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Lot 627
A contemporary Perthshire glass Anniversary paperweight, of domed form with facet cut sides and top, internally decorated to the centre with a spray of lampwork stylised flowers in blue, pink and yellow, surrounded by the words 'Happy Anniversary - 32 Years', all over a translucent blue ground, all cased in clear, signature 'P' cane to the base, diameter 7cm, together with two further Perthshire paperweights, internally decorated with a central complex cane surrounded by alternating twisted ribbon canes and millefiori canes, the first in a yellow, blue, green and red colour way, the second in green and pink. (3)
Lot 622
A contemporary Peter McDougall glass paperweight, of domed form with facet cut sides and top, internally decorated with a ground of multi-coloured complex millefiori canes all cased in clear crystal, signature 'PMCD' cane to the interior, retains original paper label, diameter 5.5cm, together with a further two Peter McDougall paperweights, both internally decorated with concentric circles of millefiori canes, the first in a red, blue and white colourway, the second in red, yellow, white and blue, both with signature canes to the base, largest diameter 6.5cm. (3)
Lot 624
A contemporary Peter McDougall glass paperweight, of domed form, internally decorated with spaced complex millefiori canes all over a green and white lace ground, all cased in clear crystal, signature 'PCMD 09' cane to the interior, retains original paper label, diameter 5.5cm, together with two similar Peter McDougall paperweight with complex millefiori canes, the first with a red ground, the second with a black ground, signatures canes to the interior, diameter of both 4.5cm. (3)
Lot 616
A contemporary Jim Hart glass pedestal weight of spherical form, internally decorated with multiple silhouette canes with an outer ring of amber Clichy style roses all over a translucent blue ground, all raised to a stepped foot also in translucent blue, signature can to the interior, height 7cm, together with a similar pedestal weight decorated internally with a central silhouette cane surrounded by three concentric circles of millefiori and rose canes, scratch signed initials and dated 2012, height 7cm. (2) NB - These were the first two pedestal weights made by Jim Hart.
Lot 724
GEORGE SMITH RSA (SCOTTISH 1870 -1934), HORSES IN A LANDSCAPE oil on canvas, laid down on board, signed versoframed image size 31cm x 40cm, overall size 51cm x 60cm Label verso: G Hannaford, Edinburgh.Partial exhibition label versoNote: proceeds of this sale are being donated to Sightsavers (Registered Charity SCO38110) by the vendor.Note: George Smith was born on 2nd February 1870 in Mid Calder, a village formerly in the county of Midlothian. He attended George Watson's Boys College in Edinburgh from October 1882 and his formal training as an artist commenced at The Trustees Academy (Edinburgh) in 1885. At the age of nineteen Smith travelled to Antwerp to train under Verlat at Academie Royale des Beaux-Arts d'Anvers. After returning to Edinburgh he enrolled at the Royal Scottish Academy Life School where his fellow students included Samuel J Peploe and Robert Brough. Smith won the Keith Prize (1894) for the best painting by a student of the Life School at the RSA Annual Exhibition. George Smith had his first painting accepted for the RSA Annual Exhibition in 1888 when he was only eighteen years of age and probably uniquely had at least one painting accepted every year for the rest of his life. A total of 122 entries were accepted at the Royal Scottish Academy (RSA) until his death on 26th November 1934 and in 1935 a further five were exhibited. He also exhibited 87 paintings at the Royal Glasgow Institute (RGI) between 1892 and 1935. His work was also exhibited at Royal Academy (London), in Liverpool at The Walker Art Gallery, at Manchester and at the Royal Hibernian Academy in Dublin. He also exhibited abroad including at Rome (1911) and at The Munich International Exhibition in 1912. In an issue of "The Studio" in 1908 it stated "in every important art centre from St Petersburg to Paris his work is favourably known". George Smith's considerable commercial success was probably why his style and subject matter of horses or cattle in association with man in a rural environment changed little during his career.
Lot 737
* JESSIE MARION KING (SCOTTISH 1875 - 1949), FLYING A KITE pen and watercolour on paper, signed, titled labels versomounted, framed and under glass image size 34cm x 43cm, overall size 58cm x 65cm Label verso: The Fine Art Society, London, 1972Exhibition label verso: The Scottish Arts CouncilNote: Jessie Marion King was born on March 20th, 1875 in New Kilpatrick, now Bearsden, Glasgow and was one of a group of artists known as “The Glasgow Girls”. As a child Jessie showed a natural talent for drawing. Her parents were against her following art as a career, but eventually agreed to her enrolling at the Glasgow School of Art. Under the direction of Francis Newbery, the School had become the centre of a new distinctly Scottish form of the “Art Nouveau” movement – which became known across Europe as “the Glasgow style”. Newbery noted and encouraged her remarkably original and imaginative talent in illustration and commissioned design work from her from the School itself. Around 1903 Jessie M King first visited Kirkcudbright. The town was already known for its community of artists, centred around the “Glasgow Boy” painter E A Hornel. On his advice, in 1908 Jessie purchased an eighteenth century house on the High Street which she later called “Greengate”. In 1908, her fiancée, Ernest Taylor chose to settle permanently in Salford, where he worked as chief designer for a furniture manufacturer. The couple were married, and in August the following year their only child, Merle, was born. In 1908, Taylor accepted an invitation to take a teaching post at a new art school in Paris. After a year, the Taylors opened their own art school in Montmartre, which they called “The Sheiling Atelier”. When War was declared in August 1914, the Taylors were unable to continue teaching in Paris. Returning to Kirkcudbright in August 1915, they carried on with the Summer Schools. After the war, they decided against re-starting their art school in Paris. Back in Kirkcudbright, Jessie’s book illustration work began to revive. She also began to work on “Batik” fabric design. In 1924 she wrote and illustrated a book about the technique, called “How Cinderella was able to go to the Ball”. Ceramic decoration was another new line of work. Her main outlet for decorated pottery was the Paul Jones Tea Room in Kirkcudbright. Here, in 1932, as a favour to the owner, Jessie had re-modelled the interior and exterior on a pirate theme. The Taylors had become key members of Kirkcudbright’s artistic community. Through their teaching and wide circle of acquaintances, many artists were drawn to visit the town. Both commission work and teaching was interrupted by the Second World War, and Jessie’s last commission for a cover design came in 1949, and was for a book titled “The Parish of New Kilpatrick” – the same Bearsden parish were she had grown up. At the end of July of that year, she suffered a heart attack, and on August 3rd she died.
Lot 723
JAMES KAY RSA RSW (SCOTTISH 1858 - 1942), HARBOUR SCENE oil on canvas, signedframedimage size 30cm x 45cm, overall size 50cm x 55cm Note: Like so many of the other distinguished West of Scotland painters of that era, James Kay was a student at Glasgow School of Art. He also studied closely from nature, and developed early a distinct and colourful method of his own but influenced by the emergence of Impressionism in the 1880s.. He shared studios at first with two other young artists, James Stuart Park and David Gauld in Glasgow. He is not considered to be one of the ‘Glasgow Boys’, although he was friendly with many of them, especially Guthrie, George Henry, and E.A.Walton. Kay worked in a distinctive style and he achieved swift and considerable success both at home and abroad which in turn gained him the widespread respect and admiration of his peers. His first picture in the Royal Academy was 'Towed into Harbour on the Clyde', hung in 1889 and bought by a prominent English collector, and his first in the Paris Salon was in 1894. From then on he had works on display in most of the important exhibitions in Britain, Europe and America every year. In 1903 his canvas, ‘Toil and Grime’, a picture of shipping at the mouth of the River Kelvin, was awarded the silver medal and diploma of the Société des Amis des Arts at Rouen in France. The same year his ‘River of the North’, a winter scene in Glasgow’s busy harbour, gained the highest honour a foreign artist can receive at the hands of the Salon jury and of France when it was awarded a gold medal, and was purchased for The Luxembourg Collection. In 1906, he won the gold medal and diploma at the 37th Exposition Municipale des Beaux Arts de Rouen, where his picture ‘Winter’ was purchased for the Rouen Municipal Collection. The following year his ‘Launch of the Lusitania’ in the Royal Glasgow Institute of the Fine Arts was bought by the Corporation of Glasgow for the municipal collection. His subjects were wider than just the Clyde and shipping. He painted Glasgow city scenes and some of the Thames, and still farther afield, in pictures like ‘The Armada’ and ‘The Revenge’ which embody the sea romance of Elizabethan days, and in France, where he spent a lot of time, and Holland. 'Clyde Nocturne', a study of the Broomielaw (Glasgow), hangs in the National Gallery in Wellington, New Zealand. The Royal Scottish Academy hung over eighty of his paintings and he also exhibited prolific numbers at the Royal Glasgow Institute and at Glasgow Art Club. UK public collections include Glasgow Museums & Galleries, The Hunterian, Aberdeen, Dundee, Paisley, Leeds, Bradford, Newport, The City Art Centre (Edinburgh), the National Trust for Scotland and the Royal Scottish Academy.
Lot 750
JAMES KAY RSA RSW ARSA (SCOTTISH 1858 - 1942), THE FERRY pastel on paper, signedframed and under glass image size 17cm x 24cm, overall size 41cm x 49cm Provenance: Collection of Percy Bale Esq.Note: Like so many of the other distinguished West of Scotland painters of that era, James Kay was a student at Glasgow School of Art. He also studied closely from nature, and developed early a distinct and colourful method of his own but influenced by the emergence of Impressionism in the 1880s.. He shared studios at first with two other young artists, James Stuart Park and David Gauld in Glasgow. He is not considered to be one of the ‘Glasgow Boys’, although he was friendly with many of them, especially Guthrie, George Henry, and E.A.Walton. Kay worked in a distinctive style and he achieved swift and considerable success both at home and abroad which in turn gained him the widespread respect and admiration of his peers. His first picture in the Royal Academy was 'Towed into Harbour on the Clyde', hung in 1889 and bought by a prominent English collector, and his first in the Paris Salon was in 1894. From then on he had works on display in most of the important exhibitions in Britain, Europe and America every year. In 1903 his canvas, ‘Toil and Grime’, a picture of shipping at the mouth of the River Kelvin, was awarded the silver medal and diploma of the Société des Amis des Arts at Rouen in France. The same year his ‘River of the North’, a winter scene in Glasgow’s busy harbour, gained the highest honour a foreign artist can receive at the hands of the Salon jury and of France when it was awarded a gold medal, and was purchased for The Luxembourg Collection. In 1906, he won the gold medal and diploma at the 37th Exposition Municipale des Beaux Arts de Rouen, where his picture ‘Winter’ was purchased for the Rouen Municipal Collection. The following year his ‘Launch of the Lusitania’ in the Royal Glasgow Institute of the Fine Arts was bought by the Corporation of Glasgow for the municipal collection. His subjects were wider than just the Clyde and shipping. He painted Glasgow city scenes and some of the Thames, and still farther afield, in pictures like ‘The Armada’ and ‘The Revenge’ which embody the sea romance of Elizabethan days, and in France, where he spent a lot of time, and Holland. 'Clyde Nocturne', a study of the Broomielaw (Glasgow), hangs in the National Gallery in Wellington, New Zealand. The Royal Scottish Academy hung over eighty of his paintings and he also exhibited prolific numbers at the Royal Glasgow Institute and at Glasgow Art Club. UK public collections include Glasgow Museums & Galleries, The Hunterian, Aberdeen, Dundee, Paisley, Leeds, Bradford, Newport, The City Art Centre (Edinburgh), the National Trust for Scotland and the Royal Scottish Academy.
Lot 751
* JOHN MACLAUCHLAN MILNE RSA (SCOTTISH 1885 - 1957) A BREEZY DAY oil on canvas, signedframedimage size 41cm x 50.5cm, overall size 57cm x 67cm Provenance: With James Connell & Sons, Glasgow; Private CollectionNote: Seeing Cezanne's work for the first time was a eureka moment for Milne who until then had painted much like his father in a sedate and traditional style. He discovered a completely new freedom and walked the streets and sights of Paris painting what he saw, en plein air and with rapid, bold brush strokes. Above all, he discovered ''colour''. By 1922/3 he had moved to the French village of Lavardin and by 1924 he was in Cassis with Peploe, Cadell and Duncan Grant. Milne is often referred to as ''the fifth Scottish Colourist'' and yet his quality is at least the equal of much of the output of the other four. As well as enjoying the company of the Scottish Colourists and exhibiting alongside them, Milne shared many of their patrons. William Boyd, the Managing Director of Keiller’s marmalade firm, became one of his most important patrons. In Boyd’s home at Claremont, several works by William McTaggart, Peploe, Hunter and Milne were displayed. His collection of French paintings included Monet, Sisley, Van Gogh, Matisse, Bonnard, Vuillard and de Segonzac. Alexander Keiller, head of the marmalade firm, was another important patron. He paid Milne a stipend – so that he could spend the summers in France – in return for paintings. The collector, Matthew Justice, was a close friend of George Leslie Hunter as well as being his agent during the 1920s. Justice owned around a dozen of Milne’s paintings; his sitting-room was hung exclusively with works by Peploe and Milne and his drawing-room contained eleven Peploes, three Marchands, one Hunter and five Milne’s. The Justice collection also included works by Vuillard, de Segonzac, Moreau and Matisse. Justice was friends with William Boyd and James Tattersall, another important patron of Milne. Even though Milne's paintings were widely exhibited in his lifetime at the very best venues to great success, it's probably because he never established a long term relationship with any one gallery or dealer that his paintings have been undervalued for many years. It took until 1987 before the first Milne painting reached the £20,000 mark at auction when ''Busy Paris Street Scene with Figures (1922)'' was sold by Christie's, Glasgow (lot 664, 28th April 1987 £20,000 hammer). The John Maclauchlan Milne Estate is now represented by Tom Hewlett's Portland Gallery (London) and unsurprisingly, his profile and values have been growing. A major exhibition ''Milne And The Colourist Connection'' was staged at Portland Gallery (London) 21st September -13th October 2017. On 30th August 2017 we sold "A Paris Scene (a 35cm x 26.5cm oil on panel) for £25,000 (hammer) and in The Scottish Pictures Auction of 24th September 2021 lot 2005 (Green Pool, Iona) sold for £29,000 (hammer). On 17th April 2022, lot 213 "Cafe Paris" (a 25.5 x 34cm oil on board) sold in The Scottish Pictures Auction for £30,000 (hammer).
Lot 214
1 Large size early 20th century realistic shape button.This very cool button in striking black and red is made of celluloid and depicts a Deco designed ladies head. We have sold examples like this before but this is the first time we have had this black and red example which is in our opinion the most striking example to be found. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and above
Lot 568
* MONTAGUE DAWSON (BRITISH 1890 - 1973), DRIFTERS OFF THE SCOTTISH COAST oil on canvas unframed overall size 38cm x 52cm Note: A copy of The Sphere, London, November 2, 1946, which features this painting is included in this lot (see additional images) Provenance: Reg Smith, Art Editor for Illustrated London News, who was gifted the picture by Sir Bruce Ingram. Ingram was a British publishing entrepreneur and philanthropist. He was the editor of The English Illustrated Magazine (September 1899 – September 1901), The Sketch, and The Illustrated London News from 1900 to 1963. Ingram was credited with introducing greater use of photography in the News and introducing the Rembrandt Regalio process which enabled faster printing of the paper. After death, Sir Bruce Ingram left a substantial number of paintings (mainly seascapes and naval scenes) to the Greenwich Maritime Museum now known as The Ingram Collection. Major donations of art and archaeological artefacts were also made to the Fitzwilliam Museum, Birmingham Museum and Art Gallery and the Royal Scottish Museum. He also donated the painting Angelique et Medor to the Louvre in 1953. Note: Montague Dawson was the son of a keen yachtsman and the grandson of the marine painter Henry Dawson (1811-1878), born in Chiswick, London. Much of his childhood was spent on Southampton Water where he was able to indulge his interest in the study of ships. For a brief period around 1910 Dawson worked for a commercial art studio in Bedford Row, London, but with the outbreak of the First World War he joined the Royal Navy. Whilst serving with the Navy in Falmouth he met Charles Napier Hemy (1841–1917), who considerably influenced his work. Towards the end of the War Dawson was serving as a Lieutenant RNVR in the Dazzle Painting Section at Leith (Scotland). In 1924 Dawson was the official artist for an Expedition to the South Seas by the steam yacht St.George. During the expedition he provided illustrated reports to The Graphic periodical.During these years his artwork was also published in the newspaper The Sphere. His works are featured in the Royal Naval Museum and the National Maritime Museum. Dawson was present at the final surrender of the German High Seas Fleet and many of his illustrations depicting the event were published in The Sphere.After the War, Dawson established himself as a professional marine artist, concentrating on historical subjects and portraits of deep-water sailing ships often in stiff breeze or on high seas. During the Second World War, he was employed as a war artist and again worked for The Sphere. Dawson exhibited regularly at the Royal Society of Marine Artists, of which he became a member, from 1946 to 1964, and occasionally at the Royal Academy between 1917 and 1936. By the 1930s he was considered one of the greatest living marine artists, whose patrons included two American Presidents, Dwight D Eisenhower and Lyndon B Johnson, as well as the British Royal Family. Also in the 1930s, he moved to Milford-Upon-Sea in Hampshire, living there for many years. Dawson is noted for the strict accuracy in the nautical detail of his paintings
Lot 506
NORAH NEILSON-GRAY RSW (SCOTTISH 1882 - 1931), UNTITLED watercolour on papermounted, framed and under glassimage size 34cm x 45cm, overall size 56cm x 66cmNote|: One of the first woman artists who sought out and established a commercially successful career, "Glasgow Girl" Norah Neilson Gray was best known for her stylised portraits. Carefully composed, the individuality and bold colour in her portraits brought Grey recognition from art critics and spectators in the flourishing Glasgow art circles of the time. She painted many portraits of well-known Glasgow figures and their families and was well known in Glasgow as excelling in child portraiture.
Lot 458
* DOROTHEA SHARP ROI RBA (BRITISH 1874 - 1955), STILL LIFE OF FLOWERS IN A VASE oil on board, signed,framedimage size 61cm x 51cm, overall size 72cm x 62cmNote: Dorothea Sharp was born on 10th January 1873 into a Quaker family in Dartford, Kent. The family timber business had been established since 1800 and its success afforded Dorothea a certain financial comfort and independence and even though her parents did not really approve, Dorothea wanted to be an artist from an early age. She enrolled at the Richmond School of Landscape Painting in 1894 under the tutelage of Charles Edward Johnson (1832-1913). Preferring to work in oil, she spent much of her time painting outside making rapid notes in her sketchbook, which she worked up later in the studio. This was to be a method which she refined throughout her career and was ideally suited to her style and choice of subject. Shortly after the untimely death of her father in March 1900, Dorothea set off for Paris with her mother Emily. Here she saw first-hand the work of the Impressionists and in particular that of Claude Monet (1840-1926) which was to have a profound and lasting effect on her work. She wrote in The Student's Book of Oil Painting, published in 1947: 'I think the young painters of this decade little realize what we owe to those great masters of The French Impressionist School.' Sharp also came to know and love the work of some of the American painters who were in Paris at the same time, notably Frank Weston Benson (1862-1951) and Carl Frieseke (1874-1939). Upon her return to England, her reputation grew and the bright and bold depictions of children playing feeding ducks, playing at the seaside or picking flowers became more and more popular. Her colourful compositions were ideal for use as posters, which by the 1930s had become an effective and popular form of advertising. By the 1940s Sharp was famous; she had exhibited widely at many leading galleries (and over a period of 47 years at the Royal Academy alone) and her work had been purchased by an admiring public throughout the Empire. She had travelled extensively from the south of France to Algiers and from St Ives (where she spent the war years with her companion Marcella Smith) to Sussex and her circle of friends included many of the leading artists of the day. Sharp's paintings were in many ways unique, but also reflected the changing style of the times. Her rapid, confident brushstrokes were almost sculptural in the way the paint was applied to canvas, but always bound together by an innate understanding and love of colour. Weakening eyesight and creeping arthritis had begun to take their toll by the 1950s and Dorothea and Marcella moved into Blomfield Road where she died on 17th December 1955.
Lot 563
* MARCEL DYF (FRENCH 1899 - 1985), SUMMER BLOOMS oil on canvas, signedframed image size 56cm x 47cm, overall size 82cm x 72cm Note: Marcel Dyf abandoned a career in engineering to become a painter. He spent some months studying in a Paris studio, then explored Provence before he settled first in Arles, and later in Paris. The artist then divided his time between the Paris and Cannes. Marcel Dyf’s art is derived from classical French tradition and from moderate Post-Impressionism. His output was varied and includes many Still Lifes and landscape works. He produced many in the Île-de-France, in Provence where he lived, in Brittany and Normandy, in Venice, Morocco and Israel. He also painted portraits and figures, in the 1950s often of gypsy women, and frequently of his wife Claudine. He produced decorative work in the town halls of Stes-Maries de la Mer (Camargue) and St-Martin-de-Crau (Arles), and painted frescoes in the Musée Arlaten in Arles in 1936. In Paris he exhibited at the Salon des Artistes Français, the Salon d'Automne and the Tuileries. He also had solo shows in Paris, three of them at the Galerie Petrides, and from 1956 at the Frost and Reed Gallery in London. In 1995 the General Council of Bouches-du-Rhône put on a retrospective exhibition of his early work, and in 1999 an exhibition at L'Espace Dyf in Bois-d'Arcy commemorated the hundredth anniversary of his birth.
Lot 8834
Stamps, coin covers and banknotes, including Queen Elizabeth II part stamp sheets, mint commemoratives, first day covers many with special postmarks, Guernsey mint stamps, commemorative coin covers, Bank of England O'Brien ten shillings banknote, fantasy notes etc, housed in various albums and folders, in one box
Lot 8824
Stamps and coins, including United Kingdom commemorative fifty pence and two pound coins, Hong Kong 1997five dollars coin in cover, various first day covers, World stamps with Hong Kong, Singapore, Sarawak, Burma, Cyprus, Malta, Gibraltar, Falkland Islands, Jamaica, Gold Coast, Mauritius, Nigeria, Sierra Leone, Swaziland, Cayman Islands, Toga, Barbados, British Guiana, St Lucia etc, in one box
Lot 400
Very rare Rolex platinum Cosmograph Daytona wristwatch, reference 116506, purchased 06/2019, 44 jewel calibre .4130 automatic movement adjusted to 5 positions and temperature, ice blue sunburst dial with three subsidiary dials including seconds dial at 6 o'clock, 30 minute and 12 hour recording dials, centre chronograph hand, brown Cerachrom bezel with tachymeter, twin screw down pushers, Oyster crown, polished case, 40mm, with original brushed and polished oyster link bracelet, marked 950PT, gross weight approx. 279g (with one extra bracelet link), serial number 955K****, with international guarantee, service manual, manual, green leather wallet, swing tags, box, outer card boxPlease note our special conditions regarding clocks and watchesFootnote: The first Rolex Cosmograph Daytona was introduced in 1963. Following this, on the 50th Anniversary of this iconic chronograph, Rolex neglected to introduce a limited or special anniversary edition that many expected. They did, however, introduce, for the very first time, in 2013, a platinum version and gave it the reference number 116506. (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
Lot 55
Fleming (Ian).The Man with the Golden Gun.Jonathan Cape, 1965, first edition, dust jacket (priced 18s.), Jonkers Rare Books presentation box.Spine slightly slanted, top edge lightly spotted and dustmarked. Contents Fine and free of inscriptions. Small bookseller's label to rear pastedown. 15mm tear to rear bottom edge of dust jackets (see images).
Lot 82
Photographs - Challenger Expedition. ‘Views taken during the cruise of H.M.S. Challenger’. An oblong quarto album containing eighty-one photographs taken during the first stage of the 1872-76 Challenger Expedition, a joint venture between the Royal Society of London and the British Admiralty to carry out an oceanographic circumnavigation. The photographic collection commences with a photograph of the members of the Royal Society at Sheerness, followed by two groups of Officers then views of Lisbon (7), a photograph of a drawing of a Naturalist’s room, Gibraltar (2 panoramic and 10 single), Madeira (1 panoramic and 5 single), Teneriffe (2 panoramic and 4 single), St. Thomas’s Island, West Indies (1 panoramic and 11 single), Bermuda (1 panoramic and 30 single including a monument erected by the ship for a Naval Schoolmaster and a ‘Boy, First Class killed by accident March 25th 1873’ *), three photographs of an Ocean Section, a biological specimen and a Cricketing Party from H.M.S, Challenger. (*An account of the accident which occurred during dredging appears in Lord John Campbell’s Log-Letters from ‘The Challenger’, 1877.) 1872-3, various sizes including 140mm x 185mm, 134mm x 187mm, 150mm x 200mm, panoramas vary from two sheet 145mm x 387mm to six sheet, 130mm x 1120mm, mounted on both sides of card leaves with manuscript captions below. Some creasing to panoramas and foxing to mounts. All edges gilt, worn diced calf binding with brass corners and clasp mounts (clasp not present), brass monogram to upper board - ‘J.B.’, possibly the album of John Young Buchanan (1844-1925), chemist to the expedition. [Departing from Britain in December 1872, ‘Challenger sounded, dredged and trawled the floors of the world’s oceans at no fewer than 362 locations, before returning in June 1876. The results of the voyage, encompassing the physical, chemical, geological, zoological and botanical dimensions of the ocean were published in fifty quarto volumes.’ ‘The Challenger Expedition established the foundations of oceanography and is second only to Darwin’s voyage aboard the Beagle for its contribution to nineteenth-century science’. Rehbock (P.F.), At Sea with the Scientifics. 1992].[Provenance by repute - Sotheby's, Groombridge Place, Kent, 15/9/92]
Lot 78
Polar Exploration.Ross (Sir John), Narrative Of A Second Voyage In Search Of A North-West Passage, and of a Residence in the Arctic Regions During the Years 1829, 1830, 1831, 1832, 1833. [with] Appendix to the Narrative …A. W. Webster, 1835, two large quarto volumes, possibly large paper copies, Narrative volume: large folding map (torn), twenty-seven (of thirty) plates, six coloured or tinted, Appendix volume: twenty plates, twelve coloured or tinted. Foxing, re-backed cloth bindings with original spine labels laid down;Another copy, two quarto volumes (smaller than the first set), the Narrative volume with large folding map (torn), thirty plates as called for, three coloured or tinted (which are three of the four plates missing from the first set, none of the plates coloured in the first set are coloured in this one, frontis detached but present), Appendix volume: twenty plates, twelve coloured or tinted. Foxing, original cloth, joints of Narrative volume splitting. Abbey Travel 636.
![[Sterne (Laurence)]. The Life and Opinions of Tristram Shandy, Gentleman. Volumes I - IX. R. & J. Dodsley, 1763-61, T. Becket](https://cdn.globalauctionplatform.com/0fb506f0-bb70-4452-a7d8-b0b700db50ba/3ec7d3b7-fb1b-44e0-a432-b1470100c41a/468x382.jpg)
Lot 61
[Sterne (Laurence)]. The Life and Opinions of Tristram Shandy, Gentleman. Volumes I - IX. R. & J. Dodsley, 1763-61, T. Becket & P.A. Dehondt/Dehont, 1767-65-67, nine volumes, first two volumes state ‘Fifth Edition’, volume III & V, ’Second Edition’ , frontis, [6], 179, frontis, [1]; 184; 3-202 (including marbled paper leaf); [4], 146, 156-220, [1] (text and register continuous); [6], 150; [4], 155 [1]; [2], 160; [2], 156; [8], 145, [1] pages. Previous owner’s name to beginning of text in each volume, contemporary calf gilt, (restoration to spines); idem, The Sermons of Mr Yorick, Volumes I - IV, Sermons by The Late Rev. Mr Sterne, Vol V - VII. R. and J. Dodsley, 1760; T. Becket & P.A. De Hondt, 1766; W. Strahan, T. Cadell et al. 1769, seven volumes, first two volumes state ‘Second Edition’, portrait frontis (counted as first leaf), xi, [9], 203, [1]; 216; [32], 192; [4], 207, [1]; [28], 172; [4], 174; [4], 160 pages, contemporary calf; [Sterne (Laurence)] and [Stevenson (John Hall)], A Sentimental Journey Through France and Italy by Mr. Yorick. Volumes I & II [with] Yorick’s Sentimental Journey, Continued. To Which is Prefixed, Some Account of the Life and Writings of Mr Sterne. Volumes III & IV. T. Becket and P.A. De Hondt, 1768 and S. Blaydon, 1769, four volumes, small octavo, [2], 203; [2], 208; xviii, 144, 161-166; [2], 175 pages, contemporary calf gilt (volume I skilfully re-backed retaining original labels and back-strip gilt); Sterne [Laurence], Letters from York to Eliza and Sterne’s Lettersto his Friends on Various Occasions to which is added his Watch Coat. Dublin: R. Steuart, 1776, two volumes bound as one, duodecimo in sixes, [2], 62, 61-140 pages, worn calf binding, upper board detached. (21) Shandy - staining to endpaper edges, occasional spotting or light staining, a little dust marking, top edges dust marked.Sermons - Occasional foxing spots, a little text offsetting in places, edge-stained endpapers, top edges dust marked. Spines rubbed, wear to three spine heads, restoration to others, small cracks to several joints.Journey - Occasional foxing. Some print offsetting in volume I. Gather L not present in volume III, however text appears continuous. Small hole in head margin of K2 (vol III), one joint starting.Letters - bookplate and staining to endpapers, light foxing, a few closed tears.
![Saxton, (Christopher).[Yorkshire] - Eboracensis Comitatus (cuius Incolae olim Brigantes appellabantur) Longitudine Latitudine](https://cdn.globalauctionplatform.com/0fb506f0-bb70-4452-a7d8-b0b700db50ba/92b124d3-66e3-4759-a8ba-b14900cce2d5/468x382.jpg)
Lot 28
Saxton, (Christopher).[Yorkshire] - Eboracensis Comitatus (cuius Incolae olim Brigantes appellabantur) Longitudine Latitudine hominumque numero reliquis illustrior.Ano. Dni, 1577. Christopherus Saxton descripsit, Augustinus Ryther Anglus Sculpsit. Ano Dni 1577.[1579], hand-coloured engraved map on two joined sheets, 530mm x 730mm visible, some closed tears, not examined out of frame but appears to be laid down, mounted framed and glazed.[Whitaker 1, The first printed county map of Yorkshire].Several closed tears, some vertical creasing, possibly earlier folds, section around scale has horizontal and vertical repaired tear, colours a little faded, right hand sheet is darker than left hand sheet, white colouring around title and armorial appears crude. Not examined out of frame but appears to be laid down.
Lot 9
Langley (B. & T.).Gothic Architecture, Improved by Rules and Proportions. In many Grand Designs of Columns, Doors, Windows, Chimney-Pieces ….John Millan, 1747,, quarto, title leaf (repair to fore-edge), sixty-four plates, repair to lower corner of plate 42, repaired tear to p. 51, staining and tanning, name to rear of first plate (Henry Cork, 1761) and head of title (??? 1876), half morocco binding (rubbed, wear to spine head).[Archer 172.2, originally published as ‘Ancient Architecture’ in 1742, using the same set of plates.]
Lot 1
Kandinsky (Wassily).The Art of Spiritual Harmony. Translated with an Introduction by M.T.H. Sadler.Constable, 1914, first English edition, xxviii, 112 pages, nine pictorial plates and three figure plates, damp staining to preliminary and final leaves, name and a few comments in pencil, original cloth-backed boards (worn).[Provenance - The Fred Gettings Library].
Lot 56
Le Carre (John).A Small Town in Germany.Heinemann, 1968, first edition, signed by the author on the title page, price-clipped dust jacket;idem, The Russia House.Hodder & Stoughton, 1989, first edition, signed by the author on the title page, dust jacket (priced £12.95);idem, The Tailor of Panama.Hodder & Stoughton, 1996, first edition, signed by the author on the title page, price-clipped dust jacket.
Lot 114
Holy Bible with additional New Testament.The Bible: That Is, The Holy Scriptures Conteined in the Olde and New Testament: Translated According to the Ebrew and Greeke …… The New Testament of Our Lord …. Englished by L. Tomson. The Deputies of Christopher Barker, 1595, Geneva or ‘Breeches’ bible, quarto in eights, [3], 190, 127, 129-197; 116, 11 leaves, lacking A1 before title page, bound without blank leaves before Apocrypha and NT. Maps and other illustrations present within text, [Herbert 226, (194 for collation)]. Title pages present for Old and New Testaments. Some staining and age tanning, occasional marginal notes, marginal wear, tear to inside corner of second leaf 127 (2Q7) with loss, hole in leaves 29 and 30 with some loss of text, some marginal worm tracks. Followed by a second New Testament without title page, comprising three preliminary leaves (*ii-iv), leaves numbered 441-554, (leaf 441 is the first page of St Matthew’s Gospel, with signature 3K1, no colophon at end), Worm track to head of leaves in first half of this NT, entering text in places;Preceded byCommon Prayer, The Booke of Common Prayer, with the Psalter or Psalmes of David, of that Translation which is appointed to be used in Churches.The Deputies of Christopher Barker, 1595, quarto in eights, comprising title and seven calendar pages (heavily worn and restored), then leaves A-E8;and R.F.H., Two Right Profitable and fruitfull Concordances, or large and ample Tables Alphabeticall …The Deputies of Christopher Barker, no date, leaves A-K8, L2, some marginal annotation; And followed byPsalms, The Whole Booke of Psalmes, Collected into English meetre, by Thomas Sternhold, John Hopkins, and others …Printed by John Windet for the Assignes of Richard Day, 1594, quarto in eights, [10], 97, [98-110] pages, worming and wear to final leaves.Two pages of manuscript laid down on front pastedown and fly leaf, manuscript on two worn blank leaves at end of book, contemporary calf binding with brass lozenges and bossed corners, clasp plates without clasps, sympathetically restored or re-bound, retaining original leather, new endpapers. Later spine label, old worm holes, splits/wear to original leather over new calf.
Lot 66
Tolkien (J.R.R.) et al. A Northern Venture: Verses by Members of the Leeds University English School Association.Leeds; Swan Press, 1923, first edition, [6], 26 pages, first leaf blank with 'Poetry Shop' stamp to lower edge, ex public library with blindstamp to front cover, title and the following four leaves, label tipped-in to inside front cover with withdrawal stamp, ink stamp to title verso, original card covers.
Lot 111
Tarot Cards. Dummett (Michael), The Game of Tarot, from Ferrara to Salt Lake City. Duckworth, 1980, first edition, quarto, worn dust jacket; Waite (Arthur Edward), The Pictorial Key to the Tarot ... William Rider, 1911, first edition, original cloth; Wirth (Oswald), Le Tarot, Des Imagiers du Moyen Age ... Planches Paris: Le Symbolisme, 1926, eleven colour plates, each with two card illustrations,in original card folder (text volume not present); with a collection of Tarot and fortune telling cards, various modern packs, including Akron & Giger's Baphomet (boxed) and Aleister Crowley's Thoth Tarot Cards (boxed). One earlier pack present, in a later folding card cover with the label 'Tarocchi di Firenze'. [Provenance - The Fred Gettings Library]. (qty)
Lot 95
Magic, Prophecy, Hermetics and the Occult.Bennett (Sir Ernest), Apparitions and Haunted Houses, A Survey of Evidence.Faber and Faber, August 1939, first edition, foxing to endapers, contents VG, original cloth (spine slightly faded, top edge dust marked).Grant (Kenneth & Steffi), Hidden Lore, The Carfax Monographs.Skoob, 1989, numbered limited edition of 1000, folio, ten mounted colour plates, Fine, original cloth gilt.Vaughan (Thomas) & Waite (Arthur Edward), The Magical Writings of Thomas Vaughan …George Redway, 1888, first edition thus, large taped repair to page 5, marginal tears, tanning, front endpaper split at hinge, Perkins Collection bookplate, original cloth dust marked with darkened spine;Gettings (Fred), Dictionary of Occult, Hermetic and Alchemical Sigils.Routledge & Kegan Paul, 1981, first edition, ex public library copy from the collection of the author, dust jacket;Barrett (Francis), The Magus, or Celestial Intelligencer, Being a Complete System of Occult Philosophy .... Volumes 1 - 9.Helios, 1964-66, numbered limited edition of 200, nine volumes, illustrated, original cloth-backed boards (some foxing to covers and edges);Steiner (Dr. Rudolf), A small collection of lectures given in 1924, typescript with colour illustrations, a 'Private Manuscript' for members of the Anthroposophical Society, worn wraps; with a small quantity of others.[Provenance - The Fred Gettings Library]. (qty)
Lot 107
Nostradamus (Michel).Les Vrayes Centuries et Propheties de Maistre Michel Nostradamus …Rouen: Jean-B. Besongne, 1710, French text, [36], 216 pages including frontis and two full page portraits within pagination, gutter gaping in places, front endpaper creased, manuscript on rear pastedown, small bookplate to front pastedown with name scratched off, worn calf gilt (backstrip partially detached with loss to head);idem, Les Vrayes Centuries et Propheties de Maistre Michel Nostradamus …Rouen: Jean-B. Besongne, 1710, French text, [34], 216 pages including frontis and two full page portraits within pagination, lacking a preliminary leaf (a11), small hole in frontis, obscured annotation to title and frontis recto, vellum binding, modern slipcase;idem, Les Vraies Centuries, Presages et Predictions de Maitre Michel Nostradamus …Anvers: Peter wan Duren, 1792, French text, x, [2], xii, 136, xxii, 137-312 pages, some foxing/staining, small bookplate to title verso, marbled endpapers, quarter calf binding;With a modern facsimile of the 1557 first edition in faux leather binding with slipcase.[Provenance - The Fred Gettings Library]. (4)
Lot 69
WWI Pilot’s Flying Log Book.Strettell Miller (Flight Lieutenant W. H.), Royal Naval Air Service.A flying log commencing with a course at White City on the 24th March, 1916. Actual flying commences at R.N. Air Station, Chingford on the 2nd June 1916 with circuits up to 3000ft.The log records date and time, wind direction, machine number, passenger, time in air, height and course. In August, after 11 hours, 39 minutes of flying time, Strettell Miller moved on to Cranwell and in November, after increasing his flying time to over 47 hours, he moved via Paris to R.N.A.S. Vendome in northern France. During his time here most of the remarks are ‘instruction’ or ‘testing’ and include his first flight in a Bristol Scout. The instruction flights are with passengers, and given the flight hours, it is assumed that Strettell Miller was instructing rather than instructed. In June 1917, after almost 226 flight hours, he moved back to R.N.A.S. Chingford for more instructing and testing. In February 1918, he moved to No. 2 Wing, Eastern-Mediterranean Squadron where he flew Sopwith Pups and Camels, using a Camera Gun for reconnaissance missions. On April 1st 1918, (with 463 flying hours) he joined No 62 Wing of the newly formed RAF (British Aegean Group), flying Sopwith Camels and the Airco DH6. After photo-reconnaissance, bombing practice (including attacking a dummy submarine), formation flying, etc., bombing raids were commenced. In April he bombed Gallipoli Town and in May flew ‘To bomb Hun aerodrome at Drama. Several hits. Attacked two H.A. but they dived away showing no flight’ as well as searching the Theso-Bulgar coast ‘for hostile boats and supposed submarine base’. The final entry is for a Sopwith Camel flight on the 23rd May (written April) ‘20 Hun Seaplanes at Nagara, Dardanelles. F.St ?Whinbush? shot down off Straits’.Printed columns and titles, manuscript entries on approx 107 pages. Quarter morocco binding with worn gilt-lettered cloth.[Flight Lieutenant William Hogarth Strettell Miller, b.1893, gazetted Lieutenant (RNVS) 17 August, 1915].
Lot 79
Whales and Whaling.Markham (Albert Hastings), A Whaling Cruise to Baffin’s Bay and the Gulf of Boothia and an Account of the Rescue of the Crew of the ‘Polaris’.Sampson Low, Marston …, 1875, second edition, plates as called for, original cloth gilt;Bullen (Frank T.), The Cruise of the ‘Cachalot’, Round the World After Sperm Whales.Smith Elder, 1898, first edition, folding map and plates as called for, original cloth gilt;Struthers (John), Memoir on the Anatomy of the Humpback Whale ...Edinburgh: MacLachlan and Stewart, 1889, reprint from the ‘Journal of Anatomy and Physiology’, six lithographic plates, presentation slip ‘From the author’, original cloth;Beale (Thomas), The Natural History of the Sperm Whale …. To which is added, A Sketch of a South-Sea Whaling Voyage …Holland Press, 1973, facsimile edition, dust jacket;Elliott (Gerald), A Whaling Enterprise, Salvesen in the Antarctic.Michael Russell, 1998, first edition, dust jacket;With Fifteen Others. [not collated]. (20)
Lot 62
Lee (Harper).To Kill A Mockingbird.Heinemann, 1960, first British edition, gift inscription to front free endpaper, small address label to front pastedown under jacket flap, dust jacket (priced 16s., a little wear to corners).Contents generally VG, single spot to lower fore-edge margin of las few leaves (see image), closed edges tanned with some very light spotting. Dust jacket worn with splitting to jacket joints and wear to corners (see multiple images).
Lot 75
Polar Exploration.A large quantity of books on exploration, predominantly polar exploration, including;Rymill (John), Southern Lights, The Official Account of the British Graham Land Expedition 1934-1937.Chatto and Windus, 1938, first edition, plates, folding map, torn and price-clipped dust jacket;Nansen (Fridtjof), 'Farthest North' Being the Record of a Voyage of Exploration of the Ship Fram 1893-96 ....Archibald Constable, 1897, first edition, two volumes, plates and maps, original cloth (worn);Bagshawe (Thomas Wyatt), Two Men in the Antarctic, An Expedition to Graham Land, 1920-1922.Cambridge University Press, 1939, first edition, plates, folding panoramas, original cloth;Scoresby (Rev. W.), Journal of a Voyage to Australia and Round the World for Magnetical Research.Longman Green ... 1859, first edition, portrait frontis, publisher's presentation stamps, orginal cloth;Anon., Cook's Voyages Round the World, for Making Discoveries towards the North and South Poles.Manchester: Sowler and Russell, 1799, portrait frontis in facsimile, five plates as called for, modern quarter calf; Thomson (C. Wyville), The Depths of the Sea. An Account of the General Results of the Dredging Cruises of H.M.SS 'Porcupine' and 'Lightning' ...Macmillan, 1874, second edition, maps and plates, original cloth;Scott (Capt. Robert F.), The Voyage of the 'Discovery'.Macmillan, 1905, two volumes, maps and plates, original cloth.[not collated]. (qty)
![Churchill (Winston S.). The World Crisis 1911-1914. [and] The World Crisis 1915. Thornton Butterworth, April 1923 and October](https://cdn.globalauctionplatform.com/0fb506f0-bb70-4452-a7d8-b0b700db50ba/7cef444b-977e-458d-82c1-b1470100c3cf/468x382.jpg)
Lot 63
Churchill (Winston S.). The World Crisis 1911-1914. [and] The World Crisis 1915. Thornton Butterworth, April 1923 and October 1923, two volumes, first editions, maps and plates as called for, foxing to pages, top edges gilt, gilt-tooled crimson half calf bindings by Morrell; with sixteen others, including works by General Ludendorff, Grand-Admiral von Tirpitz, H.H. Asquith, Lord Grey, Admiral Lord Fisher, etc, all bound by Morrell in gilt-tooled crimson half-calf. (18)
Lot 58
Clarendon (Edward, Earl of). The History of the Rebellion and Civil Wars in England, Begun in the Year 1641 ... Oxford, printed at the Theater, 1702-03-04, first edition, three large-paper folio volumes (printed in fours), portrait frontis to each, [4], xxiii, [1], 557, [1]; [16], 581, [1]; [24], 603, [23] pages, page size 437mm x 280mm; 452mm x 280mm and 445mm x 280mm. Contemporary panelled sprinkled calf (re-backed, joint cracks in places). ESTC N9847, N9850, T147811.idem, The Life of Edward Earl of Clarendon, Lord High Chancellor of England ……Written by Himself.Oxford: Clarendon Printing House, 1759, large folio, possibly large paper copy, page size 452mm x 285mm, portrait frontis, [8], 133, [3], 523, [13] pages, worn contemporary calf gilt. Vol I: water stain to lower margin corner, occasional spotting, some age toning, marginal tear to F4, gutter gaping after half-title which is a little pulled. Some restoration to head and tail of spine but front joint cracking.Vol II, small stain to 3H4, occasional spotting, lower corner stain to later leaves, nibbled fore-edge of last few leaves, gutter gaping after half title.Vol III, water stain to A4, occasional spotting, dust marking to head margin in places, .Life - occasional dust marking to head margins.
![Holy Bible - Bishop’s Version. [The Holy Byble, conteyning the olde Testament and the New. Set foorth by aucthoritie … ]. 157](https://cdn.globalauctionplatform.com/0fb506f0-bb70-4452-a7d8-b0b700db50ba/de5cfbfc-d04c-474a-a32f-b1470100eb93/468x382.jpg)
Lot 115
Holy Bible - Bishop’s Version. [The Holy Byble, conteyning the olde Testament and the New. Set foorth by aucthoritie … ]. 1575, ‘Bishops version’ Bible, folio in eights, lacking General title page, date from NT title, commences with A1, the First book of Moses (Genesis). Register A-M8, N6, 2A-2T8, 3A-3S8, T6, 3V6, 4A-4M8, 4N7; NT. A-R8. Text maps and illustrations. Lacking all preliminary leaves, also lacking 4N8 (possibly a blank as no obvious loss) and NT R9-10 (no obvious loss, possibly a colophon), [register compared with Herbert 139]. Some staining and tanning, Margins trimmed close with some cropping of marginal notes and head titles, NT G7 trimmed into bottom line of text. A1 parted from text block, 3A2 3J1 and NT A2 torn with loss, loss to NT A8 replaced by manuscript. Marginal tears, some entering text, occasional loss of marginal notes, loss to very bottom edge of 4K1, small hole in 2J2 and 4J4. Minor annotation to 2K1, 2M2, 2O8, 2P8, 2Q1, 2R2-4, 3A8, 3G6, NT F8, M4 and R8, heavier annotation to blank leaf 2T8, blank verso of Apocrypha title and blank area of NT C1. [Bound with] Sternhold (Thomas) and Hopkins (John), The Whole Booke of Psalmes … Companie of Stationers, 1625, A-O6, P1 plus two worn leaves (incomplete after P1), tanning and marginal staining, annotation to blank A4v, hole in G4. Well worn panelled leather binding, back-strip disintegrating, upper board held by strings.
Lot 92
Thorburn (Archibald).Game Birds and Wild-Fowl of Great Britain and Ireland.Longmans, Green, 1923, first edition, folio, thirty colour plates, foxing, top edge gilt, red cloth gilt;idem, A Naturalist’s Sketch Book.Longmans, Green, 1919, first edition, quarto, sixty plates (colour and monochrome), foxing, top edge gilt, red cloth gilt;idem, British Mammals.Longmans, Green, 1920, first edition, two quarto volumes, fifty colour plates, foxing, top edges gilt, red cloth gilt.idem, British Birds.Longmans, Green, 1918, fourth and third editions, four quarto volumes, eighty-two colour plates, foxing to pages, pastedown rippled, top edges gilt, red cloth gilt. (8)[Provenance - Dutton Manor, Lancs.]
Lot 16
Watson (John).The History and Antiquities of the Parish of Halifax, in Yorkshire.T. Lowndes, 1775, quarto, portrait frontis, copper plates as called for [Boyne p.93], two variants of thefirst folding view (one with cropped margin), three other extra plates, manuscript notes and pedigrees loosely inserted, all edges gilt, marbled endpapers, full morocco gilt binding (Blackwell’s label).
Lot 67
Georgano (Nick) edit. The Beaulieu Encyclopaedia of the Automobile, Volumes 1, A-L & 2, M-Z. The Stationary Office, 2000, first edition, two large quarto volumes, dust jackets; Bayley (Stephen), Cars - Freedom, Style, Sex, Power, Motion, Colour, Everything. Conran Octopus, 2008, first edition, quarto, suede binding, original slipcase. (3)
Lot 11
Wright (Frank Lloyd) Selected Drawings, First and Second Portfolios, New York: Horizon Press, 1977 and 1980, numbered limited editions of 500 and 700 copies respectively, two large portfolios, each containing 50 mounted colour plates, loose as issued (small mark to title page of first series, otherwise contents Fine), housed in two original solander boxes, with toggle fasteners (boxes faded, one with neat repair). (2).
Lot 80
Whales and Whaling.Scoresby (William).An Account of the Arctic Regions, with a History and Description of the Northern Whale-Fishery.Edinburgh: Archibald Constable .., 1820, first edition, two volumes, xx, 551, [1], 82; viii, 574 pages plus advert leaf, three folding tables, twenty four plates including folding chart and two folding frontispieces, extensive corner turning to volume I which also has some intelligent annotation in erasable pencil, dust marked edges, particularly the top edges, original boards (spines worn and cracked, upper board detached from volume I);idem, Journal of A Voyage to the Northern Whale-Fishery; including Researches and Discoveries on the Eastern Coast of West Greenland made in the Summer of 1822, in the Ship Baffin of Liverpool.Edinburgh: Archibald Constable .., 1823, first edition, xliv, 472 pages, seven of eight plates (lacking first chart), some corner turning and annotation in erasable pencil, dust marked top edge, original boards (spine worn and cracked);Scoresby (Rev. William), Memorials of the Sea. My Father: Being Records of the Adventurous Life of the Late William Scoresby, Esq. of Whitby.Longman, Brown, Green and Longmans, 1851, first edition, viii, 232 pages, may lack a portrait*, [bound with]idem, Memorials of the Sea. Sabbaths in the Arctic Regions.Longman, Brown, Green and Longmans, 1850, second edition, viii, 155, [1] pages, dust marked top edge, endpapers splitting at hinge, original cloth original cloth.[*Copac calls for a portrait, however this appears uncommon, all copies previously examined and those found currently in commerce also lack this.]
Lot 76
Polar Exploration.The South Polar Times, 1902 - 1911. Centenary Edition. Orskey-Bonham-Niner, 2002, numbered limited edition of 350, three quarto volumes, original cloth with inset pictorial panel;Cherry-Garrard (Apsley) edit., The South Polar Times, 1912, The First Facsimile of Volume IV.Scott Polar Research Institute-Bonham, 2010, numbered limited edition of 500, quarto, original cloth uniform with first three volumes.Some rubbing to outer bottom edges of text block (see image on website), otherwise Fine copies, free of inscriptions.
Lot 70
Fielding (Xan).The Stronghold, An Account of the Four Seasons in The White Mountains of Crete.Secker & Warburg, 1953, first edition, frontis and plates as called for, map endpapers, dust jacket (priced 21s.);idem, Hide and Seek, The Story of a War-time Agent.Secker & Warburg, 1954, first edition, signed presentation inscription from the author on half title, additionally signed on the title page, plates as called for, map endpapers, dust jacket (priced 15s.).[Major Xan Fielding, DSO, CdeG., was a Special Operations Executive agent in WWII, serving in Crete (with Patrick Leigh Fermor), France and the Far East.]
Lot 18
Lake District.Photographs - Francis Frith.Sixteen photographs of the Lake District, nine with ‘Frith’s Series’ blindstamps, one with 'Pettitt’s Series Keswick’ blindstamp. Images including Bowness, Windermere, Kirkstone, the Lowood Hotel, Troutbeck, Ullswater, Coniston, Esthwaite Water and Little Langdale Head.Fourteen photographs mounted in oblong folio album, two loose. Seven Frith’s Series photographs are approx 153mm x 253mm, one is, with the other mounted photographs, approx 150mm x 200mm, and the two loose images (one stamped Frith) are 190mm x 290mm. All edges gilt, roan gilt album with the leaves removed from the first half of the album;Lake District Tour, A lengthy cross-written letter, postmarked June 13 1836, written from the White Lion Hotel, Bowness, Westmorland to Mrs Archdale Palmer of Cheam Park, Surrey. The writer is believed to be on a tour of the Lake District and is planning a trip to Langdale Sticks & Pikes. Folded sheet, 225mm x 370mm overall, entire, several postmarks, opened wax seal. Worthy of further research.
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