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Whittington Press.- Randle (Rose) Rose's Aga Recipes, number 12 of 30 hand-coloured copies signed by the author and artist, from an edition limited to 950, linocut illustrations by Judith Verity hand-coloured with crayons, Addendum sheet loosely inserted, original patterned cloth with blue morocco label mounted on upper cover, t.e.g., others uncut, original cloth drop-back box, 1995 [2009] § Connors (Sandy) Busy as a Bee: Recipes & Labels for the Kitchen Garden, number 140 of 255 copies, wood-engraved illustrations by the author, some hand-coloured, original half cloth, uncut, 2002 § Lindsley (Kathleen) Pub Signs for Samuel Webster, number 183 of 350 copies signed by the artist, wood-engraved illustrations, original cloth-backed boards, uncut, 1983 § Crow (Barbara) An Acrobatic Alphabet, number 271 of 335 copies, wood-engravings, original pictorial wrappers sewn in Japanese style, slip-case, 1986, Risbury or Andoversford, Whittington Press; and 11 others form the press, mostly ordinary copies of the first (first to fifth editions), 8vo (15)⁂ The first item was part of some unbound sheets of the fifth edition of the book discovered at the binders in 2008, and 30 copies were bound up (20 in red, 10 in blue) in the style of the 30 specials of the first edition of 1984.

India.- Simpson (William) & Sir John William Kaye. India Ancient and Modern,. A series of illustrations of the country and people of India and adjacent territories, first edition, chromolithographed decorative dedication heightened with gold, 50 fine chromolithographed plates after Simpson mounted on thin card, paper guards, with additional oval photographic portrait of Simpson mounted as frontispiece, plates 5 & 29 with small adhesions to plates from paper guards, plates 36, 42 & 45 with stain to fore-margin not affecting images, contemporary half red morocco, spine gilt, g.e., rubbed, large folio, Day & Son, 1867.⁂ Excellent copy of a scarce work. Simpson arrived in Calcutta in October 1859, having been commissioned to illustrate a work on India. Over three years he visited much of the subcontinent, including the Himalayas, Kashmir, Ceylon, Tibet and its Buddhist temples. In addition to landscapes the superb plates depict cave temples, street scenes, priests and monks, craftsmen and everyday activities such as grinding corn and collecting water.

Rowling (J.K.) Harry Potter and the Philosopher's Stone, first paperback edition, first printing, usual light marginal browning, some light creasing, original pictorial wrappers, very slight sunning to spine, light vertical creasing to spine and upper cover, light rubbing and creasing to tips of spine and corners, split to foot of upper joint, light lifting to laminate at cover extremities, but still an excellent example overall, 8vo, 1997.

Trollope (Anthony) The Warden, first edition, without advertisements, light marginal browning, later brown cloth with original spine and cover panels neatly laid down, retaining original pastedowns and endpapers, light browning to spine, [Sadleir 4], 8vo, Longman Brown, Green and Longmans, 1855.⁂ The first of Trollope's Barchester series, rare in the original cloth. The present example in either Sadleir's first or second binding but with pastedown advertisements different to those called for.

Descartes (René) Les Passions de l'Ame, first edition, title with printer's woodcut device, woodcut initials and tail-pieces, very occasional light spotting, bookplate to front pastedown 'Henry Edward Bunbury', printers waste from a C17th English work used as endpapers, browned, contemporary calf, sympathetically rebacked preserving original spine, spine gilt with morocco label, corners rubbed, [Garrison Morton 4965, Norman 626; Willems 1083], 8vo, Amsterdam, Louys Elzevier, 1649.⁂ One of Descartes' most influential works, published the year before his death, The Passions is the fullest account of his understanding of the interaction between body and soul, setting forth his famous theory of the pineal gland. Consistent with his dualistic view, Descartes espoused the total distinctiveness of body and soul, and simultaneously equated the soul with the mind. From this, based on reasoning that alone of all parts of the brain the pineal gland was without a double, he argued that it was the unique locus for connection between the material body and immaterial mind. Although he had written privately on this subject already in Traité de l'Homme during the 1630s, this remained unpublished until after his death. Indeed, Descartes was reluctant even to publish The Passions, since he claimed its original purpose served only as part of his dialogue with the Princess Elisabeth of Bohemia (with whom he held an intimate correspondence between 1643-45), and of whose mind alone he was confident of being sufficiently elevated to understand his arguments contained therein.

Evergreen Press.- Anderson (Andrew) Enclosures: Times and Places. A Book of Wood Engravings, number 5 of 35 specially-bound copies with a signed print, from an edition limited to 180, original morocco-backed cloth, large folding print loose in cloth portfolio, together in slip-case, Stroud, 2009 § Punctuation: A Printer's Study, number 19 of 200 copies, printed in red & black, original cloth, 2001 § Edward Thomas: Words into Wood, number 83 of 250 copies, wood-engravings, original cloth, 2010 § Miss Margaret Beardsley of Ivy Cottage Windley, number 2 of 150 copies, wood-engravings by Rosalind Bliss, original wrappers, uncut, Windley, Bliss Press, 2009 § Abney (Edward) Letters to My Father 1660-1663, number 60 of 300 copies signed by the artist, illustrations by Clare Melinsky, frontispiece tipped in, original half morocco, uncut, slip-case, Sevenoaks, 2005, the first three Stroud, Evergreen Press, the last two printed by the press; and 15 others from or printed by the press, v.s. (20)

Dickens (Charles) A Tale of Two Cities, first book edition, first issue with p.213 misnumbered 113, engraved additional title and 14 plates by Hablot K. Brown, lacking half-title, frontispiece and front free endpaper, occasional foxing, some corner creasing, plates with some marginal damp-staining, upper hinge weak, contemporary half calf, rubbed, [Eckel p.86; Smith I, 13], 8vo, Chapman and Hall, 1859.

[Dickens (Charles)], "Boz", contributor. The Library of Fiction, or Family Story-Teller, 2 vol., first edition in book form, half-titles, 26 wood engraved plates only (of 28) after R. Seymour, R.W. Buss, Hablot K. Browne and others, vol.2 without pp. 161-208, occasional light foxing, ink ownership inscriptions to endpapers, original variant blue-green cloth with blind-stamped pattern of grapes and leaves, spine ends and corners a little bumped, light rubbing and fading, [Eckel p.150-151], 8vo, Chapman and Hall, 1836-37.⁂ These volumes bound from parts and lacking 4 stories in vol. 2. Contains two early pieces by Dickens as 'Boz' in vol.1; The Tuggs at Ramsgate and A Little Talk About Spring and Sweeps.

Books - Churchill, Sir Winston Spencer - The First Collected Works of Sir Winston Churchill Centenary Limited Editions, London: Library of Imperial History, 1973-76. 34 volumes, full vellum gilt boards, with slipcases Condition report:The majority all issued as '422', except from volume 'XXVI The Second World War Volume V' - 421 & two issues missing the limited edition slips. Some slipcases have losses and tears to the fronts, some of the vellum board and spines are showing signs of discolouration, with some being loose on some issues. General condition consistent with age.

3 Coalport limited edition commemorative goblets to commemorate the Marriage of the Prince of Wales and Lady Diana Spencer, the birth of the first child of the Prince and Princess of Wales and to celebrate the Sixtieth birthday of H.M. Queen Elizabeth 2.  Crack to foot of one.

The City of Beautiful Nonsense, by E Temple Thurston, illustrated by Emile Verpilleux, Chapman & Hall Ltd, 1910, together with They and I, by Jerome K Jerome, Hutchinson & Co., 1909 first edition, and A Pocket Full of Rye, by Agatha Christie, Collins Crime club, 1953 first edition

Rebecca's Daughter, by Dylan Thomas, published Triton, 1965 first edition, together with Adventures in the Skin Trade, by Dylan Thomas, published by Putnam

The First Circle, by Alexander Solzhenitsyn, Collins and Harvill, 1968 first English edition, together with August 1914, by Alexander Solzhenitsyn, Bodley Head, 1972 first English edition, and Topic of Capricorn, by Henry Miller, J and H Calder, 1964 first edition

A collection of leather bound and other books, to include Scott's historical romances in six volumes, published 1824, the first three volumes, novels and romances by Scott, published in seven volumes, 1825 edition, missing volumes II and VI, Scott's novels and tales, published in 12 volumes 1823, missing volumes I, II, IV, V, X, XI and XII

Nine Exclusive First Edition die cast models, comprising Arctic box van 22103, Door to Door 19405, Door to Door 22205, Flat Bed BRS 22602, British Road Services 27001, Flowers Keg Bitter 37401, Vladivar Vodka 22004, Myers Beds 24001, and R Whites 22103. (9)

Nine Exclusive First Edition die cast scale models, commercials, Showerings Limited 36801, British Railways 22204, MC Kinnon 22102, SGB 22203, British Rail 22201, Leathers Chemicals 33301, semi trailer 19302, British Road Services 22202, and Myers Beds 24001, all boxed. (9)

A group of die cast cars and vehicles, Days Gone Pickford's set, classic sports cars, scale 1:43, vehicles, buses, Exclusive First Edition vehicles, etc. (2 boxes)

Hand Signed Photograph of John Major, former Prime Minister, together with a commemorative programme from a celebration luncheon to mark Sir Edward Heath's 40 years as a Member of Parliament, on 21st February 1990. He went on to become the longest continuous serving MP of the 20th century as an MP for over 51 years unbroken service. The programme is also signed by Sir Edward Heath. Together with a Signed First Edition of Darren Clarke My Ryder Cup Story 2006 'Heroes All'. Hardback, published 2006. Signature on title page, published by Hodder & Stoughton and Lynda La Plante Signed Novel 'Cold Blood'. Hardback First Edition novel signed by Lynda La Plante in a confident signature on the title page. Published by MacMillan in 1996. The condition of both book and jacket is excellent. Size of book in inches: 9.5 x 6.25. Numbered pages run through to 453. In this book, Lorraine Page is back in action, now working as a private detective.

Royal Worcester - Superb Ltd Edition Hand Painted Ceramic Figure - Raised on a Wooden Plinth ' Jersey Bull ' Tail Up. RW3776A ' Leebarn Carlisle II ' First Version. Issued 1964 In a Ltd Edition of 500, Modeller Doris Lindner. Height 7.25 Inches - 18.4 cms. Please Note that the Tip of the Tail Is Missing.

Two Limited Edition Royal Worcester Figures first Teddy number 974 with certificate of authenticity and anniversary figure of the year 2000, cw468. both approx 9 inches and a Royal Worcester figure Lady Hannah limited edition number 1771

A Rob Ryan signed first edition 'This Is For You'.

John Sweetman Multi-Signed Book titled The Dambusters. Signed by Ray Grayston, Basil Fish, Ken Lucas, Johnny Johnson and Ted Wass. First Edition. Hardback. 192 pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99 Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Larry Donnely DFM. The Other Few. The contribution made by bomber and coastal aircrew to the winning of the Battle of Britain. A WW2 First Edition hardback book set within a slipcase. A limited edition 98/150 copies. Published by Red kite of Surrey. Multi signed by Battle of Britain Pilots: Terence Bulloch, Frank Tams, Andrew Jackson, Bobby Pearce, A H Piper, Roger Morewood, Colin Rawlins, Max Meyer, George Dove, Roy Richards, George Parr, Joe Taylor, Leopold Heimes, Jack Hoskins and Larry Donnelly. 288pages. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99 Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Dame Elisabeth Frink R.A. (British, 1930-1993)Soldier's Head II signed and numbered 'Frink/4/6' (on the back of the neck)bronze with a dark brown patina37.5 cm. (14 3/4 in.) highConceived in 1965Footnotes:ProvenanceWith Waddington Galleries, Canada, where purchased by the family of the present owner, 16 June 1967Private Collection, New YorkExhibitedLondon, Waddington Galleries, Elisabeth Frink, 1965 (another cast)London, Battersea Park, Sculpture in Battersea Park, May-September 1966 (another cast)London, Waddington Galleries, Elisabeth Frink: Sculpture and Prints and drawings from Chaucer, 1972 (another cast)London, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-25 March 1985, cat.no.33 (another cast)London, Beaux Arts, Frink: Sculpture, Drawings and Prints, 1998 (another cast)LiteratureBryan Robertson, Elisabeth Frink Sculpture Catalogue Raisonné, Harpvale Books, Salisbury, 1984, p.162-3, cat.no.118 (ill.b&w, another cast)Sarah Kent (ed.), Elisabeth Frink, Sculpture and Drawings 1952-1984, Royal Academy of Arts, London, 1985, p.13, cat.no.33 (another cast)Catalogue of the Ingram Collection, The Lightbox, 2009, p.40 (col.ill., another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.95, cat.no.FCR142 (col.ill., another cast)Frink comments; 'In the mid sixties I made a series of soldier's heads which were rather brutal. They had pigtails. I like the idea of the head being terminated in some kind of ribbon at the back. The pigtail in my sculptures was rather like a cardinal's ribbon. I was married to a man, Edward Pool, whose head was rather like this – no pigtail, but bearded, a fine head – and I incorporated his beard into the shape of a head so each sculpture, indirectly based on this man, had a rather massive jaw.' (in Jill Wilder (ed.), Elisabeth Frink Sculpture; Catalogue Raisonné, Harpvale, London, 1984, p.37). Edward (or Ted) Pool was Frink's second husband whose severe war wounds acted as a constant reminder of the violence of her times. Anti-militant, Frink engaged her sculpture to combat ideas of celebrating war and violence. The soldier is not presented as a functioning military machine but a disfigured, stupefied and helpless being. Conceived in her most active year, Soldier's Head II is an early example of Frink's use of the form of the head as a 'vehicle for emotion' and would receive early praise with Edward Mullins declaring; 'These blunt representations of the hireling thug are in my view her most interesting yet' (Edward Mullins, 'Grown-Up Prodigies', The Sunday Telegraph, 5 December, 1965, p.12). Themes first explored in the Soldier's Head works were then developed in the equally combative and iconic Goggle Heads and then resolved in the restful Tribute Heads a decade later.Another cast from this edition is in the collection of the Ingram Collection.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Theofilos Hadjimichael (Greek, 1871-1934)Célébrant le nouveau millésime de cognac à Pirée signé en grec et daté '1930' (en bas au centre) et inscrit en grec (eu haut)pigments naturels sur toile72.5 x 81cm (28 9/16 x 31 7/8in).signed in Greek and dated (lower centre) and inscribed with description in Greek (upper part) natural pigments on textileFootnotes:ProvenanceConstantinos Koumbas collection, MytileneInherited from the above by the present owner.ExposéMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 23 (listed in the exhibition catalogue).LittératureTheofilos, Commercial Bank of Greece edition, Athens 1966, no. 103 (illustrated).The Greek Painters - From the 19th to the 20th Century, vol. 1, Melissa editions, Athens 1974, p. 460 (mentioned).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 116 (illustrated).P. Zoitopoulos, Theofilos, the Ingenious Looney, Armos editions, Athens 2008, p. 44 (listed), p. 58 (discussed), fig. 15 (illustrated).M.G. Moschou, Theofilos Hadjimichael Self-Biographed, doctoral dissertation, University of Athens, Athens 2005, Annex, vol. I, p. 12 (listed), fig. I-65 (illustrated).A. Hadjiyannaki, Theofilos, K. Adam editions, Athens 2007, p. 67 (illustrated).E. Nikolaidou, Z. Papageorgopoulou, Andreas P. Kambas, Patriarch of Mesogaia, and the Art of Wine, Eleftheroudakis editions, Athens 2012, pp. 96-97 (illustrated).Vima newspaper, e-edition, February 19, 2012 (mentioned).https://slideplayer.gr/slide/2399136 (illustrated).https://paletaart3.wordpress.com/2014/10/24/ theofilos-chatzimichail (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 10 au 13 novembre 2021. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 10-13 November 2021. This work will be located in Athens during the auction.In 1926-27, following a forty-year odyssey, Theofilos returned to his native island of Mytilene, where he enjoyed a very creative and prolific period, during which he painted some of his best works.1. As noted by G. Samourkas, 'the artist's Mytilene period, which lasted eight years until his passing in 1934, was his most mature; his designs became more confident, his colours warmer, his compositions more structured, his backdrops more embellished and his colour combinations more elegant.'2 As described in a lengthy inscription on the top3, this extraordinary picture shows a gathering of farmers in traditional fustanella kilts4 celebrating the arrival of the new vintage brandy. High-spirited men and women escort a horse-driven cart carrying a barrel with the precious eau de vie, while on top of it an old man posing as God Dionysus seems to preside over the bacchanalian revelry. All participants raise their glasses to the health of landowner and winemaker Andreas Kambas5 and his wife, who are shown on the upper left.Filtered through the artist's rich imagination, imbued with a spirit of untutored simplicity and handled with compositional discipline, confident brushwork and vibrant colour, the whole scene is transformed into the enthusiasm sparked in him by the joyous event. Every part of the picture, from the charming group of women in the extreme foreground to the stately winemaking facility in the distance, is an integral part of the whole, evoking a sense of home and domesticity. Everything seems to grow right out of the landscape, allowing the painter to express an overall feeling based on pure vision and emanating from life itself.The painter O. Kanellis, one of the first to discover the work of Theofilos, made the following insightful remark: 'Without realizing it, Theofilos sought to illuminate the truth of Greek nature with man being part of it. His paintings are fields of shapes and patches of colour that are integral to the natural environment, helping him express an overall feeling emanating from life itself, a feeling based on pure vision and the observation of nature. When we see an outdoor scene by Theofilos we hardly think that we see the landscape from a distance, but rather that we live in it, that we actually walk through it. Only Bonnard and Theofilos were able to convey this feeling.'6 1 N. Matsas, The Tale of Theofilos [in Greek], Estia publ., Athens 1978, p. 153.2 G. Samourkas, Twelve Folk Painters [in Greek], Athens 1974, p. 90.3 Although the inclusion of written text reflects the artist's desire to provide a full description and leave nothing obscure, his fascination with the subject outrivals his insistence on topographical accuracy. (The celebration takes place in Kantza, rather than in Piraeus). See E. Nikolaidou, Z. Papageorgopoulou, Andreas P. Kambas, Patriarch of Mesogaia, and the Art of Wine, Eleftheroudakis editions, Athens 2012, p. 96.4 The same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign against Turkey and which eventually became his signature attribute.5 The legendary 'patriarch' of Greek viniculture, Andreas Kambas was the first to introduce the French distillation knowhow to Greece by bringing over advanced distillation equipment from Bordeaux in 1880. 6 O. Kanellis, 'The Painter Theofilos' [in Greek], Tachydromos magazine, no. 379, 15.7.1961.Dans sa Mytilène natale, où il est revenu en 1926-27 après une odyssée de quarante ans, Theofilos a connu une période très créative et prolifique, pendant laquelle il a peint certaines de ses meilleures œuvres. Comme l'a fait observer G. Samourkas, « la période où Theofilos a vécu à Mytilène, qui a duré huit ans jusqu'à son décès, a été celle de la maturité ; ses dessins sont devenus plus aboutis, ses couleurs plus chaudes, ses compositions plus structurées, ses arrière-plans plus embellis et ses combinaisons de couleurs plus élégantes.» Comme le décrit la longue inscription figurant en haut du tableau, cette œuvre extraordinaire représente un groupe de fermiers vêtus de la fustanelle traditionnelle, célébrant l'arrivée du nouveau millésime de cognac. Des hommes et des femmes pleins d'entrain escortent une charrette tirée par un cheval, transportant une barrique de la précieuse eau de vie, tandis que le haut de la toile représente un vieil homme posant tel le dieu Dionysos, qui semble présider des bacchanales. Tous les participants lèvent leurs verres à la santé du propriétaire foncier et vigneron Andreas Kambas et de son épouse, représentés en haut et à gauche de la toile.Filtrée par l'imagination foisonnante de l'artiste, empreinte d'une simplicité naïve, traitée avec une grande maîtrise de la composition et de la touche, et animée par des couleurs vibrantes, toute la scène respire l'enthousiasme que cet événement joyeux inspire à l'artiste. Chaque partie de la toile, depuis le charmant groupe de femmes au premier plan jusqu'à la majestueuse exploitation vinicole au loin, forme partie intégrante de l'ensemble, évoquant un sentiment d'amour du terroir. Tout semble sortir directement du paysage, permettant ainsi au peintre d'exprimer un sentiment global fondé sur une pure vision et émanant de la vie... For further information on this lot please visit Bonhams.com

Theofilos Hadjimichael (Greek, 1871-1934)Constantin Paleologos l'empereur des Gréco-Romains à la bataille du 23 Mai 1453 inscrit en grec (tout le long de la peinture)pigments naturels sur mur contrecollé sur panneau (peinture murale)115 x 198cm (45 1/4 x 77 15/16in).inscribed in Greek (throughout the work)natural pigments on wall laid on panelFootnotes:LittératureDictionary of Greek Artists, Melissa editions, vol. II, Athens 1998, p. 20 (illustrated).S. Lydakis, Greek Naïve Painting, Panayotis and Effie Michelis Foundation edition, Athens 2002, p. 35, fig. 28 (illustrated).*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'Athens Preview, du 10 au 13 novembre 2021. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 10-13 November 2021. This work will be located in Athens during the auction.A national treasure by the 'wandering magician of Greek history', this monumental work of pulsating energy, brilliant colour and keen sense of heroic stature, is one of the few surviving murals by Theofilos, rescued from decay and destruction, and transferred onto panel from its original wall in a village on the island of Lesvos (Mytilene).A beloved figure of the Greek tradition, Constantine XI Paleologos, the last Byzantine emperor who died a heroic death in defence of Constantinople on May 29 1453, dominates the centre of the composition, presented on horseback in full regalia recalling the artist's representations of Alexander the Great. This correlation shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory as a form of eternity constantly reborn. The wealth of detail,1 as in the entourage of clergymen on the lower right pleading with Virgin Mary to save the empire, is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectator's imagination the world of gallantry and legend they are invited to contemplate. In his native Mytilene, where he returned around 1926 following a forty-year odyssey, Theofilos enjoyed a very creative and prolific period, during which he painted some of his best works. In his famed wall paintings the outlines are boldly drawn, the chiaroscuro is strong and the details and trimmings of costumes are rendered with rapid brushstrokes. Most of these masterpieces are long lost. 'Those that were rescued are now owned by genteel and wise people who appreciate their value and bless the humble painter for the gifts he gave them—feasts for the senses and true delights to the eye.'2 The novelist K. Ouranis describes his feelings when he first saw Theofilos's murals in Mytilini: 'I felt a child-like joy, pure and deep. The village coffee-shop seemed like a magic cage, adorned with dazzling gems, inside which sang like a bird the Greek soul.'3 1 Besides providing a full description of the subject at the top of the painting, Theofilos also included a scholarly poem belonging to the literary tradition of the 19th century, denoting a cross-temporal unification of iconographic and linguistic symbols.2 N. Matsas, The Tale of Theofilos [in Greek], Estia editions, Athens 1978, p. 153.3 K. Ouranis, 'The Painter Theofilos' [in Greek], Nea Estia journal, no. 19, 15.11.1936.Trésor national créé par le « magicien errant de l'histoire grecque », cette œuvre monumentale d'une énergie vibrante, avec ses couleurs éclatantes et son sens aigu de la stature héroïque, est l'une des rares peintures murales de Theofilos qui ait survécu au délabrement et à la destruction, et a pu être transférée sur panneau depuis son mur d'origine sur l'île de Lesvos (Mytilène).Une figure bien-aimée de la tradition grecque, Constantin XI Paleologos, le dernier empereur byzantin qui a trouvé la mort de manière héroïque dans la défense de Constantinople le 29 mai 1453, domine le centre de la composition, et apparaît à cheval en toute majesté, rappelant les représentations d'Alexandre le Grand réalisées par l'artiste. Cette corrélation montre comment Theofilos, avec sa connaissance instinctive et son sens aigu du passé historique, a pu aisément migrer d'une époque à l'autre, en capturant la gloire passée comme une forme d'éternité en perpétuelle renaissance. La richesse du détail, comme dans l'entourage des ecclésiastiques en bas à droite implorant la Vierge Marie de sauver l'empire, est un véhicule d'initiation à la vision de l'artiste ; un moyen de rendre plus tangible à l'imagination du spectateur le monde de bravoure et de légende qu'il est invité à contempler.Dans sa Mytilène natale, où il est revenu vers 1926 après une odyssée de quarante ans, Theofilos a connu une période très créative et prolifique, pendant laquelle il a peint certaines de ses meilleures œuvres. Dans ses peintures murales célèbres, les silhouettes sont peintes à traits énergiques, le clair-obscur est puissant et les détails et garnitures des costumes sont rendus à grands traits de brosse rapides. La plupart de ces chefs d'œuvre sont perdus depuis longtemps. « Ceux qui ont été sauvés appartiennent désormais à des personnes raffinées et avisées qui apprécient leur valeur et bénissent l'humble peintre pour les cadeaux qu'il leur a faits – des fêtes pour les sens et de véritables délices pour l'œil. » Le romancier K. Ouranis décrit ses sentiments lorsqu'il a vu pour la première fois des peintures murales de Theofilos à Mytilène : « J'ai ressenti une joie enfantine, pure et profonde. Le café du village ressemblait à une cage magique, ornée de pierres précieuses, dans laquelle chantait l'âme grecque, comme un oiseau.» For further information on this lot please visit Bonhams.com

Nikolaos Gyzis (Greek, 1842-1901)L'offrande signé et daté 'N.Gysis Muenchen 74' (en bas à gauche)huile sur toile120 x 80cm (47 1/4 x 31 1/2in).Peint en 1874.signed and dated (lower left)oil on canvasFootnotes:ProvenanceVienna Arts Society, 1875. Tzirakopoulos collection, Athens. (from Eikones,magazine, 1960)Private collection, Athens.ExposéVienna Art Exhibition, 1875.Athens, Nicholaos Gysis 1842-1901, The Great Master, National Gallery and Alexandros Soutzos Museum, October 8 - December 10 2001, no. 20 (discussed, pp. 37-38, 131 and illustrated in the exhibition catalogue, fig. 16, p. 34).LittératureGysis's letter, April 7, 1886 (mentioned).Estia magazine, vol. XIX, no. 470, January 1, 1885, p. 34 (discussed).Kleio magazine, vol. I, no. 2, January 15/27, 1885, pp. 30-31 (mentioned), p. 25 (illustrated).K.F. Skokos, National Calendar of the Year 1897, Athens 1897, p. 20 (mentioned).Panathenea magazine, Homage to Nicholaos Gysis, vol. I, no.11, March 15, 1901, pp. 426-427 (discussed).M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, pp. 57, 69 (mentioned), p. 28, fig. 22 (illustrated).La Revue de l'Art Ancien et Moderne, vol. IX, 1903, p, 303.The Studio magazine, vol. XXVII, 1903, p. 203.Allgemeines Lexikon der Bildenden Künstler, Verlag von E.A. Seemann, Leipzig 1922, vol. XV, p. 380 (mentioned). Album of Tinian Artists - N. Gysis, D.I. Kalogeropoulos, X. Sochos ed., Athens 1928, p. 23-24 (mentioned).Dialexis magazine, vol. I, no. 3-4, February 29, 1928, p. 85 (mentioned). Ellinika Grammata magazine, vol. II, no. 7, March 26, 1928, p. 238 (mentioned).Eklogi magazine, vol. V, no. 2, February 1949, p. 203 (discussed).Nicholaos Gysis's Letters, G, Drossinis, L, Koromilas ed., Eklogi editions, Athens 1953, p. 139 (mentioned), p. 57 (illustrated).Great Creators, Zoi edition, Athens 1954, pp. 211-212 (discussed).Eikones magazine, no. 227, February 26, 1960, p. 36 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1960s, no. GR TITSpit f216-3, p. 2 (mentioned). S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, p. 235 (mentioned).The Greek Painters, vol. I, From the 19th Century to the 20th, Melissa editions, Athens 1974, p. 142 (mentioned).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. 3, Melissa editions, Athens 1976, pp. 363-365 (discussed), p. 193, fig. 291 (illustrated).A. Xydis, Propositions for the History of Modern Greek Art, vol. II, Olkos editions, Athens 1976, p. 15 (mentioned).M. Papanikolaou, Greek Genre Painting of the Nineteenth Century, p. 86 (mentioned), p. 183 (listed), fig. 17 (illustrated).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. III, p. 298 (mentioned). M. Kalligas, Nicholas Gysis, National Bank of Greece Cultural Foundation, Athens 1981, pp. 52, 217 (discussed).K. Didaskalou, Kompositionsentwurfe und Studienvon Nikolaus Gysis, Munich 1986, pp. 96-97.K. Didaskalou, Genre- und Allegorische Malerei von Nikolaus Gysis, doctoral dissertation, Munich, 1991, p. 39 (mentioned).N. Misirli, Gysis, Adam editions, Athens 1995, p. 98 (discussed), p. 370 (catalogued), p. 99, fig. 47 (illustrated).Epta Imeres - Kathimerini newspaper, Nicholaos Gysis, March 9, 1997, p. 4 (mentioned).Dictionary of Greek Artists, Melissa editions, vol. I, Athens 1997, p. 324 (mentioned).Nicholaos Gysis and his Era, exhibition catalogue, Elitrochos editions, Patra 1999, p. 19 (mentioned).Nicholaos Gysis 1842-1901, On the Occasion of the Centenary of his Death, 2001 Calendar, National Gallery and Alexandros Soutzos Museum, Athens 2000 (illustrated).Ellinomouseion, Six Centuries of Greek Painting, vol. I, Athens 2001, p. 120 (mentioned).K. Didaskalou, Gysis in Tinos, 100 Years from the Death of the Artist, exhibition catalogue, Panhellenic Sacred Foundation of the Evangelistria in Tinos, 2001, p. 63 (mentioned).S. Lagouros, Tinos, Art and Artists, Tinos editions, Athens [200-], p. 34 (mentioned), p. 9 (illustrated).F. Yiofyllis, Four Tinian Artists, Erinni editions, Athens 2003, p. 77 (mentioned).Y. Papaioannou, Nikolaos Gysis, Ta Nea editions, Athens 2006, p. 19 (mentioned).N. Misirli, Greek Painting 18th-19th Century, Adam editions, Athens 2006, p. 97 (discussed).A. Paka, Female Figures in Greek Painting from the Late 19th to the Early 20th Century: a Feminist Approach, doctoral dissertation, Aristotelian University of Thessaloniki, Thessaloniki 2012, pp. 142-146 (discussed), fig. 28 (illustrated).S. Kotidou, European and Greek Symbolism in Painting: Convergences and Divergences, doctoral dissertation, Aristotelian University of Thessaloniki, Thessaloniki 2015, p. 135 (discussed), p. 134, fig. 53 (illustrated).'Look how wonderfully the artist has painted this beautiful inspiration of his! The two women, exhausted from the long and uphill hike, have paused. The one looks upwards to the mountaintop where a monastery is perched like an eagle's nest. The other is the story's main character. The paleness of her face, her bare feet –those gentle feet that are probably bleeding from the sharp rocks– the candle, and the votive offering she's holding, indicate that she is the heroine of the scene –the one who fulfills her vow barefoot. The two women are silhouetted against a rocky mountain backdrop, whose precipitous side cuts through the horizon, allowing us only to see some traces of a distant beach and a few floating luminous clouds. The mother, with her one hand resting on the rock and the other embracing the young girl, turns her gaze to the Saint up there as if she is praying. What should one think of the young kore in the long dress? Did she just recover from an illness, or did the life of her first child was saved, and so she came to fulfill her vow? On the contrary, the offering she's holding in her hand suggests that some kind of erotic drama, some desire of the heart which was satisfied made her set out for the monastery she's about to ascend to.How many dormant emotions does this beautiful and Greek picture of Gysis evoke?'- Estia magazine, January 1, 1885.A masterwork of 19th century Greek genre painting and a milestone in Gysis's artistic development, the famed L'offrande is a picture of genuine Greek character, distinguished by romantic disposition, expressive power, and solemn grandeur. Alluring and psychologically acute, it shows no signs of idealisation, its beauty emanating from within, depending on the honesty of representation and genuineness of character. Warm, earthy colours and lively brushwork build up a vibrant and moving composition, while the generalised rendering and economy of detail point to the artist's concern with purely pictorial issues.The beautiful countenance of the young female figure, captured in profile and modelled by strong contrasts of light and shadow, has a sculpture-like immobility, recalling the timeless, idealised beauty of ancient Greek statues. Surrendering her individual specificity, the young Greek takes on a symbolic quality, enhancing the poetry of the scene. The painting is bathed in a warm light, casting the figures in relief and lending a glowing quality to their faces. Gysis often used two kinds of lighting in his paintings: a general, diffuse lighting and a local one that highlighted the figures or objects he wanted to be particularly pronounced.1 Here, to accentuate the dramatic effect, he used two local lightings, one for the monastery and the other for the young maiden's face. However, despite the suspenseful moment in the narrative, the painting conveys a sense of tenderness and affection, and displays a nightscape clad in the deep blues of the artist's native ... For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Poésie signé en grec et daté '1965-67' (en bas à droite)acrylique sur toile60 x 89cm (23 5/8 x 35 1/16in).signed in Greek and dated (lower right)acrylic on canvasFootnotes:ProvenanceAcquired directly from the artist.This evocative painting of serene rhythm and graceful forms dictated by the classical sense for human scale is an inspired pictorial interpretation of poetry. In 1965, Moralis was asked by the Ikaros publishing house to envision images for its upcoming edition of complete works by Nobel laureate George Seferis. The poet was reluctant at first to embrace the idea:'To my mind the coupling of the arts has seldom been successful. It has always seemed to me something like two horses, harnessed to the same carriage, suddenly pulling in opposite directions. So I was most hesitant when I learnt that 'Ikaros' has had the idea of asking Yannis Moralis to illustrate my poems.But when, some months later, Moralis showed me his paintings, I realized that sometimes there is no question of any carriage, but simply of two unfettered horses galloping independently in the same green meadow. I realized that his work was the result of a dialogue between an artist not ignorant of poetry, and a poet who is his elder by some half a generation. I looked upon his paintings as a response, situated on a different plane, that was more spontaneous, more fresh, than that normally produced by the literature around us.'1 In its purity of form, subtle use of colour, composed immobility, and serene atmosphere imbued with meditative silence and elegiac feeling, Moralis's painting echoes the timeless values of Greek art. By balancing lyrical sensitivity and ordered thought, eliminating the temporary, and elevating form to a symbol, the artist captures the aura of the classical not as a lifeless relic of ancient glory but as a continuum constantly reborn in the present.1 As quoted in Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, p. 451.For further information on this lot please visit Bonhams.com

Adam De FriedelLes Grecs. Vingt Quatre Portraits des principaux chefs & figures les plus distingués de la Révolution grecque, 2 couvertures typographiques (en anglais et en français) conservées, 24 planches lithographiées, coloriées à la main, par Jules Bouvier d' après Friedel, légendes en anglais et en français, quelques rousseurs aux couvertures, reliure de l'époque en demi-cuir [Blackmer 633], folio (480 x 330mm.), London and Paris, Adam de Friedel, 182749 x 34 cm.The Greeks. Twenty-four Portraits of the Principal Leaders and Personages who Have Made Themselves Most Conspicuous in the Greek Revolution, 2 letterpress upper wrappers in English and French, 24 hand-coloured lithographed plates by Jules Bouvier after Friedel, captions in Eng-lish and French, wrappers lightly foxed, contemporary panelled calf gilt, worn [Blackmer 633], folio (480 x 330mm.)Footnotes:Friedel's work – probably the most celebrated of those depicting the heroes of the Greek Revolution – first appeared in parts starting in 1824. According to Blackmer 'as edition followed edition the portraits became more refined... [There were] two editions published in 1827, one with no background or an extremely simple one, the other with a complex background to each portrait'. In the present copy, 13 plates have complex backgrounds, and 11 are simple. The work was issued without any letterpress except for the wrappers.Cet oeuvre de Friedel – probablement le plus celebre parmi des portraits des héros de la Revolution de la Grèce – apparut en 1824. Selon Blackmer, 'as edition followed edition the portraits became more refined... [There were] two editions published in 1827, one with no background or an extremely simple one, the other with a complex background to each por-trait'. Ici, on trouve 13 planches aux fonds detailés, et 11 aux fonds simples. L'oeuvre pa-rut sans texte typographique, sauf les couvertures qu'on manque souvent.For further information on this lot please visit Bonhams.com

MONTBLANC, PATRON OF THE ARTS SERIES 4810, GAIUS MAECENASA LIMITED EDITION FOUNTAIN PEN, NO. 2657/4810, CIRCA 2011Cap and Barrel: silver coloured cap engraved with the first verse of an ode to Maecenas by Horace, stamped Ag 925, with white marbled columnar barrelNib and Filling System: medium white gold coloured nib stamped 18K and 750, piston filling system, uninkedAccessories: original Montblanc lacquer box, Gaius Maecenas 4810 booklet, service guide, outer card box and outer white card sleeve

Gents first quarter of 21st century stainless steel cased Seamaster professional diver wrist watch - James Bond 40 years limited edition, self-winding mechanical movement (officially certified chronometer), having stainless steel and luminous numbers to a black dial with raised luminous batons and roundels, sweep second hand, date aperture, dial inscribed 'Omega Seamaster Professional Chronometer 007', Swiss made, having blue enamelled bezel, total diam 44mm including winders, the back with Omega 007 limited series etc stamps and numbered 02562/10007, mounted on an Omega Seamster Professional 007 stainless steel bracelet, complete with original packaging, chronometer certificates etc and instruction booklet. Note: blue leather case worn

AMERICAN FIREARMSWILSON (R.L.): Colt An American Legend, d.w., 1985; The Book Of Colt Firearms Third Edition, d.w., 2008 - HAVEN (CHARLES T.) AND BELDEAN (FRANK A.): A History of The Colt Revolver..., d.w., 1978 reprint - ROES (K.T.) ed.: Colt and Its Collectors, exhibition catalogue, d.w., 2003 - TOBIAS (ARTHUR): Engraved By W.L. Ormsby, Colt Cylinder scenes 1847-1851..., 2001 - KEOGH (S. GERALD): Saml Colts New Model Pocket Pistols..., 1964 - SCHMITT (GÜNTER): Samuel Colt's Revolver 1835-1885, Band I, d.w., 1973; Colt's Revolver und Derringer ab 1871, Band II, d.w., 1973; Der Peacemaker Colt's 1873 er Single-Action, d.w., 1974; Der Perkussions-Revolver, d.w., 1973 - JINKS (ROY G.): Smith & Wesson, d.w., 1979 German edition - BUTLER (DAVID F.): United States Firearms The First Century 1776-1875, d.w., 1971 - WOODHEAD (HENRY) ed.: Echoes of Glory, Arms And Equipment of The Confederacy; Arms And Equipment of The Union; Illustrated Atlas of The Civil War, 3 vols., 1991 - EDWARDS (WILLIAM B.): Civil War Guns, d.w., 1982 - FLAYDERMAN (NORM): Flayderman's Guide To Antique Firearms..., 7th edition, 1998 - LAW (CLIVE): Canadian Military Handguns 1855-1985, d.w., 1994 - CHAMBERLAIN (W.H.J.) & TAYLERSON (A.W.F.): Adams' Revolvers, d.w., 1976 - BLAIR (CLAUDE) ed.: Pollards History Of Firearms, d.w., 1983 - and sixteen other publications relating to European and American firearms (36)For further information on this lot please visit Bonhams.com

Loose stamps, stamp books, First Day covers (late 20th century), mint stamps, banknotes and coins, together with a 1974 Winston Churchill boxed collection of covers, 1980 Los Angeles Olympic Games covers, and a 1987 Royal Mail Special Edition Stamps in a book Location: RAF

Speed (John). York Shire, [London]: to be solde ... by John Sudbury and G. Humble, 1610 [i.e. 1611 or later]. Engraved map, hand-coloured, 380 x 510 mm, mounted, framed and glazed, somewhat browned, trimmed close to frame, together with 5 similar engraved maps of the British Isles, all framed and glazed (not examined out of frames), various dimensions, comprising: William Stukeley, Mappa Brittaniae faciei Romane secundum fidem monumentorum perveterum depicta, [1757]; [Joducus Hondius], Northumbria, Cumberlandia, et Dunelmensis Episcopatus, per Gerardum Mercatorum, c.1620; [Johannes Blaeu], Episcopatus Dunelmensis vulgo the Bishoprike of Durham, c.1645; Tobias Conrad Lotter, La plus grande partie de la Manche, qui contient les côtes d'Angleterre et celles de France, c.1770; and John Ogilby, The Roads from London to Bath & Wells, c.1670 (repairs at head and foot of central fold) (qty: 6)Footnote: Cf. Chubb XXII or XXV for Speed's map: Humble's imprint appears in the maps of the first edition of 1611, the re-issue of 1627, and another issue published by John Dawson in 1646 (which is not in Chubb). Stukeley's map, a work of cartographic fancy, was issued as part of his Account of Richard of Cirencester (1757).Condition report: The glass has been removed from the Hondius map.

Antiquarian. Collection of antiquarian literature from a North Yorkshire country estate, 17th-19th century, including:1) Planta (Joseph). The History of the Helvetic Confederacy, London: John Stockdale, 1800. 2 volumes, 4to, uncut in original boards, engraved folding map, engraved title-pages, wear to spine-ends, damp-staining towards front of volume 2,2) Robert, Prior of Shrewsbury. The Life, and Miracles, of S. Wenefride; Virgin, Martyr, and Abbess; Patroness of Wales, 3rd edition, [London: no publisher], 1712. 12mo (134 x 74 mm), contemporary panelled calf, contemporary ownership inscription ('Barbra Forser' [sic]) to title-page, engraved portrait frontispiece trimmed and mounted verso, bound with The Litanies of S. Wenefride, Virgin and Martyr, [London: no publisher], 1712, 8 pp.,3) Ward (Thomas). England's Reformation ... A Poem in Four Cantos, 3rd edition, London: E. More, 1719. 2 volumes, 12mo (160 x 94 mm), contemporary sprinkled calf gilt, ownership inscriptions ('Eliz. Messenger, 1753'),4) Tassoni (Alessandro). La secchia rapita, poema eroico, Parma: fratelli Bobsi, 1765. 16mo (142 x 90 mm), contemporary carta rustica, woodcut frontispiece, partly unopened, contemporary ownership inscription ('Catharine Lawson') to title, 5) [Henderson, Andrew]. A Full and Authentic History of the Rebellion MDCCXLV. and MDCCXLVI, London: W. Reeve and W. Owen, [1755]. 12mo (166 x 98 mm), contemporary calf (rubbed),and approx. 20 others (not collated), including Wilson The Farmer's Dictionary, c.1850 (2 volumes, 4to), Blackwall, The Sacred Classics defended and illustrated, 3rd edition, 1737 (2 volumes, 8vo), Piganiol de La Force, Nouveau Voyage de France, nouvelle édition, Paris, 1755 (2 volumes, 12mo, engraved folding maps), Travels of Cosmo the Third, Grand Duke of Tuscany, through England, 1st edition, 1821 (4to, disbound, sepia aquatint plates, folding panorama of London lacking section), and similar, including various Catholic interest in English and French (qty: 36)Footnote: ESTC T144801 (Planta), T99781 (Robert, Prior of Shrewsbury, The Life, and Miracles; twelve copies world-wide), T99780 (The Litanies of S. Wenefride: three copies world-wide).The Life, and Miracles of S. Wenefride was first printed by Caxton in 1485, and subsequently in 1635 by the Jesuits.

Bible (English; Geneva Version). [The Bible. Translated according to the Hebrew and Greeke, London: Robert Barker, 1608]. 4to (208 x 160 mm), contemporary calf (rebacked, worn), OT highly defective (starting at f. 33), NT apparently complete (*i4 3K-3Y8 3Z10) and including title-page composed of woodcut portraits enclosing cordiform text-panel, bound with Concordances (Robert Barker, 1608) and The Booke of Psalmes (Companie of Stationers, 1608 i.e. 1609) at rear (the latter defective at end, supplemented with leaves from a black-letter edition, title-page chipped and loose), browning, damp-staining, numerous leaves and sections loose or working loose, leaves regularly nicked, chipped and rumpled along edges, headlines and side-notes frequently shaved, NT 3K8 loose and torn and 3Z8 torn, both with loss of text (qty: 1)Footnote: Darlow & Moule (1903 edition) 225 (Bible); ESTC S122240 (Concordances), S4523 (Psalms).Black-letter edition, this copy with frequent early ink underlining and annotations throughout, including the following notes to the verso of the New Testament title: 'Memorandum that on the first day of April being good friday 2 Staiths Cobles were lost, Jn. Abram & Mark Brown ... shipwrack 1743. On the 18th or 19th day of Aprill there was a terrable shook of the earth which killed many at Staiths, Runswick & Whitby and Sandsend & Stockton, 1754. And Hinderwell a great wind as ever was known the 7th day of October 1756 [...]'.

[Dickens, Charles]. Oliver Twist; or, the Parish Boy's Progress. By "Boz.", London: Richard Bentley, 1838. 3 volumes, large 12mo (191 x 112 mm), contemporary maroon half roan, [4], 331, [4] 307, [2] 315 pp., 24 etched plates by George Cruikshank, half-titles to volumes 1 and 2 (none called for in volume 3), contemporary ownership inscriptions ('Fred. P. Smith, Aylsham') to front free endpapers, bound without the 4 pp. advertisements in volume 1, the inserted list of illustrations noted in some copies, and the initial advertisement leaf in volume 3, bindings rubbed, spotting to plates, a few spots and marks to text, volume 2 signature O1 with marginal loss (qty: 3)Footnote: First edition, with authorship attributed on the title-pages to 'Boz' as in the first issue, but with the second-issue 'Rose Maylie and Oliver' plate replacing the original 'Fireside' plate in volume three.

Hebraica & Judaica. Sermons, Addresses and Studies, by the Chief Rabbi (Dr. J. H. Hertz), London: Soncino Press, 1938. 3 volumes, 8vo, original deluxe binding of crushed green morocco, spines lettered in gilt, publisher's device to front covers gilt, top edges gilt, others untrimmed, portrait frontispiece, frequent Hebrew types (qty: 3)Footnote: First edition, deluxe issue, number 2 of 40 sets printed on hand-made paper and signed by the author on the limitation page, this copy further inscribed by him 'To Oscar Deutsch Esq, with the Chief Rabbi's best wishes to the patron of this literary undertaking, March '38'. Oscar Deutsch (1893-1941) was the founder of the Odeon cinema chain.

Hebraica & Judaica. The Babylonian Talmud. Seder Nezikin [... Nashim ... Mo'ed]. Translated into English with Notes, Glossary and Indices under the Editorship of Rabbi Dr I. Epstein. Foreword by the Very Rev. the Chief Rabbi Dr J. H. Hertz, London: The Soncino Press, 1935-6-8. 36 volumes (i.e. each Seder in 12), 8vo, original deluxe bindings of red crushed morocco, spines lettered in gilt, publisher's device to front covers gilt, top edges gilt, others untrimmed. Together with: The Babylon Talmud, Seder Kodashim, 1st edition, trade issue, Soncino Press, 1948 (6 volumes, original cloth); Seder Nezikim, 1st edition, trade issue, Soncino Press, 1935 (volumes 1-6 of 8 only, original cloth, volumes 5-6 in dust jackets); Seder Tohoroth, 1st edition, trade issue, 1948 (volume 1 of 2 only, original cloth); and J. H. Hertz, Affirmations of Judaism, 1st edition, London: Oxford University Press, 1927 (8vo, original red cloth, inscribed 'To Oscar Deutsch, Esq, with the compliments of the Chief Rabbi, 29 June '39' on the front free endpaper, covers marked) (qty: 50)Footnote: Sedarim Nezikim, Nashim and Mo'ed: first editions, deluxe issues, each one of 35 special sets on hand-made paper; Seder Nezikim is specifically numbered 26 of 35 special sets and signed by the editor Isidore Epstein on the limitation page. The remaining volumes in the lot (Seder Kodashim, etc.) are from the cloth-bound trade issue, of which 1000 sets were printed. The volumes not present here are the Seder Zera'im (comprising two volumes in the trade issue), the second volume of the Seder Tohoroth ('The Mishnahs'), and the Index volume. No other sets of the deluxe issue appear to have been offered at auction since 1971.

Keats (John). Poems, London: C. & J. Ollier, 1817. Foolscap 8vo in half-sheets (159 x 98 mm), contemporary half calf by G. Cannon of Great Marlow (his ticket to front pastedown), pp. [6] 121, on wove paper watermarked 'John Dickinson 1813' (not Dickson as often stated), half-title, title-page with wood-engraved vignette portrait of Spenser, initial blank apparently original, spine defective, front board and first 7 leaves (from initial blank to signature B3) detached, very shallow nick to fore margins of title-page and dedication leaf (A3-4), B1 with 30 mm closed tear in fore margin extending into text, a few spots (qty: 1)Provenance: inscribed 'A.M.B., from H.H.M.B., June 29th 1897, Great Malvern' on the initial blank verso. These figures are Arthur Middlemore Bartleet (1866-1937), barrister and mountaineer (obituary, Alpine Journal, 1938, pp. 125-8), and his brother Hubert Humphrey Middlemore Bartleet (1869-1961), vicar of Great Malvern (private information, supplied by the vendor).Footnote: MacGillivray 1.First edition of Keats's first book, and one of only three books to be published in his lifetime.

Maclaurin (Colin). An Account of Sir Isaac Newton's Philosophical Discoveries, in Four Books. Published from the Author's Manuscript Papers, by Patrick Murdoch, 1st edition, London: printed for the author's children, and sold by A. Millar [and others], 1748. 4to (254 x 192 mm), modern sheep with contemporary calf sides laid down, pp. [8] xx [20] 392, retaining half-title, 6 engraved folding plates (plate 5 bound between 2 and 3), very light worming in lower margins at front, first few leaves slightly browned, shallow marginal chips to initial blank, half-title, title-page and final leaf, title-page also dust-soiled, with date added in arabic numerals in blue pencil, and with small chip to upper inner corner (qty: 1)Footnote: Babson 85; ESTC T81914.

New Lady's Magazine. The New Lady's Magazine; or, Polite, Useful, and Entertaining Monthly Companion for the Fair Sex, London: printed, by Royal Authority, for Alex. Hogg, 1792-6. 5 volumes, 8vo (210 x 120 mm), modern half morocco, each volume issued in 12 monthly numbers plus supplement (1792 without January-June; 1793 incomplete at end; 1796 with section-title for January only, presence or completeness of remaining numbers unknown), 133 engraved plates including frontispieces (many folding, depicting needlework patterns, cuts of meat, zoological subjects, portraits, literary scenes, topographical views, etc.), engraved volume-titles to volumes 1794-6, 22 leaves of folding music (one for each month plus supplement of 1792, and January-September 1793), required plate count unknown but evidently lacking at least 1792 frontispiece and volume-title, 1793 volume-title, and one plate at 1794 p. 59, main text of 1794-6 interspersed with runs of various other periodicals including the Monthly Intelligencer, Wonderful Magazine, and an edition of Pamela, various nicks, creases and tears to plates (generally minor), 1793 frontispiece laid down, January with erosion to lower margin, 1794 with worming in gutter to June (occasional light worming elsewhere), a few other blemishes, the set sold as seen, together with:Kinnersley (Thomas, editor). The Matrimonial Miscellany, and Mirror of Human Nature; containing Essays on Happiness, and Various Subjects connected with Conjugal Felicity [volume 2: The Fruitless Inquiry, or Search after Happiness, written by the Celebrated Mrs. Hayward, corrected and improved], 1st edition, London: T. Kinersley, 1818-19. 2 volumes, 8vo (209 x 126 mm), contemporary tree sheep (rebacked and recornered with original spines laid down, labels renewed, volume 1 front board near detached), volume 1 with 13 engraved plates, volume 2 with 12 (including a portrait, not listed), plates spotted (qty: 7)Provenance: John Harold Fawcett CMG (1929-2019), British diplomat (ownership inscription to volume 3 frontispiece verso).Footnote: ESTC P2594 (New Lady's Magazine, 1786-93) & P2599 (ibid. 1794-5; later numbers not listed). Library Hub traces two copies only of The Matrimonial Miscellany (BL and Oxford), and one or perhaps two complete sets including The Fruitless Inquiry, whose status as the second volume (and not a separate work) is evident in the notice to subscribers in the first.

Edison (Thomas Alva, 1847-1931). A Million and One Nights. A History of the Motion Picture. [By] Terry Ramsaye. Volume I [only], 1st edition, deluxe issue, New York: Simon and Schuster, 1926. Large 8vo, original patterned boards, rebacked and refurbished, together with a copy of the second volume from the trade issue (original cloth, lacking at least the plate facing p. 404), and 5 other books signed by the authors (Andy Warhol,The Philosophy of Andy Warhol, 1st edition, later printing?, 1975, signed 'AW' on the half-title, with James Spence Authentication certificate of authenticity; Christine Keeler, The Truth at Last, 1st edition, 4th impression, 2001; Winston S. Churchill, First Journey, 1st edition, 1964, Alan W. Cooper, Beyond the Dams to the Tirpitz, 1st edition, 1983, signed by 8 members of 417 Squadron on limited edition slip issued by the Cambridge Stamp Centre, numbered 4 of 35; and Laddie Lucas, Flying Colours, The Epic Story of Douglas Bader, 1st edition, 3rd impression, 1981) (qty: 7)Footnote: A Million and One Nights, volume one: number 53 of 327 copies signed by Thomas Edison and Terry Ramsaye on the limitation leaf.

Wheatley (Dennis, 1897-1977). Collection of signed letters to Eileen Cond, 1933-71. 31 in total, of which 19 autograph, the rest typed, all signed ‘Dennis’ or ‘Dennis Wheatley’, all on his personalised stationery, various extents (1-4 pp.), a handful of letters with rust-marks from paperclips, overall in very good condition (qty: 31)Footnote: A group of warm and candid letters to eccentric autograph collector and hotelier Eileen Cond (1911-1984), dating back to the very beginning of Wheatley’s career. He provides detailed updates on the progress, publication and sales of his books and novels, and freely imparts his opinions on their relative merits: ‘I am glad to say that “Such Power is Dangerous” has already gone into it’s [sic] 3rd impression and generally speaking the reviews have been most kind. Personally I do not like it as much “The Forbidden Territory” but there is plenty of excitement in it and some people seem to like it better' (June 1933); ‘I am particularly attached to “Old Rowley” because it is a book that I have wanted to write all my life, but “Black August” is by far the most ambitious thing which I have attempted yet’ (January 1934). Of particular interest is a splenetic four-page critique of the screen version of The Forbidden Territory, which Wheatley believed to have been bowdlerised to avoid upsetting Russia, newly acceded to the League of Nations (December 1934). A great bibliophile himself, Wheatley also muses on book collecting and the future value of his own works: ‘[The Forbidden Factory] may possibly be of some interest by the time you are an old lady of eighty – just because it is a first edition of a first book – and in this particular instance […] half the number were issued without the map and the bulk of the remainder went to the libraries where they will be battered out of recognition. If it does therefore ever become of any interest copies in mint state will be very rare indeed’ (April 1933).

Bertius (Petrus). Three Ptolemaic maps from Theatrum Geographiae Veteris, [Amsterdam: Isaac Elzevir & Jodocus Hondius, 1618-19], i.e. 'Africa tabula prima, contiens ambas Mauritanias, Tingitanaam, et Caesariensem', Africa tabula secunda, continens Africa minorem, cum insulis ipsi adsitis', and 'Europa tabula secunda, in qua Hispania ... tres provinciae descibuntur', 420 x 515 mm, each with elaborate strapwork cartouche and various ships and sea-monsters, contemporary outline colour,Coronelli (Vincenzo Maria). Bocche del fiume Negro et isole di Capo Verde, Venice: Domenico Padoani, c.1690. Hand-coloured engraved map of the Cape Verde Islands, 475 x 640 mm, large decorative cartouche, central fold repaired verso,[Atlantic Ocean]. Carte générale de l'océan Atlantique ou occidental, 3rd edition ('revue et corrigée'), Paris: Dépôt général des cartes, plans et journaux de la Marine, 1792. Large hand-coloured engraved map of the Atlantic, 750 x 1140 mm, showing the seaboards of the Americas, Europe and Africa, numerous rhumb lines, table of latitudes and longitudes on left, discreet repairs and reinforcements verso,and 7 further engraved maps, all 18th century, various dimensions, including Homann, [...] Graeciae et archipelagi, c.1730 (hand-coloured, reinforcements verso), Husson, Carte nouvelle du royaume de France, 1708 (hand-coloured), Anville, First Part of Asia [i.e. modern Yemen, Oman and Saudi Arabia], Revised and improved by Mr. Bolton, 1755, and others similar (qty: 12)

Braby (Dorothea, 1909-1987). Sketchbook of original designs for The Labyrinth of the World, Golden Cockerel Press, 1950, in pencil, on 55 leaves of lightweight paper, rectos only, with frequent annotations by Braby, wire-stitched in original cloth covers, leaf dimensions 252 x 190 mm, together with a copy of the published book (The Labyrinth of the World and the Paradise of the Heart by John Amos Komensky ... Illustrations by Dorothea Braby, number 36 of 70 specially bound copies from the total edition of 370, London: Golden Cockerel Press, 1950, 8vo, original white pigskin by Sangorski and Sutcliffe, gilt-tooled red morocco onlays to covers, spine slightly rubbed, slipcase), and a collection of 9 wood-engraved proof pulls, 3 original pen-and-ink sketches and 1 original scraperboard design by Braby for The Ninety-First Psalm, Golden Cockerel Press, 1943, various dimensions, nearly all signed or annotated in pencil by Braby (the scraperboard with extensive calligraphic annotation verso), and a small group of ephemera including an letter to Braby from her grandmother (qty: -)Footnote: Dorothea Braby (1908-1987) studied at the Central School of Arts and Crafts under John Farleigh, at Heatherley's School of Fine Art, and in France and Italy. She was the author of The Way of Wood Engraving (1953), and her other commissions for the Golden Cockerel Press include Mabinogion (1948) and Sir Gawain and the Green Knight (1952).

Burgess (Anthony). A Clockwork Orange, London: Heinemann, 1962. 8vo, original black boards, dust jacket with wide flaps and price 16s, spine rolled, boards bowed, dust jacket with slightly toned spine-panel, a little wear and a few nicks to extremities, faint damp-stain only visible verso, p. 11 with small stain to lower margin (qty: 1)Footnote: First edition, in the first-state binding and dust jacket.

Doyle (Arthur Conan). The Adventures of Sherlock Holmes, London: George Newnes, Limited, 1892. Large 8vo, original light blue cloth (rebacked with original spine laid down), all edges gilt, pp. [4] 317 [1], half-title, illustrations throughout the text, covers marked, tips showing through, occasional light spotting to text, quires 12 and 21 slightly loose (qty: 1)Footnote: First edition in book form, first state of text, with misprint 'Miss Violent Hunter' on p. 317, second state of binding, with text on the street sign on the front cover (blank in the first state).

Le Carré (John, 1931-2020). The Russia House, London: Hodder & Stoughton, 1989, Amis (Kingsley, 1922-1995). The Old Devils, London: Hutchinson, 1986,Amis (Martin, 1949-). London Fields, London: Jonathan Cape, 1989,all 8vo, original quarter cloth, with the glassine dust jacket (qty: 3)Footnote: First editions, signed limited issues, each work specially bound by London Limited Editions from the sheets of the first edition and signed by the author, respectively one of 250, 250 and 150 copies thus.

Modern first editions. A large collection of modern first editions, nearly all in dust jackets, including multiple titles by William Golding (5), Salman Rushdie (5 including The Satanic Verses, 1988), Paul Theroux (11 including Singing with Annie, 1972, and Fong and the Indians, 1st UK edition, 1976), Edna O'Brien (4 including The Country Girls, 1960), L. P. Hartley (8 including A Perfect Woman, 1955, The Hireling, 1957, Facial Justice, 1960), Dirke Bogard (9), Martin Amis (3, of which Money is a 1st US edition), Julian Barnes (2), Alan Sillitoe (2), and similar, and individual works by R. K. Narayan (The Guide, 1958), and others, some jackets price-clipped (qty: approx. 100)

Sillitoe (Alan, 1928-2010). Saturday Night and Sunday Morning, 1st edition, London: W. H. Allen, 1958. 8vo, original cloth, dust jacket, signed by the author on the title-page, edges spotted, jacket with a few shallow chips, staining to spine-panel verso and rear flap,Ishiguro (Kazuo, 1954-). An Artist of the Floating World, 1st edition, London: Faber and Faber, 1986. 8vo, original boards, dust jacket, signed and dated by the author ('4th Oct '86') on the title-page, text-block toned,and 19 other modern first editions, all signed, of which 4 signed on tipped-in '1988 Booker Prize Shortlist Signed Editions' slip (Marina Warner, The Lost Father; Peter Carey, Oscar and Lucinda; Penelope Fitzgerald, The Beginning of Spring; David Lodge, Nice Work), one on a laid-in slip (Angela Carter, Wise Children, 1991), the others including Ian Rankin (Set in Darkness, 2 copies), William Golding (Fire Down Below), William Gibson (Mona Lisa Overdrive), Iain Banks (Complicity), Gervase Phinn, Ben Okri, Julian Barnes, and more (qty: 21)

Dulac (Edmond, illustrator). Rubaiyat of Omar Khayyam. Rendered into English Verse by Edward Fitzgerald, London: Hodder and Stoughton, [1909]. 4to, original vellum, spine and front cover lettered and decorated in gilt, top edge gilt, others untrimmed, 20 colour plates tipped to japon mounts as issued, a little mottling to covers, spine-lettering rubbed, small nick to front tie, rear tie detached and laid in (qty: 1)Footnote: First Dulac edition, deluxe issue, number 8 of 750 copies signed by the artist.

Pogany (Willy, illustrator). Parsifal, or the Legend of the Holy Grail, retold from Antient Sources, with acknowledgement to the "Parsifal" of Richard Wagner,by T. W. Rolleston, London: Harrap & Co., 1912. 4to, original vellum lettered and decorated in gilt, top edge gilt, others untrimmed, 16 tipped-in colour plates, lithographic illustrations and borders in colour throughout, binding dust-soiled (qty: 1)Provenance: from the library of Dr Jeffrey Sherwin (1936-2018), Leeds-based physician and noted collector of surrealist art, though not marked as such.Footnote: First edition thus, deluxe issue, number 311 of 525 copies signed by the illustrator. This copy with a laid-in autograph letter from one A. Barer dated 1913 and presenting 'the enclosed book, with my love', to Lilian, Marchioness of Zetland (1851-1943), with letterhead (Mouldron, Aske, Richmond, Yorkshire).

Fix-Masseau [Pierre Félix Masseau]. Venice Simplon Orient Express, Champigny-sur-Marne: Imprimerie I.P.A., 1985. 12 colour lithographs (500 x 310 mm), limitation leaf, contents leaf, all on thick wove paper, loose as issued in original printed wrappers, housed in original blue cloth solander box and chemise, retaining original cardboard box, excellent condition, together with a selection of related ephemera including folio-size pamphlet Centenaire de l'Orient-Express (qty: 1)Footnote: Number 10 of 200 sets only; the first lithograph ('Venice') is signed, numbered and dated by the artist in pencil in the lower margin: 'Fix-Masseau, 85, 16/200'. This limited edition set of Fix-Masseau's striking poster designs was published to mark the re-launch of the Venice Simplon Orient-Express by American entrepreneur Jim Sherwood in 1982, on the eve of the line's centenary in 1983.

Nicholson (Peter). The Carpenter's New Guide: being a Complete Book of Lines for Carpentry and Joinery, 1st edition, London: for I. and J. Taylor, 1793. 4to (265 x 210 mm), contemporary sheep (crudely rebacked, covers worn), [3] vi-xii 76 pp., 78 engraved plates, 4 pp. advertisements at rear (not mentioned in ESTC; folding, with closed tear), damp-stain to head of first few leaves, title-page with small chip to foot, a few other marks, free endpapers excised, together with 4 other works: F. J. Bird, The American Practical Dyer's Companion, 1st edition, Philadelphia: Henry Carey Baird & Co., 1882 (8vo, original cloth, with 170 dyed cloth samples as called for on title-page, mounted in the text as issued, occasional offsetting, rear inner hinge cracked); Thomas Tredgold, Elementary Principles of Carpentry, 4th edition, 1853 (4to, original cloth, engraved frontispiece and 53 plates, several folding, occasional spotting); George Simpson, The Anatomy of the Bones and Muscles, 1st edition, 1825 (4to, contemporary cloth, 30 lithographic plates, damp-staining, ink-stamps excised from title-page); and Riddell, The Carpenter and Joiner, c.1875 (lacking several plates) (qty: 5)Footnote: ESTC T80844 (Nicholson).Nicholson's work is uncommon: ESTC traces four copies in UK libraries; apparently no copy seen at auction for the last 50 years.

Walker (George). The Costume of Yorkshire. Illustrated by a Series of Forty Engravings, being Fac-Similes of the Original Drawings, with Descriptions in French and English, Leeds: Richard Jackson, 1885. Large folio, original green half morocco, 41 colour lithographic plates including frontispiece, tissue-guards, corners bumped and worn, dent to foot of front board, offsetting, spotting to outer leaves, together with an illustrated blank game-book (Countryside Alliance, 2006, oblong folio) (qty: 2)Footnote: Second edition, one of 500 copies with the proofs (plates) on plate paper, from the total edition of 600; the work was first published in 1814, with the plates in aquatint.

Harris (Moses). [The Aurelian: Or, Natural History of English Insects; namely, Moths and Butterflies]. L'Aurélien: ou histoire naturelle des chenilles, chrysalides, phalènes et papillons anglois, London: J. Edwards, 1794. Folio (404 x 300 mm), 19th-century green half morocco, spine richly gilt in compartments with butterfly tools, marbled sides, all edges gilt, pp. 145 [5], text in English and French, hand-coloured engraved title-page (in French only, as issued), 45 hand-coloured engraved plates (including unnumbered diagrammatic plate), text and plates both watermarked J Whatman 1794, tissue-guards, spotting to endpapers, title-page slightly spotted and with ownership inscription abraded from top margin causing small hole, plate 35 with repair to top margin extending into plate number, short closed tear to fore margin of plate 37, light spots and marks to margins of a few other plates (qty: 1)Footnote: ESTC T163472; Lisney 234.Third edition, first issue, rare: ESTC traces two copies only world-wide, at Bristol Central Library and the John Rylands Library. Manchester. The text was 'entirely reset with slight alterations'; the plates were printed from the same blocks as the first edition of 1766, albeit with the minor alterations to numbers 38 and 39 introduced for Lisney's second edition, third issue.

[Worlidge, John]. Systema Horti-culturae: or, the Art of Gardening, London: for Tho. Burrell, and Will. Hensman, 1677. 8vo (184 x 112 mm), contemporary mottled sheep, rebacked, pp. [24] 285 [19], engraved additional title-page and 3 plates by F. H. van Houe, covers pitted, contents toned, moderate spotting, staining and finger-soiling, several leaves sometime dog-eared, binder's blank (with manuscript calculations recto and ownership inscription 'John Cadmene, Book, 1731' verso) torn, engraved title-page with scored-out contemporary ownership inscription 'Rose Gregorye', ink-transfer from inscription on the blank, and very light fraying along fore edge, letterpress title-page with short closed tear to top margin just extending into frame (qty: 1)Footnote: ESTC R34757 (eleven copies world-wide).First edition; the work was apparently intended as a companion to the author's Systema agriculturae (1669), and its rarity may account for its omission from Worlidge's entry in the ODNB. A fourth edition appeared by 1700.

Hachisuka (Masauji). The Birds of the Philippine Islands, with Notes on the Mammal Fauna, 1st edition, London: H. F. & G. Witherby, 1931-5. 4 parts in 2 volumes, 4to (243 x 175 mm), modern green leatherette, xx 439, xxxi 469 pp., half-titles, 101 plates including numerous chromolithographs by Henrik Grönvold, 2 folding colour maps,Baker (E. C. Stuart). The Indian Ducks and their Allies, 1st edition, in book form, London: R. H. Porter, 1908. Tall 8vo (268 x 170 mm), original half morocco, top edge gilt, others untrimmed, half-title, additional pictorial title-page, 30 chromolithographic plates by J. Green after Henrik Grönvold, J. G. Keulemans or G. E. Lodge, slightly rubbed, spine sunned,ibid. The Game-Birds of India, Burma and Ceylon, 1st edition in book form, London: John Bale, Sons, & Danielsson, Ltd., 1921. 2 volumes, tall 8vo (264 x 175 mm), original half morocco, top edges gilt, others untrimmed, half-titles, additional pictorial title-pages, 56 plates including chromolithographs after Grönvold and others, 2 maps, spines sunned and rubbed,and 1 other (Chapin, The Birds of the Belgian Congo, 1st edition, 1932-54, 4 volumes, later quarter morocco, not collated), all with bookplate of Eric Hosking (qty: 9)THE LIBRARY, PICTURES & CAMERA COLLECTION OF ERIC HOSKING OBE HON. FRPS FBIPP (1909-1991)Footnote: Zimmer pp. 36-7 (Baker, The Game-Birds of India).The Indian Ducks and their Allies is one of 1200 copies only. A third volume of The Game-Birds of India ... was published in 1930; the first volume is described on the title-page as a second edition 'since it represents a revision of the author's Indian Ducks ...' (Zimmer).

Hewitson (William C.). Coloured Illustrations of the Eggs of British Birds, accompanied with Descriptions of the Eggs, Nests, etc., 2nd edition, London: John van Voorst, 1846. 2 volumes, 8vo (216 x 132 mm), late-19th-century crushed red morocco gilt by M. M. Holloway, all edges gilt, half-titles, 138 hand-coloured lithographic plates, bookplate of Eric Hosking, superficial abrasion to volume 2 front board, marginal spotting to plate 120* (qty: 2)THE LIBRARY, PICTURES & CAMERA COLLECTION OF ERIC HOSKING OBE HON. FRPS FBIPP (1909-1991)Provenance: Henry Lancelot Holland (1808-1893), linen manufacturer and governor of the Bank of England, 1865-6 (bookplates).Footnote: Freeman 1659; Mullens & Swann pp. 293-4; Zimmer p. 303.'Still a standard work and esteemed for the exactness of the figures ... Both in plates and text this edition is quite edition from the first [published as British Oology, 1831-8]' (Mullens & Swann).