inscribed at head of title: 'Sara Coleridge/from/the Author. 1831, in the hand of Henry Nelson Coleridge, 1829.
Shelley (Percy Bysshe) The Cenci. A tragedy, in five acts, first edition, one of 250 copies, 4 autograph corrections by Shelley on four pages, slightly browned, ALs from Neville Rogers loosely inserted, new endpapers, bound in modern crushed morocco, gilt spine, [Ashley V 69], 8vo, Italy [Leghorn], Printed for C. and J. Ollier Vere Street Bond Street, London, 1819.⁂ Shelley's autograph corrections. First edition of the only work by Shelley in Leghorn (Livorno), in an edition of only 250 copies, in the summer of 1819; it does not seem to have been published until the following year. Corrections comprise: (1). Page 62, Shelley has added a line to the list of curses that Cenci wishes upon his daughter in Act IV scene 1: speech ending "All beholding sun, Strike in thine envy those life-darting eyes With thine own blinding beams!" has been extended with "till she become an abhorrence, and..." (2). Page 69, "Runs freely" has been changed to "Runs freelier" (3). Page 71, "He is a wicked and wrathful man" becomes "He is a wicked and a wrathful man" (4). Page 97, typographical correction, "Sweet sleep, were death like to thee" changed to "Sweet sleep, were death like thee."Neville Rogers (1908-85), Shelley scholar; author of Shelley at Work: A Critical Enquiry, Oxford, Clarendon Press, 1956: Oxford English Texts, The Complete Poetical Works of Shelley. ALs from Rogers to James Stevens-Cox, "It is most kind of you to send me Shelley's corrections which he made to your precious copy of The Cenci".
Shelley (Percy Bysshe) Rosalind and Helen, a Modern Eclogue; with other poems, first edition, half-title, 4pp. advertisements at end, new endpapers, modern gilt panelled morocco, gilt panelled spine, g.e., slip-case, by Bayntun, [Ashley V 68], 8vo, for C. & J. Ollier, 1819.⁂ Contains the first appearance in book form of one of Shelley's most famous poems, Ozymanidas.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ST. MARTIN'S BRIDGE, TOLEDO EtchingDimensions:the sheet 46cm x 57cm (18.25in x 22.5in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) SUTHERLAND LANDSCAPE Etching, and another, 'Untitled (Landscape)', etchingDimensions:the sheet 42cm x 50.5cm (16.5in x 19.75in) unframed; the sheet 35cm x 50.5cm (13.75in x 19.75in)Note: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) THE HARROW EtchingDimensions:the sheet 35cm x 50.5cm (13.75in x 19.75in)Note: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ST. MONAN'S Etching, signed in plate, and another, 'Welsh Village', etchingDimensions:each sheet 34.5cm x 50.5cm (13.5in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) ESSEX BARN Etching, and another, 'Gothic Barn', etchingDimensions:each sheet 35cm x 50.5cm (13.75in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) RONDA Etching, signed and dated 1946 in plate, and another, 'San Gimignano', etchingDimensions:each sheet 35cm x 50.5cm (13.75in x 19.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) HOLYROOD IN SNOW Etching, and another, 'Canongate', etchingDimensions:each sheet 35cm x 51cm (13.75in x 20in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) NORTH HIGHLAND LANDSCAPE EtchingDimensions:the sheet 50cm x 55cm (19.75in x 21.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition. Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
§ WILLIAM WILSON O.B.E., R.S.A., R.S.W. (SCOTTISH 1905-1972) LOCH SCAVAIG Etching, signed in plateDimensions:the sheet 50cm x 55cm (19.75in x 21.75in) unframedNote: Arguably the most compelling work produced over William Wilson’s varied career was his etchings. In his youth Wilson cultivated his eye for composition while apprenticed to the stained glass firm James Ballantyne & Son. He later attended evening classes at Edinburgh College of Art, where he was introduced to printmaking by Adam Bruce Thomson. A 1932 Carnegie Travelling Scholarship from the Royal Scottish Academy enabled him to travel to France, Spain, Italy and Germany, where he developed many of the compositions in the present edition.Wilson commenced full-time study at Edinburgh College of Art, and befriended the artist Ian Fleming who helped him further cultivate his etching and engraving skills. He continued his studies at the Royal College of Art in London, and met the artist Edgar Holloway, with whom he set up a printing press. The pair travelled widely, and Wilson produced further etchings inspired by European topography and architecture.From 1937 Wilson largely ceased printmaking as he turned his attentions towards developing an Edinburgh stained glass studio. He established himself as the foremost British stained glass maker and was appointed O.B.E. in 1961.The present edition emerged after the vendor discovered the series of plates in the studio of her late husband, an artist. She first contacted esteemed Edinburgh printmaker Alfons Bytautas, who produced this exquisite posthumous edition, which is presumed to be unique. The full set of plates was then gifted to the Royal Scottish Academy, with the approval and authentication of William Wilson’s estate.
Football Autographed Tottenham 20 X 16 Limited Edition - A Superbly Produced Limited Edition Print, No. 2 Of 75 Issued, Measuring 20 X 16 It Depicts Players Parading The Fa Cup And The First Division Trophy Through The Streets Of North London From An Open Top Bus, After Their Record Breaking 1960/61 Season, Signed To The Lower Border By Mackay, Smith, Baker, Norman, Allen, Dyson And Jones. Good Condition Est.
Vintage Yu-Gi-Oh! Collection LOB-EEN. This lot contains a folder full of Yugioh Ultimate, Secret, Ultra and Super rare Yu-Gi-Oh! cards from the very first set, Legend of the Blue-Eyes White Dragon all the way to Elemental Energy. Containing a mixture of 1st Edition and Unlimited cards it features fan favorites such as Exodia the Forbidden One, Gate guardian, Obelisk the Tormentor, Gaia the Fierce Knight and many more. This collection features over 70 cards and is a mixture of American and European printCondition Report: Various conditions ranging from Near Mint to Played.
Pokemon TCG. Base Set to Fossil Collection. Organised in the way of the original Pokedex this collection contains 1st Edition and unlimited cards from the Base Set, Jungle and Fossil expansions. Unfortunately a few holographic cards are missing from the Jungle and Fossil expansion meaning this is not a complete set of the first three sets but its only a handful of cards off and a great way to accumulate the first era of Pokemon cards. The 1st edition cards are mainly from the Fossil expansion and include a Holo Lapras and Moltres and multiple non-holo 1st editions. Unfortunately this item was stored in a garage and has suffered significant water damage to the first two pages. While many of the holos are warped due to storage they are still in Good condition. Condition Report: Unfortunately this item was stored in a garage and has suffered significant water damage to the first two pages. While many of the holos are warped due to storage they are still in Good condition.
Jean-Baptiste Auguste Clésinger (French, 1814 -1883: A bronze group entitled 'Jeunesse de Bacchus'the young Bacchic putto seated on a striding jaguar, the rectangular base inscribed, signed and dated JEUNESSE DE BACCHUS, J CLESINGER. Rome. 1869 with Bronze Artistique de Paris pastille mark, brown patina, 44.2cm highFootnotes:Provenance:Acquired by a private UK collector, Sotheby's, London, 23 November 1990, 19th Century Sculpture, lot 90.This present lot is a reduction in bronze of the marble group in the Museum of Versailles which was exhibited at the centennial exhibition of French Art in 1900, originally executed in 1868 in white marble and in grey marble the following year. It is one of only two known models by Clésinger cast by the Marnyhac foundry, the larger edition being produced by Clésinger's usual foundry, Barbedienne.Clésinger first studied under his father, the artist George Philippe before continuing his studies under Bertel Thorwaldsen in Rome and David D'Angers in Paris. He began exhibiting in the Salon in 1843 making his debut with a bust of Viscomte jules de Valdon. In his lifetime he was commissioned to do many public monuments including the bust of Liberty on the Champs de Mars and he was created an Officer of the Legion of Honour in 1884.For further information on this lot please visit Bonhams.com
Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com
A 17th century edition of Aesop's Fables, first Folio edition of 1665, translated by John Ogilby, without illustrative plates, comprising a total of eighty one fables, 38.5 cm high, A/FCondition: watermarks, stains, some rips to the edges, no back cover, the spine is bare, missing the title page and frontpiece, A/FLocation:
A fine George III satinwood and rosewood crossbanded serpentine commode, in Sheraton style and in the manner of Ince and Mayhew, last quarter 18th century,: the top with concentric fan paterae radiating from the back edge; the four graduated drawers all with twin ormolu ring handles with vases in low relief to the backplates, with further crossbanded and cockbeaded edges; the top drawer fitted with brushing slide over compartments; the drawers flanked by projecting and canted angles to block bracket feet; 88cm high, 118cm wide, 64cm deep*Notes William Ince and John Mayhew were in partnership from 1759 to 1803, in London. Ince was a subscriber to the first edition of Thomas Chippendale's 'Director' and the publication of course influenced his work, which he developed with lighter forms and up to date Neoclassicism, utilising more exotic timbers in his veneers and incorporating the fashionable patterns and themes of Adam. They had used marquetry in their furniture from the early days of its return to fashion in the 1760s, and the firm became renowned for the quality of their oeuvre
Mark Robson Signed Book The Forging Of The Sword Softback Book 2002 Revised Edition Signed by Mark Robson on the First page published by Sword Publishing some ageing good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
Conn Iggulden Signed Book Wolf of The Plains Hardback Book 2007 First Edition Signed by Conn Iggulden on the Title page published by Harper Collins Publishers some ageing good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
William Hague Signed Book William Pitt The Younger Hardback Book 2004 First Edition Signed by William Hague on the Title page published by Harper Collins Publishers Ltd some ageing good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
Monty Roberts Signed Book Join-Up Horse Sense For People Hardback Book 2000 First Edition Signed by Monty Roberts on the Title page published by Harper Collins Publishers some ageing good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
Richard Laymon Signed Book The Travelling Vampire Show Hardback Book 2000 Second Reprint Edition Signed by Richard Laymon on the First page published by BCA (Headline Book Publishing) some ageing good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £9.99
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