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Click here to subscribeOf Banbury and District interest, a collection of approximately thirty five photographic printing blocks, including views of Cropedy, Adderbury, Broughton Castle, Compton Verney, North Aston etc, together with two 1950's copies of The Banbury Adverstiser and the first colour edition of The Banbury Guardian, March 8th 1962
A group of eight small Royal Crown Derby paperweights, all modelled as kittens, comprising 'Sleeping Ginger Kitten', limited edition 16/1500 specially commissioned by The Guild of China & Glass Retailers, gold stopper, MMI, 4.5cm high, with certificate, boxed, 'Tabitha', limited edition 1425/1500 first in a series of Special Editions for The Duesbury Group , gold stopper, MMVI, 8cm high, with certificate, boxed, 'Fireside Kitten', limited edition 346/950 specially commissioned by Peter Jones of Wakefield, gold stopper, MMIV, 8cm high, with certificate, boxed, 'Playful Ginger Kitten', limited edition 154/1500 specially commissioned by The Guild of China & Glass Retailers, gold stopper, MMII, 6cm high, with certificate, boxed, 'Nice', gold stopper, MMXII, 8cm high, boxed, 'Millie Kitten', gold stopper, MMXIII, 5cm high, boxed, 'Sitting Kitten', gold stopper, MMIV, 6.5cm high, boxed, and 'Contented Kitten', gold stopper, LXI, 5cm high, boxed. (8)
1989 BMW E30 M3 Cecotto Edition LHDMake: BMW Model: E30 M3Year: 1989Mileage: 0VIN: WBSAK05060AE40611Configuration: Left Hand DriveRegistration: G595KOBTransmission: Manual2,302cc. First registered in the UK in 1989. Vehicle number 240 of 505. Finished in Macau blue. This rare car has been owned by the vendor, a transmission specialist, since 1999. During his ownership, he has serviced and maintained the car himself, retaining a hand-written and stamped log. The previous owner was registered from 1996 and all receipts and MoTs date from this year to the present. It is described as driving well and unmolested. The history file is completed by manuals, wallet, spare keys and badges. Odometer reads 156,002 kilometres (96,935 miles). PLEASE SEE BELOW FOR VIDEO PRODUCED 7TH APRIL BY ACA OF THIS CAR.
Tales of a War Pilot by Richard C. Kirkland, published by Smithsonian (Hardback, Signed), Capt. Jepp & The Little Black Book Special Edition by Flint Whitlock & Terry L. Barnhart, published by Savage Press (Hardback, Letter), Aces Wild - The Race for Mach 1 by Al Blackburn, published by Scholarly Resources Inc (Hardback, Signed), Schooldays to Spitfire by Gordon Mitchell, published by Clifford Frost Ltd (Paperback, Signed). The Battle of Britain - Classic, Rare & Unseen Photographs from the Daily Mail by James Alexander, published by Trans Atlantic Press (Hardback), Civil Aircraft by James Gibb, published by Sandcastle Books (Hardback), Lindbergh - Flights Enigmatic Hero by Von Hardesty, published by Harcourt (Hardback), Dogfight by Tony Holmes, published by Osprey (Hardback), Jane's Enyclopedia of Aviation, published by Portland House (Hardback), The Asylum of Howard Hughes by Jack G. Real with Bill Yenne, published by Xlibris (Paperback), Flights into History by Ian Mclachlan, published by Sutton Publishing (Hardback), No Empty Chairs by Ian Mackersey, published by Orion Books (Hardback), The Man Who Flew the Memphis Belle - Memoir of a WWII Bomber Pilot, by Col. Robert Morgan USAF, Ret., with Ron Powers, published by New American Library (Paperback), The Spectacle of Flight - Aviation & Western Imagination 1920 - 1950 by Robert Wohl, published by Yale University Press (Hardback), RAF Handbook 1939 - 1945 by David Wragg, published by Sutton Publishing (Hardback), The Battle of Britain in association with the Imperial War Museum, published by Osprey (Hardback), Sky Gate - The Aviation Photography of Etienne de Malglaive, published by Airlife (Hardback), Supermarine Spitfire by David Oliver, published by Harper Collins (Hardback), Great Aircraft of WWII Handbook, published by Abbeydale Press (Hardback), Band of Eagles by Frank Barnard, published by Headline Review (Paperback), First Light by Geoffrey Wellum, published by Viking (Uncorrected Proof Copy, Paperback), Hollywood Pilot - The Biography of Paul Mantz by Don Dwiggins, published Doubleday & Company (Hardback), The Spirit of St Louis by Charles A. Lindbergh, published by Charles Scribner's Sons (Hardback), Among others
'The Last Moments of HMS Hood', first edition print after Robert Taylor signed in pencil by survivor Ted Briggs, together with a limited edition whisky bottle no. 3/498 commemorating the sinking Notes: the 24th May 2021 marks the 80th anniversary of the sinking of H.M.S. HoodClick here to view further images, condition reports, sale times & delivery costs for this lot.
First edition of ' Fighter Pilot, A Personal Record of the Campaign in France ' published 1941,together with a wartime copy of ' Hells Corner ' by H.R.P. Boorman, a copy of ' The Aeroplane ' magazine dated April 2nd 1943, Air Ministry pamphlet number 328 'Development of Aviation in England up to 1914 ', print from a magazine of R.N.A.S. pilot and V.C. winner Flight Sub Lieutenant R.A.J. Warneford, two Battle of Britain 70th Anniversary commemorative magazines, ' The Complete Flying Course, A Manual of Flying Tuition ' by N. Roy Harbden
A rare First World War French General Officers Kepi, the kepi, to the rank of General de Division (Major General) is of the 'Polo' pattern and has oak and olive leaves in gold bullion embroidered in two rows around the cap band,the scarlet turban is adorned with rank braid and has a 'Hungarian Knot' embroidered to the top, the kepi is stiffened by a jute material to the inside and the black silk lining bears gold a printed maker’s coat of arms with the motto 'Légèreté Solidité Elégance à Paris’ ( this same makers mark and distinctive style of embroidery can also be found on a kepi attributed to Marshal Joffre from 1916), the Kepi was sent to the UK to the publishers William Heinemann Ltd in the early 1930's to help publicize the Memoirs of Marshal Foch which the company published in English in 1931, the kepi was retained by the vendors father, Captain Arnold Gyde of the 2nd Battalion South Staffordshire Regiment, Captain Gyde was a British veteran of the Great War and worked for Heinemann as a Sales and Publicity Director, a lifelong scholar of history he was a great admirer of Foch, for many years it was believed the kepi belonged to Marshal Foch himself but this is unlikely as the embroidery of oak and olive leaves would indicate the officer was an Ingenieurs Generaux au Service des Essences (Fuel Engineer General), and Foch, as a General of Artillery would have had oak leaf embroidery only, still a rare item, also included with the kepi is a first edition copy of The Memoirs of Marshal Foch, (2)
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, CIRCA 1934 bronze, unique example with chasing, on original rosewood base(overall 67.4cm high (26.5in high) including base, 36.5cm wide (14.3in wide), the bronze 61cm high (24in high))Footnote: Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, London, 1974, p.154, no.109 (illustrated with the base and dated 1934); Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.68. We would like to thank Ben Whitworth for his assitance in cataloguing the current work. Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly.2 Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, 1938 signed, dated, titled and numbered 'IV', from an edition of four, terracotta, on original wooden base(overall 62cm high (24.3in high) including base, 33cm wide (13in wide))Footnote: Provenance: J. P. Lehmans Gallery, London; Obelisk Gallery, London, 1972. Literature: Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.67 and p.78, figure 54 (another cast). Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly. Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lucretius Carus (Titus) De rerum natura libri sex, first Tonson edition, engraved frontispiece and 6 plates, one folding of the Plague of Athens, engraved head- & tail-piece and initials, one head-piece slightly shaved, a little browned, traces of book-plate and stamp to front pastedown, front free endpaper loose, contemporary mottled calf, gilt, spine gilt, rubbed, joints split, spine slightly worn at head, 4to, Jacob Tonson, 1712.
Bindings.- Southey (Robert) A Tale of Paraguay, 2 engraved plates by Heath after Westall (a little foxed and offset), 1825 bound with [Rogers (Samuel)] Italy, a Poem. Part the First, with "by Robert Southey" mistakenly supplied in manuscript on title, 1822, first editions, engraved bookplate of John Waldie and modern bookplate of W.D.J.Cargill Thompson, contemporary calf, spine gilt with mesh design and green roan label, a few scratches to upper cover § Southey (Robert) Roderick, the Last of the Goths, 2 vol., fifth edition, attractive contemporary lilac calf with elaborate gilt foliate borders, spines gilt with red and green roan labels, a few stains, 1818, a little rubbed, 12mo, Longman (3)
Canetti (Elias) Crowds and Power, first English edition, original boards, dust-jacket, spine lightly browned, spine ends and corners with minor chipping and creasing, some discolouration to lower panel but an excellent example overall, 8vo, 1962.⁂ An attractive example of this important work on social theory by the Nobel Prize-winner.
Capote (Truman) Breakfast at Tiffany's, first English edition, bookseller's label to pastedown, original boards, light bumping to spine ends else fine, dust-jacket, some light rubbing and creasing to spine ends and corners, a few patches of insect damage along lower fore-edge, but a sharp and excellent example overall, 8vo, 1958.
Christie (Agatha) The Body in the Library, first edition, original cloth, light fading to spine ends, dust-jacket, price-clipped, neat and professional repairs to spine ends and corners, short repaired tear to head of upper panel, very light creasing to head and foot, in effect a near-fine example, 8vo, 1942.⁂ A wartime title, rare in the jacket in good condition.
Dickens (Charles) Little Dorrit, first edition in book form, first issue, etched frontispiece, additional title and 38 plates by Hablot K. Browne, some light foxing, mostly to plates, contemporary half calf, split to head of upper joint, bumping to corners, light rubbing, 8vo, 1857.⁂ First issue with signature BB2 misprinted as "B2" at page 371; "William" instead of "Frederick" on page 317, line 27; and the name "Rigaud" appears instead of "Blandois" on pages 469, 470, 472, and 473.
Doyle (Sir Arthur Conan) The Return of Sherlock Holmes, first edition, half-title, 16 plates by Sidney Paget, 4pp. advertisements at end, some foxing, original cloth, a little rubbed and soiled, [Green & Gibson A29], 8vo, 1905.⁂ The return of Holmes following his famous 'death' at the foot of the Reichenbach Falls.
Fowles (John) A Maggot, first edition, signed presentation inscription from the author to title, dust-jacket, price-clipped with light fading to spine, 1985 § Psychoundakis (George) The Cretan Runner His Story of the German Occupation, translated by Patrick Leigh Fermor, first English edition, ink name to endpaper, dust-jacket, spine ends and corners chipped and creased, neat tape repairs to verso, 1955 § Stramm (August) Twenty Two Poems, number 61 of 200 copies, colour frontispiece and illustrations by Rigby Graham, light offsetting onto title, Wymondham, Brewhouse Press, 1969, original cloth; and 24 others, many signed, v.s. (27)
Franzen (Jonathan) Strong Motion, first edition, signed by the author to title, original boards, dust-jacket, 1992; The Corrections, presentation inscription from the author to Kenneth Baker "from your Yankee writer friend", original wrappers, rather creased and lightly soiled, 2001; and 4 others by Franzen, 8vo (6)
Grafton (Sue) 'A' is for Alibi, first edition, bookplate signed by the author loosely inserted, light marginal toning, 1982 § McDermid (Val) The Mermaid's Singing, signed by the author on title, light marginal toning, 1995 § Ellis (Kate) The Merchant's House, signed by the author on title, 1998, first editions, original boards, dust-jackets, fine; and 2 others, A Touch of Frost and Black Dog, also signed, 8vo (5)⁂ A good group of works featuring the first appearance of the authors' most famous detectives.
Grass (Günter) The Tin Drum, translated by Ralph Manheim, first English edition, cut signature of the author to title, original boards, dust-jacket, light browning to spine, light toning and surface soiling to panels, light creasing to head, but a sharp and excellent example overall, 8vo, [1962].
NO RESERVE Graves (Robert) Mock Beggar Hall, first edition, ex-library copy with bookplate and ink stamp to title verso, original pictorial boards by William Nicholson, spine defective with piece missing from head and about a third missing from bottom, corners rubbed, 4to, Hogarth Press, 1924.
Hemingway (Ernest) A Moveable Feast, first edition, plates, ink ownership signature to half-title, original cloth-backed boards, dust-jacket, very slight bumping to corners and extremities, lightly rubbed, very slight creasing to extremities, still overall a clean and bright copy, New York, 8vo, 1964.
NO RESERVE Hersey (John) Hiroshima, first edition, bookplate to half- title, original cloth, spine browned, light fraying to spine ends, dust-jacket, light fading to spine, minor chipping to spine ends and corners, chip to upper joint, light rubbing to extremities, 8vo , New York, 1946.⁂ First edition of this landmark work, one of the earliest examples of New Journalism and never out of print.
Hill (Susan) The Magic Apple Tree, first edition, autograph note signed from the author loosely inserted, 1982; The Enclosure, 1961; Do Me a Favour, 1963; Gentlemen and Ladies, 1968, first editions, original cloth, dust-jackets, some light scuffing to corners but overall in excellent condition; and 9 others by Susan Hill, including another signed edition of The Magic Apple Tree, 8vo (12)
Johns (W.E., Captain) The Spyflyers, first edition, illustrated by Howard Leigh, colour frontispiece, 4 plates, ink inscription to front end paper, lightly browned, original cloth, spine slightly sunned, extremities rubbed, 1933; Biggles goes to War, first edition, illustrated by Howard Leigh, colour frontispiece, 6 full-page illustrations, occasional spotting, including title but mainly marginal, end papers browned, original cloth, spine slightly faded, small damp-stain to upper cover, 1938; Biggles and the Deep Blue Sea, first edition, library stamp to title verso, corners of one leaf defective, original cloth, dust-jacket, spine ends and corners a little chipped, pen lines to flaps, 1968; and c.60 others in the Biggles series, many first editions, 8vo and 4to (c.65)
Joyce (James) Ulysses, first authorised American edition, upper hinge starting, "Random House Announcement for the Season of 1932-1933" pamphlet loosely inserted, original cloth lettered in black and red, very light toning to spine, faint marking to covers, first issue dust-jacket with 'Reichl' credit to upper panel, light browning to spine and panel margins, neat repairs and restorations to spine ends and corners, neatly repaired tear to upper panel, in effect a near-fine example, [Slocum and Cahoon A21], 8vo, New York, 1934.
Koestler (Arthur) Spanish Testament, first edition, light scattered foxing, original cloth, dust-jacket, light browning to spine, spine ends and corners a little chipped, some light spotting and surface soiling, light creasing to head and foot, rubbing to extremities, 1937; Darkness at Noon, limited edition, signed by the author, original morocco, gilt, g.e., Pennsylvania, Franklin Library, 1979; and 7 others by the same, 8vo (9)⁂ A good group including the rare first edition of Koestler's first book in English.
Le Carré (John) The Looking-Glass War, first edition, cut signature of the author to title, jacket spine sunning, light rubbing to head and foot, otherwise excellent, 1965; The Spy Who Came in the From the Cold, Fiftieth Anniversary Edition, cut signature of the author to title, a fine copy, 2013, original boards, dust-jackets, 8vo (2)
Lewis (C.S.) Perelandra, first edition, light spotting to endpapers and edges, original cloth, light fading to spine, sunning to tips of spine and corners, dust-jacket, price-clipped but with 8s. 6d. price still visible, spine ends and corners chipped with loss to title at head of spine, light creasing and a few short closed tears to head and foot extremities rubbed, 8vo, 1943.⁂ The second title in Lewis' Space Trilogy, scarce in the jacket.
Maugham (William Somerset) The Bishop's Apron, first edition, title foxed, light scattered spotting, original cloth, boards lightly faded and a little soiled, wear and light rubbing to extremities, rebacked preserving original spine, 8vo, 1906.⁂ The Bishop's Apron was published some nine years before the critical success of Of Human Bondage (1915) and was based on the unproduced play Loaves and Fishes.
Motion (Andrew) Inland, number 104 of 400 copies, this copy signed by the author on title, original wrappers, light surfaces soiling, Burford, Cygnet Press, 1976; Goodnestone, first edition, signed by the author, original wrappers, Workshop Press, 1972; Coming Home, number 50 of 75 copies signed by the author and artist, illustrations by Jane Lydbury, original morocco-backed cloth, Rochdale, 2015; and 3 others by the same, 2 signed, 8vo (6)
Orwell (George) Nineteen Eighty-Four, first edition, margins trimmed, some occasional light marking to text, title with ink library stamp to verso covered by laid down cutting featuring eye design, with some light show-through of stamp to recto, endpaper collage of Orwell's eyes, front pastedown with small compartment revealing the Queen's face on pound note, modern morocco with gilt design featuring inlayed fake eye and upper cover '1984' stamped in black on lower cover, 8vo, 1949.
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