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Dreweatts 1759
Lot 760

Ɵ&nbspChippendale (Thomas) The Gentleman and Cabinet-Maker's Director, first edition, half-title, title in red and black, engraved dedication, list of subscribers, 160 engraved plates only (of 161, lacking final plate), plate 139 mutilated with large part cut away, occasional ink stains and some foxing, contemporary reversed calf, stamped in blind, worn, [Rothschild 614], folio, Printed for the Author, [1754].*** First edition of the most important book of furniture designs published in the 18th century. Provenance: Henry Toye Bridgeman, 1st Baron Bradford (ink inscription dated 1755 and Weston Library bookplate on front pastedown). 

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Dreweatts 1759
Lot 763

Ɵ&nbspBurges (William) Architectural Drawings, first edition, printed in sanguine, list of subscribers, 75 lithograph plates, some foxing, mostly to title, contemporary half roan, extremities worn, folio, 1870. *** One of a small number of copies . The plates were lithographed under Burges' supervision and he destroyed the stones after printing. The work was not issued to the trade and is thought to number no more than the c.200 listed subscribers' copies.  

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Dreweatts 1759
Lot 770

A SMALL DUTCH BRONZE FIVE LIGHT CHANDELIER 19TH CENTURY Formerly drilled for electricity 31cm high, 37cm wide Together with a pair of bronze sconces 19th century Each with single naturalistic cast arm 22cm high, 17.5cm protuberance Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. FIrst- very dirty dull surface- nozzles drilled- later chain and ceiling hook Pair- very dirty- verdigris patches Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Dreweatts 1759
Lot 824

A SCRATCH BUILT WOODEN POND YACHT LATE 20TH CENTURY 83cm high, 65cm long Together with another pond yacht Duck-egg blue painted decoration 45cm long Condition Report: Both playworn First- no stand- scuffing to edges notably keel, mast base slightly detached and in need of remedial repair. rudder plate worn, sheets stained Second- rigging browned and perishing, wear to paint finish throughout Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.  Condition Report Disclaimer

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Dreweatts 1759
Lot 829

A FAIENCE 'OLD STRASBOURG' COMPOSITE PART DINNER SERVICE VARIOUS DATES LATE 19TH AND FIRST HALF 20TH CENTURY Mostly Keller & Guerin Luneville and Societe Ceramique Maestricht and the occasional other similar and with a variety of mostly printed factory marks, comprising: an asparagus serving dish and stand; five asparagus plates; eight oyster plates; a vegetable tureen and cover; a toothpick stand; a pair of domed covers; a shaped rectangular serving dish; a pair of double lipped sauceboats; a pair of cruet bottle, covers and stand; two various tulip vases; two egg cups; a tureen; a round serving plate; a shaped rectangular serving plate; a salad bowl; twenty-four dinner plates; seven soup plates and a similar part dessert service with pierced border comprising; a pair of low comports; four modern Strasbourg style plates a Spode 'Marlborough sprays' plate and eight dessert plates; and a nineteenth century French faience plate painted with flower sprays the tureen 23cm high, 31cm wide Condition Report: Mixed conditionCondition Report Disclaimer

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Dreweatts 1759
Lot 845

A TURNED SYCAMORE BOWL 18TH CENTURY 41cm diameter Together with a 19th century turned softwood and elm bowl 38cm diameter And an oak lidded box Early 17th century Now unlocked- with later key 26cm wide, 10.5cm high, 14cm deep Please note descriptions have been changed from initial printed catalogue Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The first is a shallow bowl, warped edge, old worm, some edge loss and patina to interior from use Second is a softwood bowl on elm foot not as oak as originally catalogued- the foot probably later, the bowl with shrinkage splits with some remedial fillets, Box- now unlocked and with a later key- lacking mouldings and with loss around keyhole, shrinkage cracks to base, Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Dreweatts 1759
Lot 857

A VICTORIAN BRASS TWIN LIGHT TABLE LAMP CIRCA 1890 AND LATER With cream card shades to the lights, adjustable knopped support 58cm high Together with a pair of brass table lamps Late 20th century Knopped stems, cream card shades bases 51.5cm high Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. All with heavy tarnishing and rubbing to metal surface First- formerly with button/switch to base- now filled- only faint traces of gilt surface visible, the shades with stains and marks Pair- dull surface- currently not fitted with shade cradles- on bulb clip supports- which has led to burn marks to shades ELECTRICAL GOODS. Sold with a portable appliance test (PAT) certificate July 2023 Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

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Dreweatts 1759
Lot 892

A TURKISH CARVED AND PAINTED WALL LIGHT LATE 19TH CENTURY With single candle arm 47cm high Together with a Kashmir polychrome toilet mirror late 19th century 27cm diameter top, 47.5cm high overall Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both rubbed and with remedial work needed First- shrinkage cracks and will need sconce plate remounting to back plate Mirror- plate denaturing nicely- rough edge- will need connection point with base fixed- currently loose/detached Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.  Condition Report Disclaimer

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Dreweatts 1759
Lot 907

WILLIAM DE MORGAN; EIGHTEEN GLAZED POTTERY FLORAL TILES OF BEDFORD PARK TYPE LATE 19TH CENTURY the larger floral tiles 15.5 x 7.5cm; the four smaller 7.5cm x 7.5cm; with approximately thirty-one turquoise-glazed border tiles in sizes, impressed marks verso Together with approximately ten Casa Gonzalez (Sevilla) border tiles, decorated with geometric designs, first quarter 20th century Provenance: A. Tilbrook from whom purchased by Robert Kime Condition Report: Minor wear to edges of the De Morgan tiles, some glaze crazing.Condition Report Disclaimer

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Dreweatts 1759
Lot 912

A GREEN, TURQUOISE AND AMBER GLASS BEAD DOOR CURTAIN PROBABLY FIRST HALF 20TH CENTURY the beads on natural coloured knotted string 153cm long, 143cm wide

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Dreweatts 1759
Lot 914

Y &nbspAN EBONY, MARQUETRY AND MOTHER OF PEARL INLAY TABLE SYRIAN, FIRST HALF 20TH CENTURY 93cm high, 41cm wide, 41cm deep This lot contains one or more endangered plant or animal species. Prospective buyers are advised to familiarise themselves with the export and import restrictions prior to bidding as it is the buyer's responsibility to obtain any necessary import and/or export certificates and permits. We will not be able to cancel your purchase if your lot may not be exported, imported or it is seized for any reason by a government authority. Condition Report: SALEROOM NOTICE: This table is LATE 19TH/EARLY 20TH CENTURY, not early 19th century as printed in the catalogue.93cm high, 41cm wide, 41cm deepOverall there are some scratches, marks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:The top with fine cracks to the marquetry, with slight raising.The undertier with fine veneer cracks and with a crack across the shelf.There is some later black paint, probably touching up to the square tapering legs. The edge of the undertier is missing some mother of pearl parquetry.There are some cracks to the shaped stretchers beneath the undertier.Please see the additional condition report photographs as a visual reference of condition.     Condition Report Disclaimer

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Morley Auctioneers & Valuers
Lot 10

A Harry Potter first edition 'The Deathly Hallows' (no dust cover)

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Morley Auctioneers & Valuers
Lot 8

A first edition Harry Potter 'The Order of the Phoenix'

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Criterion Auctioneers Ltd
Lot 147

Brace by Wire to Fly by Wire: 75 Years of the Royal Air Force 1918-1993 by Peter R. March. In slipcase. Published by the RAF Benevolent Fund Enterprises. First Edition. H.23 W.31 cm.

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Auctioneum Ltd - East Bristol & Bath
Lot 37

Sarah Jane Grace‘Bristol Blue’Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kg‘Bristol Blue’ is based on porcelain China horses.  When researching blue for pottery, Richard Champion, a Bristol Merchant and potter first approached a chemist and bought the exclusive rights to the cobalt oxide in the region which would be used for the blue of his pottery.  It was this cobalt oxide that was used to create the famous Bristol Blue glass.  As well as being a perfect China unicorn adorned with a classic blue and white ceramic design, ‘Bristol Blue’ is a nod to the Blue Glass heritage.Bristol Blue spent the summer at Blaise Castle before returning to the auction in pristine condition, finished in a coat of anti-graffiti varnish. Sarah Jane Grace is an artist, based in Bristol. She grew up on the North Norfolk coast and love the coastal areas.   UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site

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Auctioneum Ltd - East Bristol & Bath
Lot 13

Farrah Fortnam‘Guardian of the Forest’Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgBe a Guardian of the Forest like me. Protect, grow, rewild. We don’t need much to survive. But we do need a lot of nature. We need oxygen, clean air, shelter and life. If you love Unicorns like me, then please listen. We want to walk in lush green forests. And swim in clean and thriving oceans. Please reduce your consumption. Instead increase the wildness in you. Fall in love with nature and do all in your power to protect it. As you are nature too. Thank you. ‘Guardian of the Forest was first created at Christmas 2022 to promote the trail and spent Christmas in Broadmead, but for the summer unicorn trail had spectacular views as they were located on Clifton Suspension Bridge. Now returned to auction in pristine condition with a coat of anti-graffiti varnish. Farrah is a contemporary artist whose work can be seen in prominent locations across the South West.  UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site

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Auctioneum Ltd - East Bristol & Bath
Lot 9

Jasmine Coe‘Honey Bees’Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgHoney Bees spent the summer living outside of Hargreaves Lansdown in Bristol before returning to auction in pristine condition, finished in a coat of anti-graffiti varnish.Jasmine Coe is a Wiradjuri-British artist and the curator at Coe Gallery, the UK’s first Aboriginal owned gallery based in Bristol - dedicated to supporting and celebrating Aboriginal arts and culture. Jasmine’s unicorn ‘Honeybee’ is based on her painting ‘Honeybee Hive’ which highlights the importance honeybees play in our natural world. The purpose of ‘Honeybee Hive’ is pollination. To uphold a sustained environment, and through this process, a sweet by-product is created, honey – an outcome of collective energy and community, and an example of what can be achieved when coming together. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site

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Auctioneum Ltd - East Bristol & Bath
Lot 2

Jenny UrquhartGoldie HornAcrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kgGoldie Horn was the first unicorn to be revealed for the Bristol unicorn trail and spent the summer at Puxton Park in Weston Super Mare, welcoming guests to their popular attraction surrounded by gorgeous plants and cheerful views. After a summer of work experience, Goldie is ready for auction with a coat of anti-graffiti paint. Jenny’s vibrant, uplifting paintings are a popular and recognisable sight around Bristol and the South West.Jenny largely works in acrylic and is completely self-taught. She said, “I never had the opportunity to do art at school, so really enjoy experimenting with different techniques, including paint, mixed media and resin. I think that’s why many of my styles are so different. I love painting landscapes, but have also tried still-life and the odd portrait (Bukayo Saka has one of my portraits, as well as the Earl and Countess of Wessex). I was really thrilled to present Sir David Attenborough with a picture of Bristol when he was given Freedom of the City back in 2013.’ UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site

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La Suite Subastas
Lot 46

Miguel Cabrera (Antequera de Oaxaca, Mexico, 1715 / 1720 - Mexico, 1768)"Our Lady of Sorrows"Oil on canvas.69,5 x 62,5 cm.Miguel Cabrera was one of the most renowned painters in the field of eighteenth-century New Spanish painting, with an oeuvre that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented." Little is known of his youth; In fact, according to the Andrés Blaisten Museum, it is only because of the painter's will in 1768 that we know that he was a native of Oaxaca. The first news of him is from 1739, the year of his marriage to Ana María Solano, and we also know of his stint at Juan Correa's workshop in the capital of the Viceroyalty.Archbishop Rubio Salinas was Cabrera's patron, whom he named his chamber painter. He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was appointed president for life of the Academy of San Carlos.In 1756 Cabrera published "American wonder and set of rare wonders observed and directed by the rules of the art of painting", a narrative about the image of the Virgin Guadalupe from the printing press of the Jesuit school of San Ildefonso.His work is kept in many churches and convents in Mexico. Two of his images of the Virgin of Guadalupe are in the Vatican Museum. Another, painted in 1756, for the temple of San Francisco Javier, is kept in the National Museum of the Viceroyalty.The Dallas Museum of Art has a Saint Gertrude the Great by Miguel Cabrera and another painting of the saint, also by Cabrera and dated 1768, is part of the collection of the José Luis Bello y Zetina Museum in Puebla, Mexico.Likewise, there is an outstanding series of Casta paintings from 1763 that is kept in the collection at the Museo de América in Madrid. They represent the families, father, mother and son of the various castes and social strata, in situations of daily life. Reference bibliography:- Dallas Museum of Art. (n.d.). "Saint Gertrude". (2006.37). https://collections.dma.org/artwork/5328501 - Museo Andrés Blaisten. (s.f.). https://museoblaisten.com/Artista/79/Miguel-Cabrera

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La Suite Subastas
Lot 39

Lazaro Pardo de Lago (Cuzco, Viceroyalty of Peru, Active between 1630 - 1660)."Appearance of Christ and the Virgin Mary surrounded by angels to Saint Francis, in the Porziuncola Chapel of Santa Maria degli Angeli, in Assisi"Oil on copper. Handwritten in golden letters at the bottom margin: "Jubileo o Indulgencia de Porciuncula" (Jubilee or Indulgence of Porziuncola).29 x 22.5 cm.This painting is undoubtedly the work of Maestro Pardo de Lago. In our opinion, it can be compared to Lázaro Pardo's "Exaltation of the Cross," which is kept in the Pedro de Osma Museum in Cuzco, Peru. Additionally, the delicate features of the Virgin Mary's face and hands in this painting can also be compared to the painting of the "Immaculate Conception" also kept in the Pedro de Osma Museum.It is worth noting that themes dedicated to such an important episode in the life of Saint Francis were significant references for Pardo de Lago due to his strong connection with the Order.Another important noticeable element in this painting is the heraldic shield seen on the altar, which belongs to the Chaves family. Originating from Extremadura, with roots in Portugal and ancestral properties in Trujillo and Ciudad Rodrigo, this family also had a branch that moved to Peru. They proved their nobility in the Orders of Santiago, Calatrava, Alcántara, Charles III, and the Knights Hospitallar.Their coat of arms consists of a gules field with five gold keys arranged in a cross with their eyes looking downward. There is also a bordure (border) of gules with gold saltires alternating with the quinas of Portugal.This wonderful painting portrays the moment of the apparition when Saint Francis asked the Lord to grant an indulgence to all who visited the church dedicated to the Virgin Mary, under the title of Maria degli Angeli. The Lord accepted this request and instructed Saint Francis to go to Perugia to obtain the desired favour from Pope Honorius II. The Holy Father granted this indulgence in 1216.This indulgence is still granted today if, between August 1st and 2nd, one visits any chapel in a Franciscan convent and receives "the grace of Porziuncola, where complete forgiveness is obtained, and peace with God is established."Saint Francis of Assisi had a "great desire for the salvation of all souls," and that the faithful, with piety and devotion, would receive the indulgence by fulfilling the Church's provisions.As cited by the Real Academia de la Historia (Royal Academy of History), Lázaro Pardo de Lago was a: "Painter, gilder, and Creole or mestizo sculptor, who ranks among the first important masters who worked in the ancient Inca capital. His work was primarily linked to the Franciscan Order, and his more personal style appears to echo early Hispanic naturalism, blending the observation of immediate reality with refined formal stylisation. In 1630, Pardo painted, at the request of the Franciscan monastery of Cuzco, two large canvases depicting the Franciscan martyrs of Japan, which can be considered his masterpieces. Both scenes reveal a painter of exceptional quality, judging by the meticulous precision of his work, the luminous colour, and the strongly characterised heads of some martyrs. Deploying ingenious local expressive resources, Pardo depicted the Asian friars with features similar to those of mestizos or the mixed Hispanic and indigenous people of his time.Furthermore, Lázaro Pardo was one of the first Cuzco artists who used engravings by Peter Paul Rubens and his school as a starting point for his compositions. An example of this is the Assumption of the Virgin, executed in 1632 by order of the parish of San Cristóbal, based on a homonymous work engraved by Cornelis Galle, following the original design by Rubens.His workshop must have been one of the largest in Cuzco during his time."The coat of arms which appears on the altarpiece is the heraldic shield of the Chaves family.They came from the Extremadura province of Spain, and were originally from Portugal with ancestral properties in Trujillo and Ciudad Rodrigo. One branch settled in Peru. Their nobility was verified by the Orders of Santiago, Calatrava, Alcántara, Charles III, and the Knights Hospitallar.Arms: In the gules field are five golden keys placed saltirewise with their eyes downward; there is a bordure of gules, full of gold saltires alternating with the quincunx of Portugal.Reference bibliography:- Real Academia de la Historia. (s.f.). "Lázaro Pardo Lago". https://dbe.rah.es/biografias/70955/lazaro-pardo-lagoThis lot has been imported, therefore its exportation permit from the Ministry of Culture is guaranteed. 

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La Suite Subastas
Lot 48

Colonial school. Cuzco. Peru. Century XVIII."Our Lady of Pomata"Oil on canvas. 160 x 112 cm.In 1534, the Spanish foundation of Pomata was established on the Collao plateau in the Peruvian Altiplano by the Dominican friar Fray Tomás de San Martín, an important political figure and master of the Religious Order of Santo Domingo.The town was founded to encourage worship and conversion, so the first settlers were religious, to which the civilian population was gradually added. Under the rule of Kings and Viceroys, Pomata became an important centre of catechism for the religious congregation of Santo Domingo de Guzmán. The chapel of Santa Barbara, the temple of San Santiago, the temples of San Martin and San Miguel were built, thus initiating the evangelisation of the first inhabitants of Puma Uta, later called Pomata by the Spaniards.One of the most popular miraculous sculptures of the viceregal period, which became very popular around 1600, was the sculpture of Our Lady of the Rosary in the church of Santiago de Pomata, which competed in popularity with the Virgin of the Augustinian sanctuary of Copacabana. Professor Maya Stanfield-Mazzi in her interesting study on the Virgin of the Rosary of Pomata, "LA VIRGEN DEL ROSARIO DE POMATA, EN SU IGLESIA Y EN EL VIRREINATO", indicates among other things that: "The original image belongs to the church of Santiago de Pomata, a town on the south-western shore of Lake Titicaca which during colonial times was part of the bishopric of La Paz. Depictions of this sculpture were disseminated throughout the viceroyalty. A large number of the paintings come from the Cuzco school of the 17th and 18th centuries, and many are today in churches and museums in the department of Cuzco, such as the one in the Museo Histórico Regional Casa Garcilaso, an anonymous Cuzco artist, in which the Virgin is accompanied by Saint Rose of Lima and Saint Dominic".Professor Stanfield-Mazzi continues: "We do not know with certainty in what year the image of the Virgin of Pomata was created, nor when it arrived at the church of that town; nor do we know the name of the sculptor who created it (anonymous around 1570) In his work published in Rome in 1681, fray Juan Meléndez maintains that the parish of Pomata was returned to the Dominicans because the bishop de la Cerda knew the devotion that the friars had for the Virgin Mary "in her prodigious image, under the invocation of her Rosary" (Meléndez, 1681-82: I, 446).

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La Suite Subastas
Lot 38

Attributed to Luis González. 17th - 18th centuries."The Immaculate Conception in the Light of the Holy Spirit, surrounded by Saint Francis Xavier and Saint John the Baptist, surrounded by a choir of angels."Magnificent relief in sculpted, polychromed, and gilded Huamanga stone. Saint John of Huamanga (Ayacucho), Viceroyalty of Peru.24 x 18 cm. This magnificent relief bears similarities to works created in Huamanga stone by Luis González, as evidenced by the facial features of the characters and the polychrome. It's worth pointing out that the relief has retained all of its original polychrome. The sculptural treatment is the work of a great master, as demonstrated by the multitude of small and intricate folds that form Mary's mantle and the various physiognomies and expressions of the characters. Huamanga stone is a type of white alabaster with delicate transparencies, and sculptures made from it are named after their place of origin, Huamanga, which is in the Ayacucho region currently. This region gave rise to interesting production of sculptures and reliefs, typically dedicated to the Virgin, Christ, and the Saints.A true sculptural school emerged between the 16th and 17th centuries, influenced by artists from Navarre and Aragon, who were involved in the creation of altarpieces and church altars.A composition very similar to this one, with the Immaculate Conception on an identical crescent moon, surrounded by the symbolism of the litanies, and with the same floral garlands, is kept in the Colonial Art Museum of Bogota. Similar examples can also be found in the Pedro de Osma Museum in Lima. With exquisite craftsmanship, beautiful polychroming, and masterful carving, we contemplate the Virgin as "electa ut sol, clara ut luna," the contemplative and devotional vision of the two Saints. Saint Francis Xavier, who continuously repeated this prayer asking for chastity: "Oh Lady, I commend myself to you and to all the saints now and at the hour of my death, that you may guard me from the devil, from the world, and from the flesh, which are my enemies..." (Document 15, No. 27. Goa, May 1542).  He carries the lily of virginity, an iconographic symbol by which he was recognised before his canonisation in 1622. Since then, he has been depicted with the apostle's cross, and the lily became the attribute of another younger Jesuit, Saint Aloysius Gonzaga.Interestingly, Saint John the Baptist appears with a lion emerging from the moon under Mary's feet, a symbol often used to represent Saint Mark. But it makes sense, as he is the first evangelist who speaks of the Precursor and places him at the beginning of his Gospel, "when John the Baptist speaks of a roar in the desert that some relate to the roar of a mighty lion." The artist, it seems, had biblical knowledge in addition to powerful skills in carving and painting.Reference bibliography.: MAJLUF, Natalia y WUFFARDEN, Luis Eduardo: “La piedra de Huamanga: lo sagrado y lo profano” Lima: 1998.

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Lion and Unicorn
Lot 157

First pair: 2.5"L x 1"W. Second pair: 2.25"L x 1"W. Third pair: 1.5"L x 0.75"W. Fourth pair: 1.25"L x 1.25"W. Condition: Age related wear.

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Lion and Unicorn
Lot 82

All of the brooches are gold plated with Swarovski backstamps. The first turtle has clear, red, and green crystals and cabochons and measures 1.5"L x 1"W. The second turtle is miniature with clear crystals and measures 0.75"L x 0.5"W. The third turtle has clear crystals and black enamel and measures 1.5"L x 1"W. Manufacturer: SwarovskiCountry of Origin: AustriaCondition: Good.

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Greenslade Taylor Hunt
Lot 718

A DEER SLOT by 'P. Spicer & Sons, Leamington' on shaped shield with plaque, 'Devon & Somerset Staghounds, Found Stoke Ridge, killed under Prickslade, Nov. 19th, 1949, presented to Colin Lewis', together with four further deer slots on wooden shields, three with inscriptions:- 'Q.S.H., killed at Triscombe, 4-3-48, my first kill', 'New Forest Buckhounds, February 3rd 1958' and 'D.S.S.H., found Kersham Brake, Taken under Westwood, 10-10-95' (5)

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Forum Auctions
Lot 102

Fleming (Ian) Chitty Chitty Bang Bang, 3 vol., first edition, illustrations by John Burningham, the odd light spot but generally clean internally, original pictorial boards, vol. 1 with light damp-stain to head, light bumping to spine ends and corners, dust-jackets, vol. 1 price-clipped, vol. 2 with closed tears to foot of upper panel, spine ends and corners a little chipped, light creasing to head and foot, rubbing to extremities, 8vo, 1964-65.

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Forum Auctions
Lot 104

George (Waldemar) Picasso. Avec 32 Reproductions en Phototypie, signed presentation inscription from Pablo Picasso "Pour mon bon ami Straboni" to front free endpaper, dated 21.12.72, 32 full-page illustrations, illegible pencil ownership inscription and doodles to front pastedown and free endpaper, lightly toned, the odd spot or light finger-soiling, upper hinge with remains of glue repair, original pictorial wrappers, light browning and surface soiling, spine ends a little chipped, joints rubbed, Rome, 1924 § [Zervos (Christian) and others]. Picasso 1930-1935, plates and illustrations, one in colour, mounted photographic portrait of Picasso by Man Ray with signature stamp in red ink below, portrait with small chip to lower corner without loss, light toning, original printed wrappers, a few chips to spine (one repaired), spine creased and lightly browned, light surface soiling, a few light stains, Éditions Cahiers d'Art, [1936], first editions, 4to (2)

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Lot 106

Gollerbakh (Erikh Fedorovich) Risunki M. Dobushinskogo [Drawings by M. Dobuzhinsky], illustrations, original wrappers, yapp edges frayed and creased, lightly potted, spine ends torn, State Publishing House, 1923 § Kuzmin (M.) Lesok [The Grove], portrait and illustrations by Bozheryanov, ownership name to title and provenance note to colophon page, original wrappers, edges nicked and creased, 1922, Petrograd, 8vo (2)⁂ The first is a scarce monograph about a significant artist of contemporary Russian art from the Lenin era.

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Lot 108

NO RESERVE Greenaway (Kate).- Quiver of Love (The) A Collection of Valentines Ancient and Modern, first edition, plates by Kate Greenaway and Walter Crane, contemporary ink gift inscription to front free endpaper, lightly offset to half-title, original pictorial cloth with white central onlay, gilt, extremities very lightly bumped but overall a remarkably near-fine copy, 4to, 1876.

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Lot 111

Hill (Oliver) The Garden of Adonis, photographic plates, foxing, generally faint, endpapers toned, original decorative cloth, gilt, spine darkened, rubbing to corners and spine, 1923 § Park (Bertram) and Yvonne Gregory. Living Sculpture, plates, occasional very light foxing, heavier to half-title, original cloth, dust-jacket, price-clipped, repaired tear to upper panel with very small marginal loss, a few other minor nicks or very short tears, edge a little spotted, 1926, first editions, 4to (2)

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Lot 114

Khlebnikov (Velimir) Zangezi, first edition, original wrappers, lightly browned and toned, light creasing and nicks to edges, lower cover with small holes, 8vo, Moscow, 1922.⁂ A scarce futurist poem-play by Soviet, poet, writer and scholar Velimir Khlebnikov.

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Lot 117

King (Jessie M.).- Mummy's Bedtime Story Book, by "Marion", first edition, colour illustrations by Jessie M. King, many full-page, ink ownership inscription to front endpaper, occasional cracking at gutter, occasional very light spotting, original pictorial boards, light creasing to spine with some chipping along joints, some wear to corners, extremities rubbed, joints split but holding firm, 4to, [1929].

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Lot 118

NO RESERVE Kipling (Rudyard) Just So Stories, first edition, half-title, illustrations by the author, some light spotting at beginning and end, occasional cracking at gutter, endpapers lightly browned, hinges a little tender, second state pictorial cloth, spine a little sunned and lightly soiled, slight fading to spine lettering and some decoration, chipping to spine ends, extremities lightly rubbed, 4to, 1902.

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Lot 12

Dun Emer Press.- Yeats (William Butler) In the Seven Woods: being Poems chiefly of the Irish Heroic Age, first edition, [one of 325 copies], printed in red & black, additional paper label loosely inserted, unopened, endpapers lightly browned, original natural linen, paper label printed in red to upper cover, uncut, a little rubbed and soiled, spine browned, corners slightly worn and bumped, [Miller 1; Wade 49], 8vo, Dundrum, Dun Emer Press, "finished the sixteenth day of July, in the year of the big wind", 1903.⁂ The first book printed and issued by Elizabeth Corbet Yeats, sister of W.B.Yeats, at the Dun Emer Press which later became the Cuala Press. James Joyce refers to the press in Ulysses, parodying the colophon, "Five lines of text and ten pages of notes about the folk and the fishgods of Dundrum. Printed by the weird sisters in the year of the big wind."

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Lot 120

Lang (Andrew) The Olive Fairy Book, first edition, plates and illustrations, ownership inscription to half-title, otherwise internally clean, original pictorial cloth, gilt, spine ends and corners a little bumped, but overall an exceptionally bright and excellent copy, 8vo, 1907.

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Lot 125

Nicholson (William) The Pirate Twins, first edition, number 3 of 60 copies signed by the author in pale green ink on front pastedown, colour illustrations throughout, previous owner's gift inscription to pastedown also, a few instances of minor soiling, original pictorial paper-covered boards, some faint dust-soiling, top edge a little rubbed, 4to, [1929].

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Lot 13

Eragny Press.- Keats (John) La Belle Dame sans Merci, one of 210 copies, printed in red and black with decorative border and initials, erratum slip at end, faint damp-stain to upper corner, pp.xxiii small chip to upper margin, endpapers browned, hinges cracked but holding firm, original floral patterned-paper boards, label on upper cover, toned, some surface soiling, spine lightly bumped at ends and with a few tiny tears without loss, uncut, Eragny Press, [1906] § Lamb (Charles) The Child Angel. A Dream, one of 500 copies, printed in red and black with decorative initials, wood-engraved title vignette and 3 illustrations by Percy J. Smith, ink name to pastedown, very light offsetting, a few faint spots, endpapers lightly browned, original buckram-backed boards, spine toned, light soiling, spine ends and corners very lightly rubbed, Chiswick Press, 1910; and 5 others published by Thomas B. Mosher, v.s. (7)⁂ The first mentioned with the date on the title-page incorrectly stated as "mcxxxxvi" instead of "mdccccvi".

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Lot 132

NO RESERVE Raban (Ze'ev) Shir Ha-Shirim (The Song of Solomon), illustrated by Ze'ev Raban, tipped-in colour title and plates, tissue guards, ink ownership inscriptions to endpapers, hinges weak, original pictorial cloth, Jerusalem, 1930 § Leighton (Clare) The Musical Box, first edition, illustrations in colour, tape repairs to a couple of tears, repairs also at gutter and hinges, original pictorial boards, rebacked, a little scuffed and toned, 1936 § Ibsen (Henrik) Peer Gynt, illustrated by Elizabeth MacKinstry, colour plates, illustrations, bookplate, original cloth-backed boards, a little scuffed and toned, 1929; and c.35 others children's and illustrated, v.s. (c.40)

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Lot 133

Rackham (Arthur).- Ingoldsby (Thomas) The Ingoldsby Legends or Mirth & Marvels, first Rackham illustrated edition, initialled presentation inscription from the illustrator "E.J.S. from AR" to front free endpaper, dated 26/10/98, with accompanying original ink drawing of a cat's silhouette, 12 colour plates and numerous black and white illustrations by Rackham, tissue guards, inscription offset to half-title, browning to half-title and final f. of text, pictorial endpapers lightly toned, original pictorial cloth, gilt, spine ends a little bumped, very light rubbing to corners and joints, t.e.g., others uncut, 8vo, 1898.⁂ Potentially presented to British illustrator Edmund J. Sullivan (1869-1933).

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Lot 134

Rackham (Arthur).- Grimm (Jakob Ludwig and Wilhelm Carl) Fairy Tales of the Brothers Grimm. A New Translation by Mrs Edgar Lucas, colour frontispiece, pictorial title and black and white illustrations, some full-page, by Arthur Rackham, ink ownership inscription to front endpaper, light spotting to fore-edge, spotting to final few text leaves and endpapers, original pictorial cloth, light bumping to spine ends and corners, spine a little toned, lightly rubbed, Constable & Co., [c.1907] § Stephens (James) Irish Fairy Tales, first trade edition, 16 colour plates and black and white illustrations by Arthur Rackham, captioned tissue guards, contemporary ink ownership inscription to front endpaper, some light marginal foxing to plates, endpapers lightly browned and with a few marks, lower hinge tender, original pictorial cloth, gilt, spine a touch faded, a couple small marks to lower cover, light rubbing to spine, a little heavier to corners, 1920; and others illustrated by the same, 8vo & 4to (8)⁂ Rackham's illustrations to Grimm's Fairy Tales were first published by Freemantle in 1900. The first mentioned was issued in same format, but after the sheets and binding were purchased by Constable. Rackham's contribution was expanded for the 1909 Constable edition, also included in this lot.

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Lot 136

Rackham (Arthur), Attributed to. "The old man and the flea...", from Aesop's Fables, original illustration, pen and black ink, watercolour, signed and dated within the image and title inscribed underneath, on artist's board, image 250 x 190 mm (9 3/4 x 7 1/2 in), some surface dirt to extremities, unframed, 1913Provenance: Sale. Dominic Winter, Modern First Editions Children's & Illustrated Books, 16th December 2004, lot 316

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Lot 141

Rackham (Arthur).- Hawthorne (Nathaniel) A Wonder Book, first edition, number 141 of 600 copies signed by the illustrator, tipped in plates and illustrations by Rackham, pictorial endpapers very lightly foxed, original pictorial cloth, corners bumped, edges lightly soiled, spine faded, still overall a very bright and clean copy, 1922 § Kipling (Rudyard) A Song of the English, first trade edition, illustrations by Heath Robinson, bookplate, light toning to endpaper, original pictorial cloth, spine ends lightly creased, very light rubbing to lower cover, otherwise remarkably clean, [1909], 4to (2)

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Lot 142

Rackham (Arthur).- Goldsmith (Oliver) The Vicar of Wakefield, ownership inscription on pictorial endpapers, lightly offset to half-title, bound in mid-brown morocco, upper cover with colour morocco onlays and blocked in gilt reproducing frontispiece, t.e.g., others uncut, spine faded, extremities rubbed,1929 § Ingoldsby (Thomas) The Ingoldsby Legends, first trade edition, 24 tipped-in colour plates, embossed ownership stamp to lightly foxed endpapers, contemporary red half morocco, calf spine strip with pictorial tooling in relief of man and cat, rubbed, 1907, 4to (2)

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Lot 144

Rackham (Arthur).- Poe (Edgar Allan) Tales of Mystery & Imagination, first trade edition, 12 colour plates and black and white plates by Arthur Rackham, captioned tissue guards, pictorial endpapers with skeleton design, some minor toning to colour plates, pp.11-14 with chipping to fore-margin, original pictorial cloth, gilt, spine ends and corners very lightly rubbed, dust-jacket, price-clipped, chipping to spine ends, neat sticky tape repair to spine head to verso, light browning to joints and spine, some light spotting, edges a little rubbed and with a few tiny nicks, still a very good example, 4to, 1935.

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Lot 145

Robertson (W. Graham) A Masque of May Morning, 1904; Gold, Frankincense, and Myrrh, 1907, first editions, signed presentation inscriptions from the author on front free endpapers, illustrations by the author, occasional spotting or toning, original pictorial cloth, lightly rubbed, 4to (2)

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Lot 146

Robinson (William Heath).- Carse (Roland) All the Monarchs of Merry England (William I to Edward VII), 40 colour plates and black and white illustrations by W. Heath Robinson, ink gift inscription to front endpaper, light foxing at beginning and end, pictorial endpapers lightly browned, original decorative crimson morocco, gilt, wear to spine ends and corners, very lightly rubbed elsewhere, lower joint starting, [c.1907] § Shakespeare (William) A Midsummer-Night's Dream, first trade edition, 12 tipped-in colour plates and black and white illustrations by W. Heath Robinson, ink gift inscription to pastedown, front endpaper with later school prize bookplate and inscription, occasional cracking at gutter, one plate with creasing to lower margin, the odd patch of soiling, endpapers toned, original pictorial cloth, gilt, a few marks, spine slightly faded and with small residue-mark to foot, spine ends and corners rubbed and a little bumped, some light rubbing to covers, 1914; and 3 others illustrated by the same, 8vo & 4to (5)⁂ The first a scarce, single-volume alternative to Carse's four volume "Monarchs of Merry England", each published with 10 plates by Heath-Robinson. Not recorded in WorldCat.

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Lot 148

Robinson (William Heath) Bill the Minder, first trade edition, occasional light foxing, gift inscription to endpapers, original cloth with pictorial onlay, spine faded, edges lightly rubbed, 1912 § Hunter (Norman) The Incredible Adventures of Professor Branestawm, first edition, illustrations by Heath Robinson, light foxing, original pictorial cloth, spine faded, 1933 § Carse (Roland) The Monarchs of Merry England, illustrations by Heath Robinson, original cloth-backed boards, lightly rubbed and discoloured at ends, 1907, and 17 others, Heath Robinson, v.s. (20)

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Lot 149

Robinson (William Heath) Peter Quip in Search of a Friend, first edition, 8 full-page colour illustrations, endpapers lightly toned, upper hinge broken, original cloth-backed boards, extremities bumped and rubbed, still overall an excellent example, tall 8vo, [1922].

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Lot 151

Rowling (J.K.) Harry Potter and the Chamber of Secrets, first deluxe edition, first printing, original cloth with mounted colour illustration and gilt signature, g.e., a fine copy, publisher's cellophane, 8vo, 1999.

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Lot 152

Rozanova (Olga) Soiuz Molodezhi, pri uchasti poetov 'Gilea'. 3 [Union of Youth, in collaboration with the poets of 'Gilea'. No.3], illustrations, pages toned, original wrappers, staples lightly rusted, edges a little discoloured and tender, spine ends a little frayed, 4to, St Petersburg, Souiz Molodezhi, 1913.⁂ Founded in 1909 by St. Petersburg artists Mikhail Matiushin and Elena Guro, the 'Soiuz Molodezhi' [Union of Youth] was the first officially registered association of the avant-garde artists. The union from St Petersburg was created six months before 'The Jack of Diamonds' was established in Moscow. From 1910 to 1914 the association organised seven exhibitions presenting a wide range of artistic ideas and styles from Symbolism to Cubo-Futurism. It had a profound impact on the careers of many artists including Chagall, Tatlin, Filonov, Altman, Malevich, Larionov, to name but a few.

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Lot 160

Walliams (David) Mr. Stink, signed presentation inscription from the author, signed by the illustrator Quentin Blake on title, 2009; The Boy in the Dress, signed by the author, jacket with creasing to upper joint and Waterstone's sticker to upper panel, 2008, first editions, illustrations by Quentin Blake, original boards, dust-jackets, near-fine copies, 8vo (2)

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Lot 19

NO RESERVE Gill (Eric).- Pepler (H.D.C.) The Devil's Devices or Control versus Service, first edition, [one of 1500 copies], wood-engravings by Eric Gill, advertisement leaf at end, with loosely-inserted A.Pc.s. dated 18th September 1937 from Gill to Rev. Claud Williamson "Thank your for your letter of the 17th by which I am honoured. I will consider the matter..." and a proof pull of a woodcut titled 'Education' featuring a teacher at a blackboard, original cloth-backed pictorial red boards, uncut, a little rubbed, [Gill 259], Hammersmith, Hampshire House Workshops, 1915 § Johnston (Priscilla) The Mill Book, second edition, woodcut illustrations by Ronald Seal and David Pepler after the author, light damp-staining at beginning and end, bound in contemporary cloth-backed boards with windmill in red & black, original stiff pictorial buff wrappers bound in, slightly soiled, [Taylor & Sewell A3], Hammersmith and Ditchling, Douglas Pepler, 1917, 8vo & 12mo (2)⁂ Priscilla Johnston was the 5 year old daughter of the calligrapher Edward Johnston. The Johnston family was part of the Ditchling community with Gill and Pepler.

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Lot 20

Gill (Eric).- Way of the Cross (The), first edition, the printer's own copy with his extensive ink & pencil alterations and annotations throughout text and to endpapers, printed in red and black, 14 wood-engraved illustrations and 3 devices by Eric Gill, small marginal stain to head of title, one or two small marks to text, endpapers damp-stained and with portion cut away from front free endpaper, with loosely-inserted sheet containing stickers of Stanley Scott and Philip Le Brocq and note in ink by Scott concerning the annotations, original holland-backed boards, printed paper label to upper cover, uncut, slightly rubbed and soiled, [Gill 268; Taylor & Sewell A23], 8vo, Ditchling, Douglas Pepler [S.Dominic's Press], 1917.⁂ Scott's loosely-inserted note reads, "Douglas Pepler's own copy with his MS alterations: many of H.D.C.P[epler]'s pencil adjustments are printed in the fifth edition (1926) SS 1971".

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Lot 21

NO RESERVE Gill (Eric).- Way of the Cross (The), first edition, printed in red and black, 14 wood-engraved illustrations and 3 devices by Eric Gill, neat ink ownership inscription to front free endpaper, original dark grey wrappers printed in ?gilt, spine slightly faded, [Gill 268; Taylor & Sewell A23], 8vo, Ditchling, Douglas Pepler [S.Dominic's Press], 1917.⁂ Slightly larger than the copy in the previous lot (c.185 x 115mm rather than c.170 x 110mm.). Taylor refers to a larger copy (Gill's own) in grey wrappers but printed in silver.

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Lot 22

Gill (Eric) Sculpture: An Essay..., first edition in book form, [one of 400 copies], presentation copy from the author to his father inscribed on front free endpaper and with Gill's own bookplate to inside wrapper, 4pp. advertisements with wood-engraving by Gill at end, variant binding of original printed grey wrappers with "price one shilling", uncut, spine a little frayed with lower wrapper detached, [cf.Gill 5 &Taylor & Sewell A28], 8vo, Ditchling, St. Dominic's Press, 1918.⁂ The inscription reads, " To A.T.G. from E.G. in case he hasn't got it already. Sept. 30. 1921". Gill was the second child and eldest son of the thirteen children of Rev. Arthur Tidman Gill.Taylor states that the binding was in brown wrappers, with a few copies in linen boards. The essay first appeared in The Highway of June 1917 and was later rewritten and enlarged as Sculpture: An Essay on Stone-cutting of 1923/4.

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Lot 24

Gill (Eric).- P[epler] (H.D.C.) Concerning Dragons. A Rhyme, seventh edition, 16pp. printed on rectos only, 6 wood-engravings & 2 devices by Eric Gill including 'Child & Witch' replacing 'Child & Nurse' from first edition, also 'Dragon' and 'Welsh Dragon' which did not appear in the first edition, stitched, loosely preserved in card folder, [Gill 264; cf.Taylor & Sewell A5, this edition not listed], 1922 with Concerning Dragons..., small broadside announcement of works by Pepler, with wood-engraving 'Child & Nurse' by Gill, mounted, [Taylor & Sewell J27], [?1926], together in modern cloth drop-back box, leather label to upper cover, 4to, Ditchling, St.Dominic's Press

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Lot 25

NO RESERVE Gill (Eric).- P[epler] (H.D.C.) Concerning Dragons: A Rhyme, eighth edition, 8pp, 6 wood-engravings by Eric Gill, light spotting, 1923; Aspidistras and Parlers, 8pp., wood-engraved title-vignette by David Jones, others by Gill, bookplate of Philip Le Brocq loosely inserted, [?1923]; The Devil's Devices or Control versus Service, first edition, [one of 1500 copies], wood-engravings by Eric Gill, advertisement leaf at end, original cloth-backed pictorial red boards, uncut, a little rubbed, Hammersmith, Hampshire House Workshops, 1915, the first two bound in similar style russet or green morocco-backed patterned-paper boards, rubbed, the second with wormhole to foot of spine, [Gill 264, 392 & 259; Taylor & Sewell A5h & A121, first two only], 16mo, Ditchling, St Dominic's Press (3)

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Lot 27

Gill (Eric) Songs without Clothes, one of 240 copies in various bindings, original cloth-backed grey boards, 1921; Sculpture: An Essay on Stone-cutting, 3 wood-engravings by Gill, with date "23 xi 23" above tail-piece at end, original pictorial cloth, uncut, spine slightly browned, [1923] § [Woellwarth (Mary Elise)] Songs to Our Lady of Silence, 6 wood-engravings by Eric Gill and 4 by Desmond Chute, tipped-in errata slip printed in red, original cloth-backed printed grey boards, a little soiled, score to edge of lower board, 1920 § Pepler (Hilary) In Petra, printed in red and black, 6 wood-engravings by Gill and 3 by David Jones, neat ink inscription on front free endpaper, original cloth-backed patterned-paper boards, uncut, 1923 § Cornford (Frances) Autumn Midnight, first edition, wood-engraved frontispiece and initials by Gill, dedication to Jacques & Gwen Raverat on title printed in green, original printed buff wrappers with Gill engravings and "Sxipence" at foot, uncut, some browning, The Poetry Bookshop, 1923 § Beedham (R.John) Wood Engraving, second edition, wood-engravings by Gill, advertisement for block-makers T.N.Lawrence at beginning and with 1928 price-list loosely inserted, original cloth-backed black boards, uncut, spine a little browned, corners bumped, 1925, [Gill 8, 10, 376, 87, 273 & 77; Taylor & Sewell A82c, A112, A73, A111, A115 & A76a], 8vo, Ditchling, St.Dominic's Press, the fifth being printed at the press (6)

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Lot 30

Gill (Eric).- Clay (Enid) Sonnets and Verses, number 73 of 450 copies on handmade paper, wood-engravings by Eric Gill, some full-page, original cloth-backed boards, uncut, an excellent copy preserved in modern cloth slip-case, [Chanticleer 25; Gill 274], 8vo, Waltham St.Lawrence, Golden Cockerel Press, 1925.⁂ Gill's first book for the Golden Cockerel Press, illustrating poems by his sister, and "crowned" by the Double Crown Club for 1925.

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Lot 31

Gill (Eric) Id quod visum placet: A practical test of the beautiful, number 63 of 150 copies on handmade paper and signed by the author, 2 engraved plates by Gill, original cloth-backed boards, paper label to upper cover, uncut, slightly faded, [Gill 11], 8vo, Capel-y-ffin, privately printed by Robert Gibbings at the Golden Cockerel Press for Eric Gill, 1926.⁂ Featuring Gill's wood-engraved title-vignette of the hands of St.Thomas, used here for the first time and in all Gill's essays thereafter.

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