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Lot 130
A set of three heart shaped brass snuff boxes viz: first one engraved with a sailing ship and titled 'The Francis Ridley', the second engraved with a courting couple and titled 'Come live with me and be my love' and the third engraved with men riding horses and titled 'The Prince of Wales and Colonel MC Mahon'
Lot 157
A Silver Plate Table-Service, by Elkington, First Half 20th Century, each piece decorated with foliage, engraved with an initial, comprising:6 table-spoons12 table-forks12 soup-spoons12 dessert-spoons12 dessert-forksA sauce-ladlesand the following with stainless steel attachments12 table-forksA carving-fork A carving-knife
Lot 269
A Chinese Provincial Porcelain Bowl, possibly Kangxi, of circular form with everted rim, painted in underglaze blue with stylised scrolling foliage16.5cm diameterA Pair of Chinese Porcelain Bowls, Qing Dynasty, painted in underglaze with scrolling foliage, seal marks14cm diameter (3)First bowl with some deterioration to glaze. Pair of bowls: one with old restored rim chip, the other with faint hairline crack.
Lot 200
Royal Interest - A 19th century stained pine chest, painted black inscription 'Princess Beatrice Toy Music'Princess Beatrice (1857–1944) was the fifth daughter and youngest child of Queen Victoria and Prince Albert. Her mother’s favourite, she spent much of her life as the queen’s companion at Osborne House, so beginning her strong associations with the Isle of Wight.Queen Victoria only reluctantly allowed Beatrice to marry on condition that she and her husband, Prince Henry of Battenberg, made their home with her. After his death in 1896, Beatrice succeeded him as Governor of the Isle of Wight, living first at Osborne with her mother and later making Carisbrooke Castle her home.Please note this Lot will need to be collected from Head Office in Etwall
Lot 132
THE LORD OF THE RINGS, TOLKEIN (J.R.R.),pub. George Allen & Unwin Ltd, comprising of The Fellowship Of The Ring, first pub 11th impression with fold out map, The Two Towers, 1st pub 9th impression, and The Return Of The King, first pub 8th impression, each with red cloth boards, the latter two with origional dust jacket, all presented in origional slip cover along side a facsimilie letter from Tolkien discussing the final book in elvish with translation (3 vols)Photos of the cover and letter have been uploaded onto the website.Additional images of publishing dates have been uploaded. Books in varied condition some stains and rears present to the covers, some stains and creasing to pages.
Lot 102
LUCIEN GENIN (Rouen, 1984 - Paris 1953)."Place du Tertre, Sacre Coeur".Gouache on paper.Signed in the lower margin.Size: 15,5 x 19,5 cm; 30 x 33,5 cm (frame).Lucien Genin studied at the School of Fine Arts in Rouen, where his teachers were Alphonse and Albert Guilloux, and later enrolled in Decorative Arts at l'École-de-Médecine. He took evening classes in sculpture, architectural composition and mathematics. He arrived in Montmartre in 1912, after a series of small trades, Maclet finally earned his living with his painting. Lucien Genin settled permanently in Montmartre at the age of twenty-five. More than a painter of Paris, Genin is a painter of Parisians, of the devouring passion that stirs all his characters in the big city. He paints them in the alleys of Montmartre, dining at night in the Place du Tertre, singing in the Lapin Agile, cars on the boulevards, spectators and street singers; he follows them on the banks of the Marne at the first rays of the sun and in the south of France in summer. In turn, he is in Nogent-sur-Marne, Marseille and Cassis, Cannes and Villefranche-sur-Mer. He was in Douarnenez in 1929 with Pierre Colle, Giovanni Leonardi and Max Jacob. He painted the port of Rosmeur at the feast of the blue nets and exhibited his painting at the Salon d'Automne in 1930. In November 1929, André Warnod wrote about his painting: "Lucien Genin depicts Paris with a sometimes hasty ardour but with a pleasant flavour of vivid colours". During these ten years, he practised a painting that was composed, colourful, sensitive, skilful, delicate, humorous and comic. A painting by Lucien Genin won the Art Institute of Chicago prize in 1932. In 1940, he took refuge in Marseilles for a few months. In 1941, the Paris City Council bought him a gouache and in 1944 René Fauchois presented his exhibition at the Bernard gallery. In 1947 he left for Cassis for the last time and exhibited at the Bernard gallery on his return. In his last years he devoted himself to painting landscapes in his room, with his easel under the window, where Robert Doisneau visited him a few weeks before his death. Lucien Genin was immortalised in 1953 in Le Vin des rue by Robert Giraud and Robert Doisneau. A retrospective exhibition was organised for him at the Galerie Seine in 1954.
Lot 22
SANTIAGO RUSIÑOL I PRATS (Barcelona, 1861 - Aranjuez, Madrid, 1931)."Garden".Pencil on paper.Signed in the lower right corner.Size: 22 x 22 cm; 36 x 36 cm (frame).Painter, writer and playwright in Catalan, Rusiñol was one of the main ideologists of the Catalan modernist movement. He trained as a disciple of Tomás Moragas and frequented the Centre of Watercolourists, of which he was one of the founders. He made his debut in 1884 at the Sala Parés in Barcelona, together with his friends Ramón Casas and Enric Clarasó. In those years he made a carriage trip around Catalonia with Casas, taking sketches of types and landscapes. The year 1888 marked a turning point in his career, as he began three new activities: he published some writings in "La Vanguardia", took part in the Paris Salon and held his first individual exhibition at the Sala Parés. The following year, 1889, Rusiñol settled in Paris, in the Montmartre district, with Utrillo, Clarasó and Canudas. He attended the academy of the painter Henri Gervex, and completed his training with Puvis de Chavannes and Carrière. The ruralism he had adopted in Barcelona disappeared and his style evolved towards naturalism. He also came closer to the thematic, but not technical, approaches of the Impressionists, as well as to their desire to capture a fleeting snapshot. In 1890 he established a relationship with Sitges, where he painted some of his first courtyards and gardens, a theme that would define his later style. That same year he held his first exhibition at the Sala Parés, together with Casas and Clarasó. In 1890 he returned to Paris with Casas and Utrillo. At this time he concentrated on depicting the entertainment venues of the area, such as the Moulin de la Galette, which featured in many of his paintings. However, in 1893 he left his studio in Montmartre and moved to the Île Saint-Louis, where he focused on the psychological study of the figure, particularly the female figure, reflecting the sadness, melancholy and solitude typical of the fin-de-siècle period. The following year he travelled to Italy with Zuloaga, visiting Pisa, Florence and other places, which allowed him to get to know the primitives at close quarters. On his return he exhibited the paintings he had made on this trip in what was to be his first personal exhibition at the Sala Parés. That same year he opened the Cau Ferrat in Sitges, the seed of today's museum. In 1895 he made his first trip to Granada, and began the series "Gardens of Spain". In 1897 he produced some of his best paintings of gardens, an interest that also appears in his literary work "The Abandoned Garden", where he cultivates a symbolist decadentism. The elegant garden becomes the protagonist, a symbol of poetry; the abandoned garden hides a past of lost splendour. Rusiñol then travelled in search of gardens that seduced him, and he painted them from within, showing his personal conception of beauty, life and death, art and reality, solitude and the passing of time. Around this time he exhibited in Paris at the Salon des Indépendants, at the Exposition Nationale and at the gallery of Samuel Bing, the main promoter of Art Nouveau in France. The latter, a solo exhibition held in 1899, brought international recognition to Rusiñol, whose success was based on a new vision of Spain, totally free of clichés and full of truth. From then on his activity multiplied as a painter, novelist and comedian, he premiered outstanding works in Madrid and Barcelona and held annual painting exhibitions at the Sala Parés, always with Casas and Clarasó. In 1908 he was awarded the medal at the National Exhibition of Fine Arts. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo Camón Aznar in Zaragoza and the Thyssen-Bornemisza, among others.
Lot 28
RAMÓN NADAL HORRACH (Palma de Mallorca, 1913 - 1999)."Landscape", 1969.Oil on canvas.Signed and dated in the lower right-hand corner.Measurements: 65 x 81 cm; 85 x 102 cm (frame).In the work we now present, the power of its colour stands out, strongly contrasted and even somewhat unreal, inherited from the post-impressionists. The ochres and greens in the foreground stand out strongly, combining masterfully with the greys and blues of the sky and the mountains.Ramon Nadal trained with Llorenç Cerdà and Francesc Rosselló at the School of Arts and Crafts in Palma de Mallorca, and was introduced to the world of art by his father. At the age of just thirteen he held his first exhibition, which took place at the La Veda gallery in Palma. In 1940 he took part in the founding of the Círculo de Bellas Artes in Palma, where he would later exhibit his works on several occasions. He mainly worked in oil painting, and his work encompasses practically all genres (figure, still life, portrait, etc.), although he is especially known for his landscapes. He belongs to the Mallorcan post-impressionist movement, and is noted for the consistency of his drawing. Throughout his career his work was recognised on several occasions, especially the Medal of Honour of the Círculo de Bellas Artes de Palma in 1952 and the City of Palma Prize the following year. Likewise, since 1964 he was a full member of the Royal Academy of Sant Sebastià. Some outstanding young artists were trained in his studio, such as Alicia Alcover, Miguel Llabrés, Antoni Alzamora, Juan Segura, Josep Manresa Clar and his nephew, Francisco Gaita. There is currently a street in Palma de Mallorca that bears his name, and his works form part of several collections, including that of the Can Prunera Museum in Sóller (Mallorca).
Lot 33
ARCADIO MÁS Y FONDEVILA (Barcelona, 1852-1934)La siega" ("The Harvest").Mixed media on paper.Signed in the lower left corner.Size: 60 x 44 cm; 70 x 95 cm (frame).This is one of the many drawings that the author made for the graphic magazine La Ilustració Catalana at the end of the 19th century.A painter and draughtsman and founder of the Sitges school of luminists, Arcadi Mas i Fondevila trained at the Escuela de La Lonja in Barcelona, where his teachers were Antonio Caba and Claudio Lorenzale. At the age of twenty he took part in his first group exhibition, organised in the hall of the Barcelona Artistic Association. In 1875 he won the first Fortuny scholarship from the Barcelona City Council, which enabled him to further his studies by travelling to Italy on a scholarship between 1876 and 1886. During these years, Arcadi Mas i Fondevila visited Venice, Rome, Naples and Capri, while taking part in several group exhibitions at the Sala Parés in Barcelona. Ascribed to the Neapolitan naturalist school of Domenico Morelli, in 1885 he also took part in the exhibition of the Centre of Watercolourists in Barcelona. On his return to Catalonia, his friend Joan Roig Soler encouraged him to visit Sitges, and from this meeting and acquaintance the Sitges Luminist school was born, a pictorial current that brought together other artists such as Joaquim de Miró, Antoni Almirall and Joan Batlle. In 1887 he took part in the National Exhibition of Fine Arts in Madrid, and won a medal for his work "Corpus Christi Procession in Sitges". He also took part in the Universal Exhibition in Barcelona the following year, winning the first medal. In 1895 he travelled to Madrid again, this time accompanied by Santiago Rusiñol and Zuloaga, and later went to Granada with Rusiñol, Miguel Utrillo and Macari Oller, with the intention of illustrating some articles by Rusiñol for "La Vanguardia". Mas i Fondevila won two more medals at the Barcelona Fine Arts Exhibitions of 1894 and 1896, and in 1899 he became a member of the Círculo Artístico de Sant Lluc. In 1900 he opened the Rovira Salon in Barcelona with his first individual exhibition, a show that established him as a master of pastel painting. An example of the importance of this painter can be found in the fact that Picasso had copied a nude of his from 1895. At this time, moreover, Mas i Fondevila collaborated as a draughtsman in "La Ilustració Catalana". Thanks to a donation from the American patron Charles Deering, in 1913 he painted the tympanum of the portal of Santa Catalina in the church of San Bartolomé and Santa Tecla in Sitges. Today a copy can be admired "in situ", the original having been erased by the passage of time. In 1928 he was commissioned to paint one of the murals in the Sala de Sant Jordi in the Palace of the Generalitat in Barcelona, and in 1932 he again exhibited individually, this time in the La Pinacoteca room. On the occasion of the fiftieth anniversary of his death, the Sitges Study Group devoted an anthological exhibition to him at the Maricel Museum (1985). In his painting, Mas i Fondevila combined Catalan localism with his Neapolitan memories. He also painted portraits, with outstanding works such as those of Antonio Caba and Pitarra. He is represented in the Museu Nacional d'Art de Catalunya, the Maricel, the Cau Ferrat and Sitges Town Hall, as well as in other museums and private collections.
Lot 4
MANUEL CUSÍ FERRET (Vilanova i La Geltrú, Barcelona, 1857 - Barcelona, 1919)."Dancer in the Dressing Room".Oil on canvas.Signed in the upper left corner.Slight flaws in the frame.Work published in "Manuel Cusí. Devotion to beauty".Measurements: 72 x 52 cm; 118 x 97 cm (frame).A young dancer has just received a bouquet of flowers from an admirer. The painting focuses on the moment when she, amused and visibly flattered, reads the card that accompanies the exuberant bouquet. She is attended to by a servant girl, who remains partially in the semi-darkness. Cusí shows great mastery in the recreation of the veils of the tulle, its transparencies and the fluffy flounce of the skirt. In the satin of the slippers, the satin that envelops the supple torso and the soft flesh tones of the girl, we can recognise Cusí's hand.An outstanding exponent of the Catalan realist school, Cusí was one of the most brilliant chroniclers of everyday life in 19th-century Catalonia. He studied at the Escuela de La Lonja in Barcelona and completed his training in Paris in the late 1970s in the studio of Leon Bonnat. On his return to Spain he devoted himself to painting in different genres, including still life, the figure, portraiture, genre painting and intimate scenes. As an official portraitist he painted Alfonso XIII for the Diputación Provincial de Barcelona. In 1880 he exhibited for the first time at the Sala Parés in Barcelona, together with Santiago Rusiñol and the sculptor Font. From the time of his youth his style stood out for the correctness of his drawing, as well as for his search for chromatic harmony and the capture of light effects. Towards 1881-82 his style began to show a preference for the realism that would mark his most personal work, rejecting all artifice, as a result of the influence of Ramón Martí Alsina. He took part in the main artistic events in Barcelona, such as the exhibitions of the Society of Watercolourists and the first Exhibition of Fine Arts in the city, and showed his work regularly at the Casa Vidal and the Sala Parés. He also presented his works at the National Exhibition of Fine Arts in Madrid, and was awarded the third medal at the Universal Exhibition in Barcelona in 1888. Cusí is represented in the Museu Nacional d'Art de Catalunya, Barcelona City Council, the Museu Víctor Balaguer, the Ateneu and the Circulo del Liceu in Barcelona, as well as in prominent private collections.
Lot 58
ELISEO MEIFRÈN ROIG (Barcelona, 1857 - 1940)."Sunset.Oil on canvas.Signed in the lower right corner.Size: 50 x 62 cm; 66 x 78 cm (frame).A solitary figure contemplates the sunset from the shore. The sunset shines with its last igneous glow. Meifrén subjugates us with this laminated sea of infinite cerulean and saffron cadences.A disciple of Antonio Caba at the Barcelona School of Fine Arts, after completing his studies he spent some time in Paris, where he coincided with the public beginning of Impressionism and became acquainted with painting "à plen air". He returned to Barcelona in 1879 and that same year won the gold medal at the Regional Exhibition in Valencia. The following year he made his individual debut at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. He was a member of the Modernist group and frequented Els Quatre Gats. Although he was also a portraitist, Meifrèn was eminently a landscape and marine painter. He was one of the discoverers of the pictorial possibilities of Cadaqués, and he also used to paint Mallorcan landscapes (he was director of the School of Fine Arts in Palma). He made several trips in search of new landscapes, especially to France, but also to the Canary Islands, Belgium, Italy and the United States. He held exhibitions in Barcelona, Madrid (1881), Chicago (1893), Paris (1899), Brussels (1910), Santiago de Chile (1910), Buenos Aires (1910), Amsterdam (1912) and San Francisco (1915), among many other cities around the world. His style began with the detailed realism that dominated the Catalan school at the end of the 19th century and gradually evolved towards Impressionism, a language that would not be fully evident in his work until his later years. Thus, in his maturity we see a landscape painting with a purely chromatic and luminous treatment, which leaves aside the meticulous description of the real model to capture an impression of nature, a purely visual and purely plastic image, in which the loose, impastoed and precise brushstroke configures forms and spaces based on the juxtaposition of colours. Throughout his career he won numerous prizes, including the first medals at the National Exhibition of Fine Arts in Madrid (1906) and Barcelona (1896), the Nonell prize in Barcelona (1935), the bronze medal at the Universal Exhibition in Paris (1888) and the grand prizes at the International Exhibitions of Buenos Aires (1910) and San Diego (1916). In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. He is currently represented at the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
Lot 70
CARLOS NADAL FARRERAS (Paris, 1917 - Sitges, Barcelona, 1998)."Casino del Prado", ca. 1970.Mixed media and oil on cardboard.Signed in the lower right corner.Enclosed certificate of authenticity issued by the Nadal Committee.Measurements: 49 x 52 cm; 68 x 71 cm (frame).In this work Carles Nadal offers us a view that combines the urban with the natural in perfect dissolution. The painter constructs the scene evoking more than representing, in a composition where the emptiness and the fluid and free stain of colour take on an unusual prominence, filling the space and evoking changes of light and shade, as well as a warm atmosphere.The son of Santiago Nadal, a painter and decorator based in Paris, Carles Nadal has lived in Barcelona since childhood, where the family moved due to his father's illness. At the age of thirteen he began to work as an apprentice in a decorative painting workshop, and in 1936 he received a grant from Barcelona City Council to study at the Sant Jordi School of Fine Arts. At the outbreak of the Civil War he is recruited into the Republican army, with which he fights on the Aragon and Tremp fronts. At the beginning of 1939 he crossed the French border and was interned in the Saint Cyprien refugee camp, where he remained for several months. He managed to escape and cross the border again, but was arrested and imprisoned in Figueras. On parole he returned to Barcelona, where he continued his artistic career, combining his work as a decorator with his studies in Fine Arts. In 1941 he made his debut in a group exhibition at the Dalmau gallery, receiving good reviews. He finished his studies with good marks, obtaining the recognition of teachers and professors, some of whom became friends and collaborators of the young Nadal. In fact, it was one of them, Luis Muntané, who enabled him to hold his first individual exhibition in 1944, at La Pinacoteca in Barcelona. Two years later he moved to Paris, again with a grant from the Barcelona City Council. There he worked and exhibited with the group Présence de l'Homme, as well as taking part in the Salons d'Automne. Later he attended the Paris School of Fine Arts, thanks to a grant from the French State. In 1948 he married Flore Joris and settled in Brussels, where he remained until the mid-1970s. In Belgium he discovered, as he himself repeatedly stated, light and colour. During these years he continued to show his work both in Spain and Belgium and in France, Germany, Holland, Switzerland, the United Kingdom and the United States. Nadal's painting is post-impressionist in character, intensely colourful, and is based on the search for chromatic force as the most direct means of communication. His awards include the Grand Prix de Spa, Belgium, and his appointment as a member of the Royal Academy of London. His works can be found at MACBA, the Spa Museum in Belgium and the Royal Museum in Brussels.
Lot 85
FRANCISCO LOZANO SANCHÍS, (Antella, Valencia, 1912 - Valencia, 2000)."Old Mediterranean poppies", 1997.Oil on canvas.Signed in the lower left corner. Signed, dated, dedicated and titled on the back.Size: 23 x 28 cm, 33 x 38 cm (frame).Painter, teacher and member of the Royal Academies of Fine Arts of San Fernando and San Carlos, Francisco Lozano was interested in painting from his youth, and at the age of sixteen he began his training at the Academy of San Carlos in Valencia. He later continued his studies at the Residencia de Pintores de La Alhambra, and after the Civil War he began to make a name for himself. His career would take off in the 1940s, when he began to exhibit regularly in Madrid and other cities. In the capital he was welcomed by Eugenio d'Ors, whose hand in hand he exhibited at the Estilo gallery, and who put him in contact with the artistic and intellectual circles of Madrid at the time. A primarily Mediterranean painter, his work focused from the outset on landscape, although he evolved from the initial influence of Sorolla towards a more personal language, although equally sensitive to light and colour. His is a synthetic, ordered and austere landscape, completely modern. Between 1951 and 1952 he travelled to Paris on a grant from the French government, and on his return his recognition was completed with the first prize at the National Exhibition of Fine Arts. That same year he was also a great success at the Venice Biennale. From then on he combined his artistic practice with teaching at the San Carlos Academy, where he held a teaching post from 1955 to 1977. At the same time, he held important exhibitions in Spain, South America, the United States, Germany and the United Kingdom, among other countries, mainly in Mediterranean Europe. Lozano was an honorary member of the Círculo de Bellas Artes (1952), a member of the Valencian Council of Culture (1986) and doctor honoris causa of the Polytechnic University of Valencia (1994), and in 1993 a major retrospective exhibition was devoted to him at the IVAM. His work is currently held in museums such as the Reina Sofía in Madrid, the Fundación Mendoza in Caracas, the Camón Aznar in Zaragoza, the IVAM in Valencia and the Fine Arts Museum in Montevideo, among others.
Lot 1014
James Bond You Only Live Twice - Ian Fleming First Edition, first impression Hardback book. Published by Jonathan Cape with dust jacket in 1964. Condition Report: light marks to cloth, gilt lettering bright to upper board and spine, light marks to endpapers, dust-jacket priced 16s., clean edge tears to lower spine, top of spine chipped (with slight loss) light foxing and staining to inner jacket. further within clear protective jacket.
Lot 1023
Charles 'Jerry' Juroe (1923-2021) Bond, The Beatles and My Year With Marilyn. 50 Years as a Movie Marketing Man. Signed paperback first edition book. Autographs obtained at the launch party held at the Bond In Motion exhibition, London Film Museum, Covent Garden, 11th October 2018. Published by Jefferson, NC: McFarland and Company, Inc., 2018.
Lot 1150
James Bond - Ian Fleming Casino Royale first edition, first impression book published by Jonathan Cape in 1953. Rebound with full leather cover by George Bayntun incorporating Robert Riviere and Son of London. Bound with high quality back leather and bespoke gold gilding to match the classic dust-jacket. This book is in excellent condition with all pages complete, very clean pages.
Lot 1
Josef Hoffmann - Wiener Werkstätte ( Werkstatte ) / Vienna Workshop. An early 20th Century Austro-Hungarian Austrian hallmarked silver open pattern twin section bon bon dish. Secessionist in design with two oval shaped glass dishes sitting within a pierced twin section stand with central square form handle. Makers stamps / monograms to underside 800/900 silver. Measures approx; 15cm x 19cm x 27cm. Weighs without glass approx 283.7 grams.The Wiener Werkstatte (Vienna Workshop) exerted an enormous influence on artists and designers throughout the first part of the 20th century. In 1897 a group of progressive artists and designers, led by architect Josef Hoffman and painter Koloman Moser, formed the Vienna Secession which became the Wiener Werkstätte Produktiv-Gemeinschaft von Kunsthandwerken, Wien (the Viennese Workshop and Production Cooperative of Art Works in Vienna) in 1903 when they received backing from a prominent businessman. This enabled them to equip workshops especially for working on modern design in a range of applied arts like glass, metalwork and jewellery. The aim of the Wiener Werkstatte artists and designers was to bring good design and art into every part of people's lives. They also wanted to break with the past and bring new style to everything they produced. Emphasis was placed on the beautiful and unique as well as faultless craftsmanship.
Lot 102
Bignor Park copy.- Fuller (Thomas) The History of the Worthies of England, first edition, engraved portrait frontispiece by David Loggan, woodcut head- and tail-pieces and decorative initials, 12pp. 18th century index at end (as mentioned by ESTC), occasional late 18th century ink marginalia, foxed, lightly browned, occasional staining, early 20th century green straight-grain morocco, gilt, spine in compartments, corners worn, stained and rubbed, g.e., [Wing F2440; Pforzheimer 391], Printed by J[ohn]. G[rismond]. W[illiam]. L[eybourne]. and W[illiam]. G[odbid]., 1662; and another Fuller, folio (2) ⁂ First edition of the first attempt at a dictionary of national biography. Provenance: Richard Henry Beaumont, Whitley Hall, West Riding, 1799 (ink inscription to head of title); Viscount Mersey, Bignor Park (20th century book label to front pastedown); John Scarborough Dudding (large 20th century armorial bookplate to front pastedown).
![Killigrew (William) [Three New Playes, viz, Selindra, Ormasdes, trage-comedies. Pandora, a new comedy], lacking A1-2 (includi](https://cdn.globalauctionplatform.com/08873254-a1c1-4b3e-ade3-af1d00b5a489/b888f158-7442-4080-bf66-af1d00b92d66/468x382.jpg)
Lot 103
Killigrew (William) [Three New Playes, viz, Selindra, Ormasdes, trage-comedies. Pandora, a new comedy], lacking A1-2 (including title), but with blank leaves H8 and 2G6, early ink inscription "Killogrows" to front free endpaper, first and last few leaves browned, scrap of paper tipped-in to foot of A4v, with "Killegrues Plays" in ink, A7 trimmed at fore-edge, with loss to some letters, short tear to foot of H6, just touching text but with no loss, some scattered spotting, contemporary panelled calf, worn at corners, rubbed, upper joint repaired at head, [Wing K469], 8vo, [Printed for Simon Neale], [1674].
Lot 106
Bridoul (Toussain) The School of the Eucharist Established upon the Miraculous Respects and Acknowledgments..., first English edition, [translated by William Clagett], with initial imprimatur leaf, later ink ownership inscription of J. D. Derry to front free endpaper, small ink mark to head of title, some light water-staining, later roan with black onlays in a figure-of-eight design, rubbed, spine ends chipped, [Wing B4495], 4to, Printed for Randall Taylor, 1687.
Lot 113
NO RESERVE Chandler (Samuel) The History of Persecution, In Four Parts., first edition, 10 engraved plates, 7 folding and linen-backed, slight chipping to edges, c8 with marginal tear and neat tape repair, N6 and a folding plate with small ink-stains, 12pp. advertisements at the end, spotting, ex-library with labels and occasional ink-stamps throughout, modern morocco-backed boards, 8vo, for J. Gray, at the Cross Keys, 1736.
Lot 120
Economics.- Colquhoun (P.) A Treatise on the Wealth, Power, and Resources, of the British Empire, in every quarter of the world ..., scattered spotting, ex-library with bookplate and occasional ink-stamps, contemporary boards, rebacked, small gouge from fore-edge of lower board, rubbed, bumping to corners and extremities, 1814 § Shaw (Bernard) Prefaces, first edition, decorative title, original cloth, slight bumping to spine extremities, 1934 § Robbins (Lionel) The Economic Problem in Peace and War, half-title, lacking front free endpaper, original cloth, slight bumping to corners and extremities, dust-jacket, chipping to edges, small loss to corners and spine extremities, a little rubbed, 1947 § Wilson (Right Honourable James) Capital, Currency, and Banking, second edition, half-title, previous owner's ink name-stamp to title, lightly browned throughout, cracked upper hinge, original cloth, a little rubbed, bumping to corners and extremities, 1859; and others similar, including a collection of pamphlets, v.s. (c.140)
Lot 122
NO RESERVE Banking, Taxation & Tythes.- Pacy (Joseph) The Reminiscences of a Gauger. Imperial Taxation, past and present, presentation copy from the author's wife, advertisements at end, faint finger-soiling to title, ex-lirbary with label, original cloth, gilt, a little rubbed, slight bumping to corners and extremities, Newark, 1873 § Norfolk (William John) The General Principles of Banking, Bills of Exchange, British Funds, and Foreign Exchanges, first edition, ex-library with discreet ink-stamp to title, faint spotting to title, modern morocco-backed boards, light sunning to spine, 1845 § Herbert (Gideon) A Hand-Book of Guide for the use of Creditors, Debtors, Inspectors and Trustees, advertisements at end, original paper wrappers, ex-library with small shelf-mark label to foot, a little rubbed, slight chipping to corners and edges, Nottingham, [c.1869] § Sulley (R.) The Fallacies of the Protective System Exposed, occasional ink markings, ex-library with ink-stamps, modern library cloth, Manchester, 1841; and others similar, 8vo (9).⁂ The first is inscribed, "Presented by her Aunt Pacy Wife of the Author."
Lot 125
NO RESERVE Lyttelton (George, Lord) The Works ..., first edition, engraved portrait frontispiece, previous owner's ink signature to title, bookplate, scattered spotting, front free endpaper detached, abrasions to pastedowns, contemporary half-calf, rebacked, a little rubbed, 1774 § Stewart (Dugald) Elements of the Philosophy of the Human Mind, scattered faint spotting, bookplate, contemporary diced calf, upper cover detached, a little rubbed, 1808 § Blatchford (Robert) The Sorcery Shop: an Impossible Romance, abrasion mark to front pastedown, original cloth, slight bumping to spine extremities, 1907; and others, including a broken run of 'The Farmer's Year', v.s. (30)
Lot 127
Campbell (Dr. J.) Lives of the British Admirals, 4 vol., engraved frontispieces and folding maps, light offsetting to titles, contemporary mottled calf, spines and extremities lightly rubbed, modern morocco spine labels, joints lightly worn but holding firm, Edinburgh, Alexander Donaldson, 1785 § Roberts (George) The Life, Progresses and Rebellion of James, Duke of Monmouth, &c., 2 vol., first edition, engraved frontispiece, plates and maps, original cloth, some nibbling to extremities, lightly rubbed, 1844; and 2 other library sets, 8vo (10)
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