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Botany.- Sowerby (James) [& James Edward Smith.] English Botany: or, Coloured Figures of British Plants, vol.1-14 only (of 36) bound in 7, first edition, 1014 hand-coloured engraved plates, a few printed in colours, index leaves bound in at end, some light foxing or browning, mostly to text, plate 18 with portion torn away from fore-margin, plate 861 shaved at fore-edge with slight loss to image, contemporary half green straight-grain morocco, spines gilt and titled "Botanical Magazine" and numbered XI to XVII, rubbed, one board scuffed, spines a little faded, one with small hole, corners worn, [Henrey 1366-68; Nissen BBI 2225], 8vo, 1790-1802.

Sowerby (James) Coloured Figures of English Fungi or Mushooms, 3 vol. in 1, first edition, 340 hand-coloured engraved plates only (of 400), lacking plates and explanatory text for 61-80 and 361-400, without titles to vol. 2 & 3, index to vol. 1 & 2 bound at beginning, without vol. 3 index, occasional faint marginal damp-staining, occasional spotting, modern half calf, [Nissen BBI 1874], 4to, 1797-[1803].⁂ This copy, as many, without the Supplement published in 1815, which contained additional plates numbered 401-440.

Herbal.- Dodoens (Rembert) A Niewe Herbal, or Historie of Plantes, translated by Henry Lyte, first English edition, largely printed in black letter, title within ornate woodcut border but with both corners defective, woodcut arms of Henry Lyte to verso, *6 with woodcut portrait of the author to verso, numerous woodcut illustrations, lacking 3U2-7 (3ff. text and 3ff. index), one other index leaf defective and repaired, leaves 3C1 and 3C6 both printed on one side only (one blank side with text supplied in an early hand) and in each case with another complete leaf supplied from a smaller copy and with some woodcuts coloured in an early hand, some other preliminary leaves and those at end frayed or torn, a few repaired tears, some soiling and staining, 17th century calf, rebacked, corners worn, [Henrey 110; Hunt 132; Nissen 516; STC 6984], folio, At London [but Antwerp], by me Gerard Dewes, 1578.⁂ An acceptable copy of this important Renaissance herbal. Dodoens served as court physician to Emperor Rudolf II of Austria before becoming Professor of Medicine at Leiden University in 1582.Provenance: Ales. Cox and Franciscus Cox (early ink signatures on title).

Herbal.- Gerard (John) The Herball or Generall Historie of Plantes, second edition, engraved title by John Payne, numerous woodcut illustrations, engraved title and following half dozen ff. with corners defective and repaired, title with loss to engraved surface but elsewhere with no loss of text, 4P3 and 4 similarly repaired but with loss of text and woodcuts, lacking leaves 3R3 and 4 and all after 7B1 at end (i.e. 4 leaves), also lacking initial and final blank leaves, most of index ff. at end repaired to corners and edges with some loss of text, some foxing and soiling, occasional ink- and water-stains, modern calf, [STC 11751; Garrison-Morton 1820; Henrey I, pp.48-54; Hunt 223], folio, Printed by Adam Islip, Joice Norton and Richard Whitakers, 1633.⁂ A largely complete copy of the preferred edition of the greatest English herbal, expanded and improved by Thomas Johnson from the 1597 first edition.

First book printed in Ge'ez.- Bible, Ethiopic.- Psalterium David et Cantica aliqua, edited by Johann Potken, collation: [1-128, 13-146], 108 ff., printed in red and black, Ethiopic and Roman type, first f. recto with a full-page woodcut in red showing a seated King David playing a harp within a decorative border signed 'S.C.', woodcut knotwork head-pieces, headings and initials in red, marginal repair to first and last ff., water-stained (mostly at start), some mostly light spotting and finger-marking, attractive contemporary ?French ornately blind-stamped calf over boards, sympathetically rebacked, remains of ties, corners little worn, rubbed, 4to (225 x 160mm.), [Rome], [Marcello Silber for Johannes Potken], 1513.⁂ Rare copy of the first edition of the first book printed in Ge'ez (or classical Ethiopic), and the first book of the Bible to be printed in an eastern language other than Hebrew. The editor was a German clergyman and papal protonotary, and he 'describes in his preface how he had heard Ethiopian strangers in Rome reciting sacred hymns, in which he recognized the names of the Blessed Virgin, the Apostles and certain Saints. Aroused by curiosity he determined to learn Ethiopic - which he calls lingua Chaldea - and eventually succeeded in mastering enough of the language to enable him to publish this edition in the native character.' (Darlow & Moule). Provenance: 'Questa Cantica è stata mandata da Genoua dal P. Gabriele di Casale Prouinciale de Capucini, anno 1606. mensis Nouemb' (ink inscription to front pastedown).Literature: Adams B1481: Darlow & Moule 3560; Fumagalli, Bibliografia Etiopica, p. 353; Smitskamp III, 233.

Dante Alighieri. [Divina Commedia] Dante col sito, et forma dell'Inferno tratta dalla istessa descrittione del poeta, collation: [*]2 a-z, A-H8, woodcut printer's device to [*]2 and verso of final f. (H8), double-page woodcut view of Hell and 3pp. woodcut charts, l2 blank except for foliation and signature recto, lacking [*]1 ('Dante' and anchor device recto and 3 lines of title and author attribution verso), H2 and blank H7, [*]2 with ink signature and hole to lower margin, small hole to lower margin of [a1], double-page view of hell trimmed to just within border and with small hole at fold near head (with loss to image) and very narrow worm trace and small wormhole within image, H6 (with woodcut charts) trimmed closely and with 3 worm traces within printed area, both H5&6 mounted on stubs, final f. laid down, first 2 ff. stained, occasional spotting and lighter staining elsewhere, modern cloth-backed marbled boards, spine gilt, 8vo (150 x 83mm.), [Venice], [House of Aldus Manutius & Andrea Torresani], August, 1515.⁂ The first illustrated Aldine edition of Dante, the second Aldine edition overall. It was dedicated to the poet Vittoria Colonna by Torresani. Literature: Ahmanson-Murphy 136; Renouard 73:8; Adams D88; EDIT 16 CNCE 1150.

Plato. Opera [with commentary by Proclus], edited by Oporinus and Simon Grynaeus, 2 parts in 1 vol., second collected edition in Greek, first edition of the commentaries of Proclus on the Timaeus and the Republic, collation: 18, 2-66, α-ω6, Αα-Ωω6, ΑαΑ-ΗηΗ6 ΘθΘ8; Α-Ω, ΑΑ-ΛΛ6 ΜΜ8, woodcut historiated or decorative initials, final f. of part 1 blank, some light browning, with occasional minor staining or worming, the paper quality on the whole quite strong and clean, ink inscriptions to front endpaper, bookplate and fine 18th century portrait of Socrates in red chalk laid onto pastedown, contemporary blind-stamped pigskin with metal clasps, lettered in ink on spine, some minor rubbing and soiling, folio (335 x 220mm.), Basel, Johann Walder, 1534.⁂ Superb copy of this important and handsomely printed edition of Plato, preceded only by that of the 1513 Aldine. Proclus' extensive work on the Timaeus of Plato is the most important work on ancient physics and the most important commentary on Plato from antiquity. Provenance: J. G. ?Schultheis (ink inscription dated 1766); Eduard Grisebach (1845-1906, German author, scholar and bibliophile, bookplate). Literature: Adams P1437 & P2139; VD 16 P 3275; cf. PMM 27.

Downame (John) Foure Treatises, tending to Diswade all Christians from foure no less hainous the common sinnes; namely the abuses of Swearing, Drunkennesse, Whoredome, and Bribery, with initial blank, woodcut head-pieces and initials, light water-staining to a few leaves, some worming to inner margins, Dd2 with paper flaw to outer margin, attractive near-contemporary limp vellum ruled and panelled in gilt with decorative central lozenge and corner-pieces incorporating acorns and thistles, yapp edges, g.e., lacking ties, a little rubbed and soiled, some wear to gilt, preserved in modern cloth slip-case, [STC 7142], small 4to, W.Hall and I[ohn] B[eale] for Michaell Baker, 1613.⁂ A rant against prostitution, excessive drinking, bribery and swearing, amongst other such vices.John Downhame or Downame (1571-1652) was a Puritan divine and theologian, the son of William, Bishop of Chester and younger brother of George Downhame later Bishop of Derry. After leaving Christ's College Cambridge he spent his working life in the City of London. He was associated with the Westminster Assembly, a council of theologians and members of Parliament appointed to restructure the Church of England, and he became a licenser of the press in 1643, granting imprimatur to both the Judgement of Martin Bucer Concerning Divorce by Milton in 1644 and Eikon Basilike in 1649. It was his proximity to London low-life that probably inspired this rather tub-thumping work. The second part, 'A Treatise of Anger', has a separate title, pagination and register and was first published in 1600 as Spiritual physicke to cure the diseases of the soule, arising from superfluitie of choller, prescribed out of Gods word. Three editions of the work appeared in total, the first two in 1608 and 1609, all now rare; ESTC records 8 UK copies of this edition.

Witchcraft.- Michaelis (Sebastien) The Admirable History of the Possession and Conversion of a Penitent Woman. Seduced by a Magician that made her to become a Witch..., first English edition, title defective and repaired at outer edge with loss of ruled border but no text, corner of final leaf similarly cut away and repaired, preliminaries and index at end misbound, lacking R4-6 and T1 at end, apparently missing one preliminary leaf though does not collate as ESTC, small hole with loss of text in 2M1, some headlines and ruled border at upper edge shaved, ink annotations, some staining, ink signature of Daniel Anderson to title, 19th century calf, rubbed and joints repaired, [STC 17854a], 4to, Imprinted for William Aspley, 1613; sold not subject to return⁂ One of 2 issues, this apparently a re-issue of the undated edition of the same year, with the original title-page replaced, though not quite collating to ESTC and with title reading 'history' not 'historie'. Nevertheless a scarce book.

Architecture.- Serlio (Sebastiano) Il terzo libro...nel qual si figurano, e descrivono le antiquita di Roma..., Venice, Francesco Marcolini, 1540; Regole generali di architettura, Venice, Francesco Marcolini, 1540, together 2 works in 1, first work collation: A2, B-V4, lacking H1 and H4, probably replaced by the first recorded owner with leaves from an ordinary copy, also lacking R2 and R3, supplied with two manuscript leaves, printed on blue paper, Roman and italic type, woodcut title, printer's device and colophon framed by cartouche on verso of final leaf, 120 woodcuts, including 32 full-page and 4 double-page, woodcut animated initials throughout, second work collation: A-T4, lacking B1, supplied with a manuscript leaf, Roman and italic type, woodcut architectural title, printer's device and colophon framed by a cartouche on verso of final leaf, 126 woodcuts, including 56 full-page and 6 plates on 3 leaves (fols. S4-T2), woodcut animated initials throughout, both works printed on blue paper, a few repairs and some ink stains, 18th-century brown half morocco, folio (342 x 240mm.)⁂ Serlio's monumental work represents the first treatise on architecture in which the illustrations assumed primary importance, leading to its becoming one of the most important architectural books to disseminate knowledge of antique heritage and invention throughout Europe during the Italian Renaissance. This copy, printed on blue paper, contains the first edition of Book iii and is followed by the second edition of Book iv, which originally appeared in Venice in 1537. The work is made up of seven Books, which were published separately according to an order explained by Serlio in his preface to Book iv, although in reality the order was only partially followed. Book iii, on ancient monuments, is dedicated to the King of France, François I, and appeared in Venice in 1540, while Books i and ii, on geometry and perspective, respectively, were published simultaneously in bilingual Italian-French editions in Paris in 1545, after Serlio's move to Fontainebleau. Book v, containing twelve temple designs, followed in 1547; it was the last to be published during Serlio's lifetime, once again in Paris in a bilingual version. Book vi, on domestic architecture, was never published, and survives only in two manuscript versions and a series of trial woodcuts. Finally, Book vii was edited posthumously by Jacopo Strada and published in Frankfurt in 1575. By the early 17th century, Serlio's treatise and its various parts, had been translated into several languages, some as unauthorised editions. Book iii is especially important, and the layout Serlio adopted for it, with its well-balanced blocks of text and images, was later copied by Palladio in his Quattro Libri dell'Architettura of 1570. "The first genuine advance in architectural illustration seems to have been made by Serlio, and his Libro Terzo set the type of architectural illustration in Italy for the rest of the Century" (Fowler). The printer Marcolini, born in Forlì and active in Venice until 1559, issued a handful of copies of his editions published between 1539 and 1540 on large blue paper as presentation or special copies, including Serlio's Book iii and Book iv. These were intended for patrons or very distinguished clientele, as the copy on blue paper of both Books, bound together as they are here, once owned by the Prince of Bibliophiles Jean Grolier (1479-1565) and now in the Bibliothèque nationale de France well attests. The Walters Art Gallery in Baltimore has a copy of each of these Books, while a copy of Book iii only is preserved at the Metropolitan Museum of Art in New York, bequeathed by the great collector W. Gedney Beatty (1869-1942). Copies printed on blue paper of the other Books belonging to Serlio's 'architectural encyclopedia' are not recorded. The early owner of this volume might be identified as the Bolognese antiquarian Francesco Bartoli (1675-1733), who drew numerous copies after antiques, and played a notable role in the reception of the classical tradition during the eighteenth-century, particularly in Britain. It is also likewise possible to attribute to his hand the finely drawn leaves on white paper which replace those lacking on blue paper. Some of Bartoli's drawings preserved in the Eton College Library show plans and decorative elements featured by Serlio in his Book iii, relating to, among other things, the Tempio di Bacco and the decorative mosaics in the vaulting of the Roman Church of S. Costanza, considered by Serlio the ancient Temple of Baccus (see Il terzo libro, fols. C4v-D1r). Provenance: Francesco Bartoli, possibly the Bolognese antiquarian (1675-1733; early ownership inscription on the first title and margins of fol. V3 in first work as well as fol. A4v of second work, partially legible under UV lamp). The marginalia as well as the drawings that replace the missing leaves are attributed to the skilled hand of this early owner. Literature: Casali Annali, 51; Mortimer Italian, 472; Berlin Katalog 2560; Fowler 308; RIBA 2968 and 2966. II. Casali Annali, 52; Charvet 2; Fowler 314; W. B. Dinsmoor, "The Literary Remains of Sebastiano Serlio", The Art Bulletin, 24 (1942), esp. pp. 64-68; L. Gwynn - A. Aymonino (eds.), Paper Palaces. The Topham Collection as a Source for British Neoclassicism, Eton 2013, esp. pp. 22-39.

Law.- Coke (Sir Edward) The First Part of the Institutes of the Lawes of England, first edition, woodcut title, partially printed in triple column and black letter, lacking initial blank and folding table, a couple of leaves with a sentence inked out, a few ink annotations, ink signature of William Whitaker on title, a lovely clean copy in 19th century blind-stamped pale calf, rebacked, [STC 15784; PMM 126], folio, Printed for the Societie of Stationers, 1628.⁂ "...a disorderly, pedantic, masterful work...the basis of the constitution of the realm" by the prosecutor of Sir Walter Raleigh and the Gunpowder Plot conspirators.

Herbert (George) Herbert's remains. Or, Sundry pieces of that sweet singer of the temple, 2 parts in 1, first edition, title within woodcut typographic border, woodcut head- and tail-pieces and decorative initials, water-stained / stained, mostly in second part, trimmed at head, affecting a few rules, just touching the top of title border and the odd headline, 19th century black blind-stamped morocco, upper joint splitting, area of leather missing from foot of lower cover, rubbed, [Wing H1515; Pforzheimer 464], 12mo, Printed [by Thomas Maxey] for Timothy Garthwait, at the little north door of Saint Paul's, 1652.

Cookery.- Young lady's companion in cookery (The), And Pastry, Preserving, Pickling, Candying, &c., first and only edition, woodcut head- and tail-pieces and decorative initials, small worm traces to lower corners of last few ff., foxing and staining, contemporary panelled calf, upper cover detached, worn, [Bitting p.619; Maclean p.154; Oxford p.64], 12mo, printed for A. Bettesworth and C. Hitch in Pater-Noster Row, J. Hazard against Stationers Hall, W. Bickerton and C. Corbett, without Temple bar, and R. Willock, in Cornhill, 1734.⁂ Rare in commerce, and scarce in institutions. ESTC records six copies, of which only two in UK (BL and Wellcome). With three contemporary ms. recipes loosely inserted, including 'To make raspbery [sic] jam'. Provenance: Mary Jenkin, 1738 (ink inscription to front free endpaper).

Great Plague.- Thomson (George) Loimotomia [graece]: or, the Pest Anatomized, first edition, engraved frontispiece (cleaned and tipped onto verso of front free endpaper), title within double-rule border with ink inscription to head, woodcut initials and headpieces, occasional light browning, bookplate, contemporary sheep, rebacked, retaining original backstrip, new spine label, some staining to covers, [Krivatsy 11830; Wing T1027], 8vo, for Nath: Crouch, at the Rose and Crown in Exchange-Alley near Lombard-street, 1666.⁂ The first printed account of the autopsy of a victim of the Great Plague. Thomson also includes an account of his own contracting of and recovery from the disease.

*LOTTIE DAVIES (B. 1971) 'The Girl and the Tower, 2008' number 1 from the edition of 5,  Lambda print on aluminium, 85cm x 200cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'Sophie in Florida, 2008' number 1 from the edition of 5,  Lambda print on aluminium, 85cm x 200cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'The Man Who Ran Away, 2009' number 1 from the edition of 5,  Lambda print on aluminium, 85cm x 200cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) ‘The Red Devil from Memories and Nightmares' number one of the edition of 5,  Lambda print on aluminium, 124cm x 200cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'My mother was born in a bucket, 2014' number one of the edition of 5,  Digital c-type, 80cm x 105.5cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'The River, 2009' number 1 from the edition of 5,  Lambda print on aluminium, 124cm x 148cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'Here: The Last Ghost Tree, 2013' number 1 from the edition of 6,  Digital c-type,  76cm x 102cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'Lilith (After John Collier) 2010' number 1 from the edition of 6,  Digital c-type, 100cm x 54cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall.Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'Lilith (After John Collier) 2010' number 2 from the edition of 6,  Digital c-type, 100cm x 54cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'Lilith (After John Collier) 2010' number 3 from the edition of 10,  Digital c-type, 66cm x 36cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'Eve, 2011' number 1 from the edition of 10,  Digital c-type, 51cm x 40.5cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

*LOTTIE DAVIES (B. 1971) 'Venus, 2011' number 1 from the edition of 10,  Digital c-type, 40.5cm x 51cm. Lottie Davies was born in Guildford, UK, in 1971. She grew up in Surrey and was educated in  Alton and Godalming. After a degree in philosophy at St Andrews University in Scotland,  she moved back to England to pursue a career in photography. She is currently based in London and Cornwall. Davies’ unique style has been employed in a variety of contexts, including newspapers, glossy magazines, books and advertising. She has won recognition in numerous awards, including the Association of Photographers’ Awards, the International Color Awards, and the Schweppes Photographic Portrait Awards. Her work has garnered international acclaim with the image Quints, which won First Prize at the Taylor Wessing Photographic Portrait Awards 2008 at the National Portrait Gallery in London, with Viola As Twins, which won the Photographic Art Award, Arte Laguna Prize in Venice in 2011, and her collaboration on Dreams of Your Life with Hide & Seek/Film 4.0 which was BAFTA-nominated in 2012. Davies’ work is concerned with stories and personal histories, the tales and myths we use to structure our lives. She takes inspiration from classical and modern painting, cinema and theatre as well as the imaginary worlds of literature. She employs a deliberate reworking of our visual vocabulary, playing on our notions of nostalgia and visual conventions with the intention of evoking a sense of recognition and narrative. Sandy Nairne, former director of the National Portrait Gallery in London, described Davies’ work as “brilliantly imaginative”.

FLEMING, IAN (1908-1964) 'Thunderball' London: Jonathan Cape, 1961 first edition, first impression, publisher's cloth lettered in gilt with impressed skeletal hand to front, facsimile dust jacket

FLEMING, IAN (1908-1964) 'Dr No' London: Jonathan Cape, early 1958 first edition, first impression, first state copy, publisher's cloth lettered in silver to the spine with plain black boards, ex library 

FIRST DAY COVER DAY OF CONCORDE 1976 BAHRAIN LONDON FIRST SUPER SONIC FLIGHT FLIGHT MEDAL AND STAMP COVER WITH POST STAMP HEATHROW AIRPORT 1976 LIMITED EDITION DAY OF THE CONCORDE COMMEMORATIVE HALLMARKED SILVER 1OZ COIN FRANKLIN MINT

2 FIRST EDITION HARRY POTTER HARDBACK BOOKS, THE DEATHLY HALLOWS AND THE HALF BLOOD PRINCE ALSO INCLUDES THE ORDER OF THE PHOENIX

HARRY POTTER AND THE ORDER OF THE PHOENIX HARD BACK BOOK FIRST EDITION BY J.K.ROWLING

HARRY POTTER AND THE HALF BLOOD PRINCE HARD BACK BOOK FIRST EDITION BY J.K.ROWLING

[CHILDRENS]. ENID BLYTON Twenty assorted works, comprising Five on a Secret Trail, first edition, Hodder & Stoughton, London, 1956, boards, dustjacket, illustrations by Eileen Soper, octavo; and nineteen other titles by the same, seventeen with dustjackets (most worn), all later impressions.

[CHILDRENS] Seventeen assorted works, including Rabier, Benjamin. Gideon in Africa, first British edition, Methuen, London, 1978, cloth-backed pictorial boards, illustrations, large quarto; and Rupert Annuals, 1972, 1975, 1976 & 1979 (x2).

[CHILDRENS]. ENID BLYTON Forty-five assorted works, including Five Have Plenty of Fun, first edition, Hodder & Stoughton, London, 1955, boards, dustjacket (non price-clipped), illustrations, octavo, variable condition (none of the other Famous Five titles first editions).

[MODERN FIRST EDITIONS] Christie, Agatha. Crooked House, first edition, Collins Crime Club, London, 1949, boards, dustjacket, octavo (front free endpaper with ink gift inscription; jacket labelled 'First Cheap Edition' and badly torn); together with A Murder is Announced, first edition, Collins Crime Club, London, 1950, boards, dustjacket, octavo (jacket rubbed, chipped and torn; ink graffiti map to rear endpaper); After the Funeral, Collins Crime Club, London, no date, boards, dustjacket, octavo (covers damp marked; jacket torn; ink ownership inscription to front free endpaper); Hickory Dickory Dock, first edition, Collins Crime Club, London, 1955, boards, dustjacket, octavo (lacking front free endpaper; jacket price-clipped and with internal tape reinforcement, with associated staining); Ordeal by Innocence, first edition, Collins Crime Club, London, 1958, boards, dustjacket, octavo (lacking front free endpaper; jacket price-clipped); and Elephants Can Remember, first edition, Collins Crime Club, London, 1972, boards, dustjacket, octavo (jacket price-clipped and slightly faded along spine), (6).

[SPORTING] Twelve assorted volumes, including Seaby, Allen. British Ponies, Running Wild and Ridden, first edition, Black, London, 1936, pale tan cloth, illustrations throughout, quarto; and 'B.B.' [Denys Watkins-Pitchford]. The Sportsman's Bedside Book, first edition, Eyre & Spottiswoode, London, 1937, two-tone cloth, illustrations by G.D. Armour and D.J. Watkins-Pitchford, octavo.

First edition Harry Potter books - 'The Half-Blood Prince' and 'The Order of the Phoenix' JK Rowling (2)

ARR Brangwyn (Frank, 1867-1956). Frank Brangwyn and His Work. By Walter Shaw-Sparrow, London: Kegan Paul, Trench, Trübner & Co. Ltd, 1910, xiii [1] 157 pp., text printed on thick paper, half-title, 2 original etchings, each signed by Brangwyn in pencil ('A Canal in Venice' and 'A Grey Day'), 20 colour and 17 collotype plates (mounted), top edge gilt, others untrimmed, contemporary green quarter morocco binding for Hatchards, green cloth sides, vellum tips, spine sunned and rubbed, folio (39.2 x 27.7 cm)Qty: (1)NOTESFirst edition, deluxe issue with two etchings signed by Brangwyn, number 11 of 160 copies; the two signed etchings did not appear elsewhere, and the list of contents states that the original plate of 'A Canal in Venice' was subsequently destroyed. There was also a trade issue in large octavo, without the signed etchings.

* Waller (Mervyn Napier, 1893-1972). The Ring, 1923, wood engraving on cream wove paper, from the published edition of 50 impressions, signed, titled and numbered 13 of 50 proofs, light mount stain and overall toning, crease to left blank margin, a few small nicks to extreme edges of the sheet (without loss), image size 275 x 210 mm (10.8 x 8.25 ins). sheet size 360 x 290 mm (14.2 x 11.4 ins)Qty: (1)NOTESAustralian muralist and stained glass artist Mervyn Waller created this remarkable print using his left arm only, having lost his right arm during the First World War. Based on William Morris's account of the Norse epic Volsunga Saga, it depicts Sigurd the Volsung on horse, carrying his shield.

Wilde, Oscar; The Young King and Other Stories, published Allan Wingate, with dust jacket, together with a quantity of other titles, some first edition, to include Ernest Hemingway, John Buchan, Graham Greene, Albert Camus and others.Qty: 11

Lewis, Wyndham; 'The Apes of God', limited edition numbered743/750, signed by the author, illustrations by the author, original cloth stamped in yellow, with dust jacket, together with a group of further books, some first editions.Qty: 6

Spence, Basil, 'The Phoenix at Coventry - The Building of a cathedral', signed, limited edition, number 143/500, in slipcase, Chris Bonington signed copy of 'Quest for Adventure', a limited edition 1938 facsimile 'The New Rupert Book', number 08994, Surtees Society, ten volumes of reproduced hunting books, in gilt slip cases, nine volumes Time Life Books with gilt edges, three volumes 'The Annotated Shakespeare' by A L Rowse, publ: Orbis, and The Norton Facsimile 'The First Folio of Shakespeare' second edition 1996, in slipcase, and others

Three Photographic Advertising From A-TO-Z Books, including First Edition on Press, More and Still More (3)

Collection of eighty Frank Hoar prints depicting work on the construction of Concorde, all numbered from a limited edition of 200, The original painting was exhibited at the Royal Academy in 1968.Harold Frank Hoar, FRIBA (13 September 1909 3 October 1976) was a British architect, artist, academic and architectural historian. He first came to public prominence when, at the age of 25, he won a competition to design the first terminal building at London's Gatwick Airport in the 1930s. His architectural career focused increasingly on town planning in the post war years, when he also became a well known public commentator on domestic architecture in that era of reconstruction. A senior lecturer at University College London, Hoar was an expert on the Bavarian Baroque and wrote histories of English and European architecture at a time when architectural modernism decried the value of an historical approach to architecture. He was also an accomplished water-colour artist, his work on architectural themes having often been exhibited in the Royal Academy in the 1950s and 1960s. In a wide-ranging career Hoar was probably best known as the cartoonist "Acanthus", where his work appeared in Punch, the Sunday Telegraph. The New Yorker and The Builder magazine; and as "Hope" in the Sunday Express. His cartoons reflected on the home front during WWII and were often accompanied by great architectural backdrops. As a cartoonist during the war, Hoar's political cartoons contemplated the long term direction of the war and of the perpetrators of its worst atrocities. Condition Report: 14 are mounted. The rest are loose. One has a few creases and crumples.

Harry Clarke RHA (1889-1931)Bluebeard's Last WifeMiniature stained glass panel in an inlaid mahogany, walnut and tortoishell cabinet, made by Dublin cabinet maker James Hicks28 x 14.5cm (11 x 5¾)Signed and dated 1921.Backlit by full -size LED light panelProvenance: Purchased at the 1921 Arts & Crafts Society, cat. no. 292 Exhibition by Albert Wood, a barrister, friend and patron of Clarkes for £20 and he had it mounted in the Hick's cabinet. Thence by descent and sold in these rooms, 9/12/1998, cat. no. 62; also 5/12/2011, cat no.113 where purchased by the current owner. Exhibited: Arts & Crafts Society of Ireland 6th Annual Exhibition 1921, cat. no. 292;Exposition d'Art Irlandais, Galeries Barbazanges, Paris 1922 cat. no. 258; Harry Clarke Retrospective Exhibition, The Douglas Hyde Gallery, Trinity College Dublin, November-December 1979, cat. no. 167; The Arts & Crafts Movement in Europe and America, 1800-1920, Los Angeles County Museum of Art, December 2004-April 2005; this major exhibition toured to Delaware Art Museum from June 2005-September 2005 and The Cleveland Museum of Art from October 2005-January 2006. Clarke's piece was one of only a handful of Irish works included in the exhibition; A Celebration of Irish Art & Modernism, The Ava Gallery, Clandeboye, Co. Down, June- September 2011, cat. No. 4; The Arts & Crafts Movement - Making it Irish, McMullen Museum of Art, Boston College, February - June 2016, cat. no. 160. Literature: Nicola Gordon Bowe, The Life and Works of Harry Clarke 1989, fig 120, p.136; Nicola Gordon Bowe and Elizabeth Cumming The Arts and Crafts Movements in Dublin and Edinburgh 1885 - 1925 cat. no. 30, p.103; Nicola Gordon-Bowe, Harry Clarke, cat. no. 167 p.110; Wendy Kaplan, The Arts & Crafts Movement in Europe and America; Design for the Modern World, Thames and Hudson, 2005, p296, full page colour illustration p.294; Lucy Costigan and Michael Cullen Strangest Genius - the Stained Glass of Harry Clarke 2010, full page illustration p.291; Vera Kreilkamp, The Arts & Crafts Movement - Making it Irish 2016 cat. no. 160, illus. p.288 Eleanor Flegg writing a preview of the present lot in The Irish Independent (26/2/2021) explained the story thus -'Bluebeard's last wife should have known better. He already had been married to several wives and nobody knew what had become of them. That was her first warning. Then he told her not to open the door to his secret chamber, while allowing her access to the key. Her curiousity would not be denied.Finally, having discovered what was in the chamber (dead wives), she orchestrated his downfall and became mistress of all his estate. Bluebeard was a nasty piece of work, but his last wife was also a woman to be reckoned with. She was the one that got away.' A masterpiece of the Arts & Crafts movement, this is one of three extant stained glass panels made by Clarke to illustrate one of his favourite scenes from literature and be mounted in a cabinet purpose-made by the renowned Dublin furniture maker, James Hicks. The concept of using two single panels, intricately worked in a microscopically demanding technique with such imaginative skill, and then registered to provide a magical scene of astounding intricacy, and in this case, gruesome foreboding, was unique to Clarke. Apart from this time factor, such was the risk of breakage that he only made such tiny autonomous panels between 1915 and 1923, although he had been incorporating narrative detail into full-scale windows ever since his well-known Honan Chapel series in Cork (1915-1917). It seems likely that this panel was made for inclusion in an anthology which Harraps, the London publishers, planned to illustrate using Clarkes narrative stained glass panels beside his better known watercolour and pen and ink work. The idea was scrapped in favour of twelve new colour and twelve new black and white plates, published as The Years at the Spring in 1920, and, two years later, the same number of illustrations (also on paper) for a uniform edition of The Fairy Tales of Perrault. When the panel was exhibited at the 6th exhibition of the Arts and Crafts Society of Ireland in Dublin in 1921, it was bought by Albert Wood, a barrister and friend and patron of Clarkes, who had it mounted by Hicks, just as his friend Thomas Bodkin had done with his Song of the Mad Prince panel in 1917, and another friend, Sir Robert Woods, would do with his Bottom and Titania panel in 1922. Influenced by the exotic productions of Diaghilevs Ballets Russes then in such vogue, it depicts the sadistic king, scimitar in hand, lying in wait for his innocent bride as she dances unsuspectingly over a garlanded bridge. Her fate if suggested by the gleaming blade he brandishes, the bloody orb below her darkened by ominous silhouettes, the wildly painted whorls in the dramatic sky and two white birds in the foreground vainly trying to escape. Dr Nicola Gordon-Bowe (1948 - 2018)James Hicks (1886 - 1936), is arguably Irelands best known cabinet maker. A virtuoso craftsman, he was born into the furniture making business, his father, Patrick being a master chair-maker. James trained in the cabinet making workshops of Tottenham Court Road in London before returning to Dublin in 1894 to set up his own business on Lower Pembroke Street. The firm rapidly became the leading cabinet-making firm in the country. Describing himself as Cabinet Manufacturer, Collector and Restorer of Chippendale, Adam and Sheraton Furniture, he included among his clients members of the British and Swedish Royal families as well as the aristocracy. In 1928 Hicks won the commission from President Cosgrave to fit out the Dail and Senate chambers in Leinster House and work was also done in the Four Courts and the National Library of Ireland. Aras an Uachtaráin, official home of the President of Ireland, also has a number of important pieces by Hicks including a set of magnificent dining chairs in the Chippendale style.

A Nintendo First Edition Merchandise Catalogue Autumn 1992. A 12page full colour advertising catalogue for early Nintendo electronic games, and accessories. An unusual and interesting piece of our modern cultural history, one to put away for the future! Approximately 11.75 inches x 8.25 inches. 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

Ingrid Pitt (1937 2010) was a PolishBritish actress, author and writer best known for her work in Hammer Horror and Carry On films of the 1960s and 1970s. A signed Autographed Edition First Day Stamp Cover 2008, approximately 10 inches x 7 inches. 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

Tony Hart (1925 2009) was an English artist, best known for his work in educating children in art through his role as a children's television presenter. Hart initially worked as an officer in a Gurkha regiment until the start of Indian independence. A signed Autographed Edition First Day Stamp Cover 2006, approximately 10 inches x 7 inches. 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

Squadron Leader Geoffrey Wellum DFC (1921 2018) was a British fighter pilot and author, best known for his participation in the Battle of Britain. Born an only child in Walthamstow, Essex, Wellum was educated at Forest School, Snaresbrook before serving in the RAF. A signed Autographed Edition First Day Stamp Cover 2008, approximately 10 inches x 7 inches. 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

Terry Jones (1942 2020) was a Welsh actor, writer, comedian, screenwriter, film director, historian, and member of the Monty Python comedy team. A signed Autographed Edition First Day Stamp Cover 2004, approximately 10 inches x 7 inches. 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

Sally Thomsett (b.1950) is an English actress who starred as Phyllis in the film The Railway Children (1970) and played Jo in the TV sitcom Man About the House (19731976). She also appeared as Janice in the film Straw Dogs (1971). An Autographed Edition First Day Stamp Cover 1998 signed by Sally Thomsett and one other taken to be Brenda Collins, a comedian and wellknown Cilla Black impersonator, approximately 8.5 inches x 4.5 inches. 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

BANKSY (B. 1975)Girl With Ice Cream on Palette 2004 tagged; signed and dedicated on the reversespray paint and emulsion on wood59.7 by 50 cm.23 1/2 by 19 11/16 in.This work was executed in 2004.Footnotes:This work is accompanied by a certificate of authenticity issued by Pest Control Office.ProvenancePrivate Collection, UK (acquired directly from the artist)Gift from the above to the present ownerAs one of the most acclaimed and sensationalist contemporary artists in the world, Banksy's career has garnered a following unlike any other. His political statements and subversive mise-en-scène have adorned cities across the globe at vital junctures in recent history, provoking alternative perspectives and fomenting spectacle and theatre in the art world. Banksy has gained unparalleled acclaim for his iconic and anti-establishment street art that is universally recognisable, and his most definitive and enduring works are fiercely sought after by collectors globally.From his emergent years, Banksy associated with the graffiti subcultures that were abundant across European towns and cities in the 1990s, turning to freehand graffiti as a teenager having been inspired by local artists and the French graffiti artist Blek le Rat. He was a renegade and nomadic phantom, spray-painting and tagging trains and walls before turning his hand to stencilling following a close encounter with the police; enabling him to work quickly and avoid apprehension by the authorities. Unlike many of his graffiti counterparts, whose exaggerated script and cartoon characters had become practically conventional in the modern city, Banksy's bold and iconic stencils combined an astute sense of current affairs, transcendent ideas and a stylised technique that has captured audiences and launched him from outsider street artist to one of the most important political and cultural voices of the twenty-first century. Girl with Ice Cream on Palette from 2004 is a rare example of Banksy's stencilling style on found material which is not only entirely fresh to the market but also depicts one of the most playful and memorable images from his oeuvre, which first appeared at his major breakthrough exhibition Turf War in 2003. Not one to shy away from dark humour and pointed irony, Banksy takes a subject that evokes the fragility and innocence of childhood: a young girl resplendent in her polka-dot dress, her hair tied in plaits with a bow, gleefully holding an ice cream cone. That the cone contains a fizzing stick of dynamite, however, is Banksy's dramatic punchline and typifies the flavour of his humour; a poignant reflection by the artist on the inevitable disillusionment that accompanies ageing and possible hopes for the future. In common with many of Banksy's most successful works, Girl with Ice Cream on Palette intends to shock, yet it also aims to engender thought provoking discourse within a broader socio-political context. Banksy has repeatedly returned to the motif of childhood in his work, most notably in his Girl with Balloon, that appeared on walls in London for the first time in 2002 and was later used in support of social media campaigns such as 'Stand with Syria' in 2014. These images represent a powerful symbol of lost innocence, Banksy reportedly having remarked that parents would do anything for children these days except from letting them be themselves. His deployment of satire as a tool for social commentary is always as funny as it is affecting, and his works bring into question the principles of a culture whose power structures will leave much in the way of financial, environmental, and social reparations to a younger generation. He explores this notion further in his Jack and Jill edition print of 2005. The carefree smiles of the children and their easily distinguishable childhood attire are juxtaposed with the bulletproof police vests that encase their slight frames; a sardonic meditation by Banksy on the internalisation of discipline and the stolen innocence of youth, perhaps evocative of Foucault's theory of the internalisation of discipline. Banksy has solidified his position as one of the most well recognised and sought after street artists of the century having completely transformed graffiti culture. His identity, even after more than twenty years, still remains delightedly anonymous.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Barry Flanagan (1941-2009)Harebell on Portland stone piers 1983 incised with the artist's monogram, stamped with the foundry mark AA and numbered 4/5bronze and stone289.5 by 246.3 by 172.7 cm.114 by 97 by 68 in.This work was executed in 1983, and is from an edition of five numbered versions and three artist's casts.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, UKSelling exhibition: Sotheby's, Windermere, Sotheby's at Isleworth: Monumental, 2005Acquired directly from the above by the present ownerExhibitedLondon, Waddington Galleries, Groups VII, 1984, the present example exhibitedStockholm, Moderna Museet, Dialog, 1985Brussels, Galerie Xavier Hufkens, Barry Flanagan, 1999London, Waddington Galleries, Memorial Exhibition, 2009London, Waddington Galleries, Barry Flanagan: Works 1966-2008, 2010London, Waddington Galleries, Two Pataphysicians, 2014Denver, Denver Botanic Gardens, Stories in Sculpture: Selections from the Walker Art Center Collection, 2016New York, Kasmin Sculpture Garden, Barry Flanagan, 2020-2021Yerevan, Armenia, Cafesjian Center for the Arts, 2005-2020, the present example on permanent displayWalker Art Center, Minneapolis, Minneapolis Sculpture Garden, 1986- present, another example on permanent displayLiteratureMartin Friedman and Marc Treib, Minneapolis Sculpture Garden, 1988, Minneapolis 1988Marjory Jacobson, Art for work: the new Renaissance in corporate collecting, Boston 1993Donald M Reynolds, Masters of American sculpture: the figurative tradition from the American renaissance to the millennium, New York 1993 Rudi Fuchs and Heinz Tesar, The ESSL Collection: the first view, Cologne 1999Jerold S Kayden, Privately Owned Public Space: the New York City Experience, Marblehead 2000Francis Morrone, James Iska, The Architectural Guidebook to New York City, Utah 2002Chin-Tao Wu, Privatising Culture: Corporate Art Intervention Since The 1980s, London 2003Alan Windsor, British Sculptors of the 20th Century, Evanston 2003Barry Flanagan, Barry Flanagan, London 2003 Anne Civardi, Sculpture: Three Dimensions in Art, London 2005Juncosa, Enrique (ed.), Barry Flanagan: Sculpture 1965-2005, Dublin 2006Gottfried Knapp, Prof Karlheinz Essl, Passion for ART 35th Anniversary of Essl Collection, Vienna 2007Jo Melvin, Barry Flanagan: Works 1966-2008, London 2010 Deirdre Holding, Armenia with Nagorno Karabagh, Chalfont Saint Peter 2011Preston, Clare, Jo Melvin, Teresa Gleadowe, Mel Gooding and Bruce McLean, Barry Flanagan, London 2017Jo Melvin, The Hare is Metaphor, New York 2018Leaping forward with a dynamic, lithe energy that is almost acrobatic, Harebell on Portland stone piers captures Barry Flanagan's most iconic subject, the bronze hare. Executed in the early 1980s, the work comes from a seminal decade that would become a definitive period in the artist's oeuvre. His characterful hares have become established as popular landmarks in cities and landscapes worldwide and are included in institutional collections including the Museum of Modern Art in New York, the National Gallery of Art in Washington D.C., and the Tate Gallery in London, among others. This present work is from an edition of five, the most prominent of which is in the Minneapolis Sculpture Park on permanent display where it is widely visited and admired. 1979 marked Flanagan's departure from his post-minimalist works of the 1960s and 1970s where he used 'soft' materials such as hessian, sand and rope and rediscovered bronze casting in a figurative form. Flanagan began to produce a variety of bronze animals, but the hare emerged as his most recognisable subject. Flanagan grew up in Wales where hunters described to him the dynamism and physicality of hares and how their determination was unparalleled as they bounded through the wilderness. However, it was Flanagan's recollection of seeing a hare majestically leaping through the Sussex Downs and upon reading 'The Leaping Hare' by George Ewart Evans and David Thomson, that first inspired him to explore the motif. His earliest work Leaping Hare was exhibited at Waddington Galleries in 1980; it was the debut of what would lay the foundation for his future artistic practice, and two years later, in 1982, he represented Britain at the Venice Biennale. Flanagan was fascinated by the hare's anthropomorphic potential - its ability to amplify a range of expressive characteristics and convey meaning beyond what he felt possible in the human form. 'I use the hare as a vehicle to entertain. I abstract from the human figure, choosing the hare to behave as a human occasionally.' (The artist in: Enrique Juncosa, Barry Flanagan Sculpture 1965-2005, exh. Cat, Irish Museum of Modern Art, Dublin, 2006). Harebell on Portland stone piers conceived in 1983, exudes playfulness and bountiful energy. Flanagan was fascinated by the fluidity of the hare's anatomy. The hare, who actually delightfully spins on its axle, is depicted mid leap with its out-stretched limbs fully flexed, its ears pull behind him emphasising the velocity of movement, offering an exceptional sense of drama. The hare appears weightless, defying gravity, as it glides over the bell providing a comical contrast to the weightiness of the medium. The solidity of the bell provides further contrast emphasising a force of gravity, whilst also being a symbol of steadfast solidarity. Upon leaving St Martin's School of Art in 1966 Flanagan had established himself as a leading figure of the avant-garde. He was fascinated by the movement of 'Pataphysics, a theory defined as a 'science of imaginary solutions'. The ideologies represented an escape from reality that challenged academic seriousness and these principles had a profound influence on the Dada and Surrealist movements. An early member of this movement was Joan Miró, who in 1925 produced Landscape (The Hare). Miró depicts a hare in a vibrant imagined landscape adding a spiralled form and crescent shaped object. The hare challenges the viewer with its fixated eyes characterising its bold spirit. Miró, much like Flanagan, was said to have been inspired by seeing a hare dart across a field. It is considered that Flanagan used the motif of the hare as a metaphor for his own elusive, wild character and in response to the ideologies of 'Pataphysics as a tool against strict avant-garde academicism and the over-intellectualised view of art from that period. The present work was acquired by the prominent American collector and philanthropist Gerard L. Cafesjian. Born in 1925 in Brooklyn to Armenian immigrant parents, Mr. Cafesjian became a highly successful editor at West Publishing - a firm specialising in legal materials - and spearheaded the launch of the annual 'Art and the Law' exhibition, for which he received the prestigious Business in the Arts Award. Mr. Cafesjian's passion for collecting began with a childhood fascination with geology and gemstones, which later branched into fine art. Over the years, he patroned and developed personal relationships with world-renowned sculptors and ultimately assembled an impressive collection of both lapidary and fine works of art.Harebell on Portland stone piers is a seamless example of Barry ... This lot is subject to the following lot symbols: * AR TP* 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.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Connor Brothers (British Duo), The First Thing I Do In The Morning Is Brush My Teeth And Sharpen My Tongue', 2018, giclee with silkscreen varnish on wove paper, signed, dated, and inscribed AP in pencil, aside from the main edition of 60; sheet: 42 x 29cm ARR

Commemorates the centenary of the first U.K. win in Scotland. Special edition. Blue and white coloration with gilt accents. Features a man playing golf. Doulton backstamp. With box. Artist: Lyngard SimpsonIssued: 20th c. Dimensions: 12" dia. Manufacturer: Royal DoultonCountry of Origin: England

Commemorates the centenary of the first U.K. win in Scotland. Man playing golf. Special edition of 150. Blue and white coloration with gilded scalloped rim. Doulton backstamp. With box. Artist: Lyngard SimpsonIssued: 20th c. Dimensions: 12" dia. Manufacturer: Royal DoultonCountry of Origin: England

Commemorates the centenary of the first U.K. win in Scotland. Man playing golf scene. Special edition of 150. Blue and white coloration with gilded scalloped rim. Doulton backstamp. With box. Artist: Lyngard SimpsonIssued: 20th c. Dimensions: 12" dia. Manufacturer: Royal DoultonCountry of Origin: England

Commemorates the centenary of the first U.K. win in Scotland. Golfing scene. Special edition of 150. Blue and white coloration with gilded scalloped rim. Doulton backstamp. With box. Artist: Lyngard SimpsonIssued: 20th c. Dimensions: 12" dia. Manufacturer: Royal DoultonCountry of Origin: England

Commemorates the centenary of the first U.K. win in Scotland. Man playing golf scene. Special edition of 150. Blue and white coloration with gilded scalloped rim. Doulton backstamp. With box. Artist: Lyngard SimpsonIssued: 20th c. Dimensions: 12" dia. Manufacturer: Royal DoultonCountry of Origin: England