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Click here to subscribeXI: Hammered Coins of Charles II, First issue, Shilling, mm. crown on obv. only, crowned bust left, no inner circles or mark of value, carolvs ii d g mag brit fr et hib rex, rev. from the same die as Lot 1190, dies 4/2, 5.93g/91.8gr/6h (ESC 273 [1009]; N 2762; S 3308). Good very fine and toned, rare £2,000-£2,600 --- Provenance: DNW Auction 106, 6 February 2013, lot 557; Davisson’s Mailbid Sale 32, 6 June 2013 (162)
XI: Hammered Coins of Charles II, First issue, Sixpence, mm. crown on obv. only, crowned bust left, no inner circles or mark of value, carolvs ii d g mag brit fran et hib rex, rev. christo avspice regno, shield, stop above, dies 1/1, 2.93g/45.3gr/3h (ESC 274 [1507]; N 2765; S 3309). Tiny mark in obverse field, otherwise extremely fine and attractively toned £1,500-£2,000 --- Provenance: E. Wigan Collection; W. Brice Collection; H, Montagu Collection, Part III, Sotheby Auction, 13-19 November 1896, lot 750; B. Roth Collection, Part I, Sotheby Auction, 19-20 July 1917, lot 345; R.C. Lockett Collection, Part II, Glendining Auction, 11-17 October 1956, lot 2621 (part); with Baldwin; Davisson’s Mailbid Sale 4, 18 November 1994 (254)
XI: Hammered Coins of Charles II, First issue, Sixpence, mm. crown on obv. only, from the same dies as previous, dies 1/1, 3.05g/47.4gr/3h (ESC 274 [1507]; N 2765; S 3309). Small edge cut and light scratches in obverse field, otherwise good very fine, attractively toned £1,000-£1,200 --- Provenance: St James’s Auction 17, 24 May 2011, lot 119
XI: Hammered Coins of Charles II, First issue, Twopences (2), mm. crown on obv. only, dies 1/1, 2/2; Penny, no mm., dies 2/2, all without inner circles or marks of value, 1.01g/15.8gr/7h, 1.02g/15.8gr/10h, 0.52g/7.9gr/1h (ESC 276, 278, 280 [2161, 2163, 2264]; S 3310-11) [3]. Penny about very fine, others very fine and better, all toned £100-£150 --- Provenance: First bt Baldwin; last bt CNG April 2006
XI: Hammered Coins of Charles II, First issue, Twopences (2), mm. crown on obv. only, dies 3/3, 4/4; Penny, no mm., dies 2/2, all without inner circles or marks of value, 0.99g/15.1gr/12h, 0.97g/15.0gr/8h, 0.47g/7.4gr/10h (ESC 276-7, 281 [2162, 2264]; S 3310-11) [3]. About very fine and better £90-£120 --- Provenance: First bt CNG December 2004; second bt CNG; last bt J. Elmen November 2002
XIII: Medals of Charles II by Simon, Charles II, Coronation, 1661, a struck gold medal by T. Simon, crowned bust right, signed ts on truncation, carolvs ii d g ang sco fr et hi rex, rev. everso missvs svccvrrere seclo xxiii apr 1661, King enthroned, being crowned by Peace, 29mm, 11.80g (Lessen, BNJ 1995, type A; Nathanson p.34; MI I, 472/76; E 221). Very fine, rare £2,000-£2,600 --- Provenance: CNG Review xxii, 1 (100). This example, and that in the next Lot is an early, first issue, strike, contemporary with the coronation service, for their die axes are 12h
XIV: Seals by Simon, Second Great Seal of the Commonwealth, 1651, a cast bronze uniface Counterseal (reverse), view of the House of Commons in session, in the third yeare of freedome by gods blessing restored 1651, 143mm, 238.17g (Nathanson p.21; Vertue pl. vii; Birch 599). Hollow reverse, cast from a wax original, about extremely fine, excellent detail £500-£700 --- Provenance: R. Stucker Collection, Bourgey Auction (Paris), 21 November 1977, lot 79. Early in 1649 Thomas Simon was granted a commission to engrave the Great Seal of the Commonwealth, but because Parliament were in a great hurry to have the Seal Simon was given less than a month to complete it (Allen, BNJ 1940, p.440; Nathanson p.19). This first hasty effort was replaced in 1651 with another Seal of the same design, but executed with much greater care. The 1651 Seal is a magnificently crafted work, full of fine detail; the best known illustration of it was first published by Vertue in 1753 from a wax impression, then in the collection of Margaret Cavendish, Dowager Duchess of Portland; her collections of coins, medals and gems were dispersed post mortem in two auctions in 1786. The Simon archive included a pen and brown ink design for the 1649 Seal (Christie’s 14 July 1987, lot 17), but no sketch of the completed design for the 1651 Seal is believed extant
XVI: Later Cromwell Medals, Elizabeth Cromwell, 1641, a cast lead medal, unsigned, bust left, elizabeth wife of o c l p, rev. elizabeth daughter of sr james boucher and date, 37mm, 15.13g (Platt II, p.35, type A; MI I, 410/47). Fine, extremely rare £200-£300 --- Provenance: SNC February 1905 (12160); bt Baldwin. The only other example known is that in the British Musuem. The medallist, origin and background of these medals are unknown. MI postulates that they were made in 1641 and the rest of the obverse legend added later. If so, then a master medal without the Oliver legend would have existed first. The style does not seem to be that of either of the Simon brothers. Elizabeth Cromwell, née Bourchier (1598-1665), the eldest child of Sir James Bourchier, a city leather magnate, married Oliver Cromwell on 22 August 1620. In later life Elizabeth became the subject of Royalist ridicule and she was accused of what appeared to be baseless acts of drunkenness and adultery. After the restoration of the monarchy she quietly left London, firstly for Wales, and then to live with her son-in-law, John Claypole at Northborough, Northamptonshire
XVI: Later Cromwell Medals, Cromwell, Memorial, 1658, struck bronze medalets (2, one plated), c. 1773, by J. Kirk for the Sentimental Magazine, laureate bust left, revs. name and date, each 25mm, 5.59g, 5.51g (Platt II, p.10; MI I, 435/86; BHM 171); a struck white metal medal, c. 1830, by E. Thomason for his Kings and Queens of England series, from Dassier’s obv. die, laureate draped bust left, signed i · dassier · f ·, rev. inscription in 11 lines, 38mm, 23.50g (cf. MI I, 435/87; cf. E 203) [3]. About extremely fine and better £50-£70 --- Provenance: First two Glendining Auction, 3-4 May 1978, lot 256 (part); last R. Stucker Collection, Bourgey Auction (Paris), 21 November 1977, lot 75 (part), SNC June 1978 (8437)
XVI: Later Cromwell Medals, Lord Protector, 1658, a cast bronze medal, 19th century, unsigned, laureate and cuirassed bust right, cromwell protectevr, rev. stamped B 1599 P 1653 D 1658 within wide raised border, 39mm, 34.68g; Cromwell Memorial, 1658, a struck copper medal by T. Smith for Durand’s Series Numismatica, c. 1840, bust left wearing cavalier’s hat, rev. inscription, 43mm, 45.39g (Platt I, p.332, type Z; MI I, 436/88; BHM 171) [2]. Very fine, first very rare and possibly unpublished £100-£150 --- Provenance: First R.E. Ockenden Collection, bt R.E.O.; second R.C. and O.M.W. Warner Collection, R.E. Ockenden Collection [from O.M.W.W. 1964], bt R.E.O.
XVI: Later Cromwell Medals, Cromwell Gardens, lead Sixpence, c. 1765, crude bust of Oliver Cromwell left, olivar d g r p ang sco hib & pro, rev. pax qværitvr bello, crowned arms in imitation of the Cromwell coinage flanking crom garden, value below, 30mm, 10.76g (W 1310; D & W 67/170; Young p.86; Henfrey p.178; cf. Baldwin FPL 1998, 99); together with a copper evasion Halfpenny, bust of Cromwell right, rev. crowned harp, 27mm, 6.52g (Atkins 414; Henfrey p.177) [2]. Fair £50-£70 --- Provenance: First Glendining Auction, 17 November 1988, lot 220; second R.E. Ockendon Collection [from Baldwin 1949], bt R.E.O. Cromwell Gardens, opened in the early 1760s, was named after a tradition that Oliver Cromwell once lived in the neighbourhood, though this is unproven. The early lessee was John Clarke and this admission ticket was exchangeable for refreshments
XVIII: Cast Copies, Restrikes and Electrotypes of Medals, Battle of Dunbar, 1650, a large silver restrike medal, late 19th century (?), after T. Simon, bust left, battle scene in background, signed tho.simon.fe below, the lord of hosts word at dvnbar septem y 3 1650, rev. view of the Long Parliament, 34 x 28mm, 16.76g (Lessen, BNJ 1981, pp.123-4 and pl. xiv, 30, this piece; Henfrey pl. i, 1; Platt I, p.328, type M; MI I, 392/14; E 181, note). Very fine; suspension loop added £100-£150 --- Provenance: Bt W. Slayter 1965. This medal, from false dies, is not of the same quality as those made later by Pinches when they had the original dies. It could be an early production, probably from the last quarter of the 19th century, when the false dies were first made
XVIII: Cast Copies, Restrikes and Electrotypes of Medals, Battle of Dunbar, 1650, large silver restrike medals (2), 20th century (?), after T. Simon, from the same dies as previous, both 33 x 28mm, 22.72g, 16.98g (Lessen, BNJ 1981, pp.123-4 and pl. xiv, 31; Henfrey pl. i, 1; MI I, 392/14; E 181, note) [2]. Very fine and better, first on a thick flan with flat matt finish, second thinner and with dark artificial toning as issued £80-£100 --- Provenance: John Pinches Archive, Part II, Glendining Auction, 17 November 1988, lot 537 (part). These medals are higher quality strikings than that in the previous lot, probably 20th century. Whether they were commercially produced is unknown
Bewick (Thomas, 1753-1828). The Mirror; or a Looking-Glass for Young People of both Sexes; To make them Wise, Good, and Happy. Consisting of A Choice Collection of Fairy Tales. By Mother Goose, Newcastle Upon Tyne: printed by T. Saint for W. Charnley, in the Groat-market; and M. Vesey and J. Whitfield, at Tyne Bridge End, 1778, signed at head of Contents leaf 'Thos. Bewick', 13 woodcuts on letterpress, coloured or partially coloured in a juvenile hand, toned and some soiling (including ink blot on title-page), stitching partially broken, lacking I1 and I6, and remainder of signature near-detached with consequent tear and fraying, 6pp. publisher's catalogue at rear, front pastedown with bookplate of Jane Bewick (inscribed in pencil to lower margin 'From Dr. C. Clark Bertram's Collection, Alnwick'), with ink inscription above 'TBewick 1784' (first 2 letters conjoined), rear endpapers inscribed in pencil in a childish hand 'thomas Bewick has foure children, Jane the eldest, Robert the next, Isabella the next, Elizabeth the next', with 'Bewick' in ink, original calf-backed Dutch floral boards, worn, with upper cover near-detached, 12mo in 6sQty: (1)NOTESProvenance: Thomas Bewick's own copy of a rare early children's book, subsequently owned by his daughter, Jane; 5 of the 13 woodcuts are thought to be by Thomas Bewick, and the illustration on p.173, signed 'J.B.', is believed to be the earliest published example of a signed Bewick woodcut. David Gardner-Medwin, A Provisional Checklist of the Library of Thomas Bewick, The Bewick Society, 2010, 341: 'listed with Jane Bewick's books, 1806'. Worldcat lists just one copy of this edition (Dartmouth Library, New Hampshire, Hanover, New Hampshire), and two copies of a new edition of 'approximately 1783' (Robinson Library, Newcastle Upon Tyne, and The Lilly Library, Indiana University, USA). See Gumuchian 4143 for an undated edition with the suggested date of circa 1763: 'this rare work may have a frontispiece missing, but we do not know'; and ESTC for an edition of [1783?].
Darton (William & Son, publisher). The Wonders of the Telescope, by the author of "The Wonders of the Microscope", c.1830, 14 engraved plates, including frontispiece, most folding, all but 2 dated (1823), 4 with a closed handling tear, 1 a little edge-frayed, final plate nearly detached, front pastedown with early ink manuscript inscription, contemporary red quarter sheep, spine lettered in gilt with title and price (2s.6d), rubbed, board edges showing, 12mo, together with: Harris (J., publisher), Mother Bunch's Fairy Tales, published for the amusement of all those Little Masters and Misses who, by duty to their parents, and obedience to their superiors, aim at becoming Great Lords and Ladies, London: printed for J. Harris, successor to E. Newbery, c.1802, engraved frontispiece, scattered spotting, original printed stiff wrappers, rebacked with paper (coming away), rubbed with a little wear to edges, 12mo, plus: Tabart and Co. (publishers), The Book of Trades, or library of the useful arts, part II, 1 volume (only, of 3), 1st edition, London, 1804, 21 uncoloured engraved plates (complete), an additional (defective) plate 'Brazier' loosely inserted, possibly from part I, 1 plate close-trimmed at foot (affecting imprint), 1 opening with minor surface damage at gutter (affecting a few words), pp.3 publisher's advertisements at rear, contemporary red quarter morocco, gilt-lettering to spine, rubbed with a little wear to extremities, 12mo, with one other similar: The Garden; or, Familiar Instructions for the Laying Out and Management of a Flower Garden, 2nd edition, London: John Harris, 1832Qty: (4)NOTESFirst item: Darton H1605 (2). Second item: this edition not in Gumuchian or Osborne. Mother Bunch: although some editions of this title have several plates (as implied by the title page), this copy appears to follow the edition dated 1802, of which the British Library copy can be examined online, in having a frontispiece only. Book of Trades: this title when first published in 1804 comprised of two volumes or parts. In 1805 a third volume was published.
Fables. Select Tales and Fables with Prudential Maxims and other Little Lessons of Morality in Prose and Verse Equally Instructive & Entertaining For the use of Both Sexes wherein Their Foibles as well as Beauties are presented to their View in the fairest & most inoffensive point of Light. The whole embellish'd with Threescore Original Designs, expressive of each Subject, neatly engrav'd on Copper Plates, and publish'd according to Act of Parliament. By B. Cole, Engraver, 2 volumes in one, London: F. Wingrave, successor to Mr. Nourse, [1780?], engraved title-page to each volume, volume 1 with dedication leaf facing title (early manuscript inscription on reverse), engraved emblematic frontispiece misbound in volume 2 (following and facing title), 60 engravings on 30 leaves, plates IX/X and XVII/XVIII in second volume substituted one for the other, and leaves [i]-iv volume 2 misbound preceding Preface in volume 1, some toning and dust-soiling, several plates detached, 1 plate with very small closed tear, hinges cracked, and front board pulling away, endpapers soiled, old catalogue entry mounted on rear pastedown, blue sprinkled edges, original cloth-backed marbled boards, worn, with loss to spine ends and upper edge of rear board, 12moQty: (1)NOTESESTC T127913. First published in 1746, all editions appear to be strangely scarce. The first volume contains 6 alphabets.
Manuscript. An illustrated book of limericks, circa 1865, 32pp., each with large illustration and limerick beneath in brown ink, some spotting and marks, paper watermarked 'T & J H 1865', sheet size 14 x 23cm (5.5 x 9ins), stitching broken and page block loose in original lilac wrappers, worn and frayed, gilt title within volute border to upper cover, slim oblong 8voQty: (1)NOTESProbably drawn by an older girl or young lady, the limericks and their illustrations appear to be original works rather than copies, though no doubt inspired by Edward Lear's Book of Nonsense first published in 1846, for example: 'There was a young girl of Avignon, who wore a tremendous big chignon/When they cried, "That's too big!" She exclaimed "O my wig!"/They all wear them this size at Avignon', and 'There was a young lady from Bruges, who adorned herself largely with rouge/But they said, Don't you fear, twill be set down to beer/Which affronted that lady of Bruges".
Marshall (John, publisher). The Dandies' Perambulations, embellished with sixteen coloured engravings [by Robert Cruikshank], printed and sold by John Marshall, 1823, 16 pp. including frontispiece and title, printed on one side only, each page with hand-coloured engraved illustration, a little spotting and dust-soiling, a few closed tear repairs with old paper strips to versos, ink presentation inscription dated 1831 from Henry Freeman to his brother Arthur Freeman to front pastedown, original stiff wrappers with mounted hand-coloured label to upper cover, ink initials 'A F' to frontispiece and cover label, covers creased and soiled with some corner wear, old paper reback now perished with spine showing, slim 8vo, together with: [Strickland, Agnes], The Little Tradesman; or, a peep into English industry, William Darton, [1824], 24 half-page engraved trades on 12 leaves, publisher's engraved advert leaf at rear, offsetting to pages before and after plates, ownership signature of Henry Freeman dated 1829 to title upper margin, engraved presentation leaf before frontispiece, contemporary quarter roan over marbled boards, rubbed, some corner wear, tall 12mo, plus: Elliott (Mary), Rural Employment; or, a peep into village concerns, designed to instruct the minds of children, William Darton, 1820, 18 engraved plates, a few plate titles shaved at fore-edges, some spotting or browning throughout, ownership inscription for Henry Pettener Freeman dated 1824 to front free endpaper, contemporary quarter roan over boards, rubbed and slight wear, 12moQty: (3)NOTESGumuchian, 2049, cites 1821 as the first edition of the first book though some holdings suggest 1819. The variant title 'The Dandy's Perambulation's' appears on the label on the upper cover in this edition for which no other copies have been located.
Paper Doll Book. Young Albert, the Roscius, Exhibited in a Series of Characters from Shakespeare and other Authors, 2nd edition, London: printed by S. and J. Fuller, at the Temple of Fancy, Rathbone Place, 1811, pp.23, 7 hand-coloured cut-out figures in aquatint loosely inserted (one arm reinforced on verso), with 2 original interchangeable heads (Othello's plume reinforced on verso) and 2 hats, possibly lacking a third head? but otherwise complete, front free endpaper with ownership names 'Eliza Dunn 1812' and Ellen Barker Janry 1851', verso with printed label 'Jenkins' Repository, 48, Strand, For all Kinds of Fancy Articles and Pasteboard Work', original sewn printed wrappers (printing block misaligned so lower border trimmed off), with original cream silk tie through spine slot (almost never present), small hole in upper blank margin of rear cover, contained in original printed slipcase (printed 'the third edition'), lightly marked and joints split or splitting, 16moQty: (1)NOTESGumuchian 2034; Osborne p. 420 (both listing the first edition of 1811). Gumuchian calls this "one of the most interesting and scarcest of this type of early juvenile", and indeed, it is certainly one of the rarest of Fuller's paperdoll books, and remarkable also for including more than one head. Ours has the head of Albert and another for Othello; we have seen mention of a third head for Falstaff, although have been unable to trace a copy with it present. Gumuchian and Osborne each mention one head only.
Telescope (Tom, pseudonym). The Newtonian Philosophy, and Natural Philosophy in General, explained and illustrated by familiar objects, in a series of entertaining lectures, 4th edition, Thomas Tegg and Son ..., 1838, engraved folding frontispiece, engraved vignette title, numerous engraved illustrations in text, half-title, terminal advertisement leaf, some light spotting (mainly at front and rear), front free endpaper with contemporary ownership inscription dated 1838, stitching slightly showing (but firm), original blind-stamped green cloth, gilt lettering to front cover, faded spine with gilt title and telescope (rubbed), corners rubbed, spine frayed at foot and worn at head, small 8vo, together with: Sobersides (Soloman, pseudonym), Christmas Tales for the Amusement and Instruction of Young Ladies and Gentlemen in Winter Evenings, London: Printed by R. Marshall, at No. 4, in Aldermary Church Yard ..., [1780?], 36 hand-coloured woodcuts (of 38), including frontispiece (with minor loss to upper right corner), 18 stories, 2pp. publisher's advertisements at rear, lacking 8 leaves (pp.25-26, 35-36, 85-86, 99-106, 121-122), some spotting and toning throughout, [A6] with repaired tear, B1 with some loss at gutter (affecting a few words), K4 with a few words crossed-out (and associated strike-through), book ticket of Elizabeth Crosfield, contemporary green quarter morocco, worn, 12mo, plus: Dean & Munday (publishers), The Book of Trades; or, Familiar Descriptions of the Most Useful Trades, Manufactures, and Arts, practised in England, London, c.1830, 18 full-page wood-engraved illustrations (including frontispiece), occasional spotting, contemporary red quarter morocco, worn, 12mo, with 17 others related, including Small Books for the Comman Man, a Descriptive Bibliography, edited by John Meriton and Carlo Dumontet, 2010, and Juvenile Introduction to History, or Historical Beauties for Youth..., for Darton and Co., 1790Qty: (20)NOTESChristmas Tales: Osborne p.306. An extremely scarce copy of apparently the first edition of this popular collection of instructive stories. The Osborne copy (also defective) is the only other one we have found with the same early imprint 'R. Marshall'.
* Cotta (Johann Freidrich, publisher). Karten-Almanach, Germany: Tubingen, 1805, complete deck of 52 stipple-engraved transformation playing cards, designed by Gräfin Charlotta von Jennison-Walworth, comprising 4 suits of 13 (French suits), each with pip cards 1-10 (the red suits with hand-colouring) and 3 hand-coloured full-length court cards, some light toning, a few cards with some light brown marks, close-trimmed to line border in a few cases, plain versos, slightly rounded corners, 97 x 68mm (3.75 x 2.75ins)Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. Field 7; Hargrave, p.145; Hoffmann 85b; Mann, Collecting Playing Cards, pp.164/5; Morley, p.89; Tilley, pp.144-6; Wowk, p.38. Rare first complete set of transformation playing cards published as a deck; this famous pack of cards is the first of Cotta's six celebrated transformation decks. The court cards depict characters from Friedrich von Schiller’s tragedy Die Jungfrau von Orleans (The Maid of Orleans), although the transformed pip cards are unrelated. The deck was published as an almanac, in which each of the cards corresponded to one of the 52 weeks of the year, and it would originally have been accompanied by a tiny 16-page almanac.
* Harris (John, Publisher). Geographical Recreation, or A Voyage Round the Habitable Globe, Publish'd Octr. 1st 1809, hand-coloured engraving sectionalised on linen, with 116 circular illustrations arranged in five concentric circles, the 4 largest illustrations depicting maps of Europe, Asia, Africa, and America, dust-soiled with a few minor spots, left blank margin with some light brown marks near head, approximately 59 x 51cm (23.25 x 20ins), with original card slipcase, hand-coloured printed label, dust-soiled with a few marks, a little wear to extremities, slim 8vo, together with: Spooner (William, publisher), Spooner's Transformations No.5 'The Royal Rose of England', 1838, and Spooners Protean Views no.2 'A Snow Scene', mid-19th century, two hand-coloured transforming scenes, both dust-soiled, the 2nd somewhat spotted with a couple of marks, 16 x 13 and 15 x 28.5 cms respectively, both with original card mount and printed label, and another similar: Mount Vesuvius, published W. Morgan, 1837Qty: (4)NOTESFirst item: Whitehouse, pp.36-37.
* Darton (W. & T., publisher). Walker's Tour through England and Wales, A New Pastime, Published for the Author, W. & T. Darton, January 2nd 1809, hand-coloured engraved map, sectionalised on linen, with columns of letterpress rules and directions to either side, generally in very good condition, overall size 550 x 650 mm (21.6 x 25.6 ins), contained in original publisher's card slip-case with printed title label, rubbed and some wear, restrengthened to left hand edge with later calf (and titled in gilt), and to right hand edge with marbled paper, 8vo, together with Optical Toy. A Peepshow of the Thames Tunnel from the Wapping Entrance, published by Bondy Azulay, circa 1846, four hand-coloured engraved sections, and green card top section with engraved vignette view of the Thames Tunnel and two peepholes, each section attached by folding paper bellows, 12 x 15 cm (4.75 x 6 ins) extending to a depth of approximately 53cm (21 ins) when fully open, laid down inside a contemporary empty cloth binding, lettered Works of Pope to spine, and with printed description titled A Brief Account of the Thames Tunnel also mounted inside, with publisher's name: Azulay, Printer, Thames TunnelQty: (2)NOTESWhitehouse, Table Games of Georgian and Victorian Days (1951), page 13, for the first work.
* Slavery. A scissor cut, circa 1820s-1830s, black paper scissor cut, depicting a slave holding up his chains standing beneath a large palm tree on an island, a sailing ship on the sea beside, image size 10 x 16.5cm (4 x 6.5ins), mounted on album leaf, with contemporary inscription in brown ink below image 'Am I not a Friend, and a Brother?', and name 'Jane' in the same hand to lower right corner, lightly spotted, a couple of nicks and creases in right-hand edge, sheet size 23 x 18cm (9 x 7ins)Qty: (1)NOTESBased on 'the supplicant slave' image, designed for The Society for the Abolition of the Slave Trade, founded in 1787, and popularised by Josiah Wedgwood with the production of his anti-slavery medallion of the same design. This landmark image, depicting a muscular chained slave begging for compassion, has been described as the first widespread use of a logo designed for a political cause.
Austen (Jane). Pride and Prejudice, A Novel, London: Richard Bentley, 1833, engraved frontispiece, vignette title, and letterpress title all dated 1833, some spotting and toning to first and final few leaves and occasionally to text, frontispiece and vignette title with pale dampstain to lower outer blank corners, additional series titlepage deficient, contemporary green quarter calf, rear cover detached, front cover nearly detached, spine rubbed and stained, 8voQty: (1)NOTESGilson D5. Part of the first collected edition of Jane Austen's novels.
Collins (Wilkie). Poor Miss Finch, 3 volumes, 1st edition, London: Richard Bentley & Son, 1872, bound without advertisement leaf at end of volume I, Philosophers' Reference Library stamps to p.111 in volumes I & II & erased from p.111 of volume III, the stamps also bleached out from foot of titles and front blanks, occasional minor spotting, modern red half calf, spines with black and burgundy labels, 8vo, together with The Black Robe, 3 volumes, 1st edition, London: Chatto & Windus, 1881, half titles, 6 pp. & 32 pp. advertisements at end of volume III, occasional spotting and stains, foliate patterned endpapers, original black cloth, upper covers titled with robe design, spines lettered in gilt, Mitchell's Royal Library labels at head of upper covers, a little rubbed, 8vo, plus The Evil Genius. A Domestic Story, 3 volumes, 1st edition, London: Chatto and Windus, 1886, half titles, 32 pp. advertisements at end of volume III, occasional light toning and soiling, modern black half calf, spines with black and burgundy labels and gilt decoration, original cloth covers and spine bound-in front and rear of each volume, 8vo, plus The Woman in White, 2nd 1 volume edition, London: Sampson Low, 1862, half title, small oval albumen portrait with facsimile signature,additional engraved title (dated 1861), 1 pp. & 16 pp advertisements at end, water stain to first few leaves, some light spotting, contemporary owner inscriptions, original blindfstamped cloth, spine faded and repaired, a few small stains, 8voQty: (10)
[Dickens, Charles]. Oliver Twist; or, the Parish Boy's Progress. By "Boz", 3 volumes, 1st edition in book form, 1st issue, London: Richard Bentley, 1838, half-titles to volumes 1 and 2, 24 etched plates by George Cruikshank, bound without the 4 pp. advertisements in volume 1, the inserted list of illustrations noted in some copies, and the initial advertisement leaf in volume 3 (no half-title called for), marginal oxidisation to plates, imprints cropped, offsetting, a few other spots and marks, contemporary half calf, rubbed, labels chipped, 8vo (18.8 x 11.2 cm)Qty: (3)NOTESCf. Smith I 4. With the first-issue title-pages (authorship credited to "Boz" rather than Dickens), and the 'Fireside' plate in the third volume, suppressed in the second issue.
Dickens (Charles). Barnaby Rudge: A Tale of the Riots of 'Eighty, 1st separate edition, London: Chapman and Hall, 1841, illustrations by George Cattermole and H.K. Browne, a little minor spotting, original green blindstamped cloth, spine lettered in gilt, rebacked with original spine relaid, corners repaired, edes slightly rubbed with small indentation, 8voQty: (1)NOTESSmith I, 6B. Smith's secondary variant binding in green cloth with the chain decoration in blind to the covers. First separate one volume edition, bound from the weekly parts from Master Humphrey's Clock.
Dickens (Charles). American Notes for General Circulation, 2 volumes, 1st edition, London: Chapman and Hall, 1842, 1st issue with p. x misnumbered xvi in volume I, 6 pp. advertisements at end of volume II, a few minor spots and stains, Leighton & Eeles binder tickets to volume I front pastedown, bookplates of James Ludovic Lindsay, 26th Earl of Crawford (1847-1913, astronomer, politician and bibliophile), 'Bibliotheca Lindesiana', original blindstamped brown cloth, spine ends a little frayed, small inkspots to volume I covers, 8vo, plus Report of the Dinner Given to Charles Dickens in Boston, February 1, 1842, reported by Thomas Gill and William English, reporters of The Morning Post, 1st edition, Boston, 1842, rebound in later blue morocco giltQty: (3)NOTESFirst work Eckell pp. 108-109; Smith II, 3.
Dickens (Charles). The Life and Adventures of Martin Chuzzlewit, 1st edition in book form, London: Chapman and Hall, 1844, half title, etched frontispiece, additional title and 38 etched plates by H.K. Browne ("Phiz"), a little light spotting, light marginal toning to plates, original yellow endpapers (bookplates removed from front endpaper and pastedown), hinges a little tender but holding, original blue blindstamped cloth, spine lettered in gilt, spine a little faded to green with small nick and tears at foot, 8voQty: (1)NOTESEckel pp. 71-73; Smith I: 7. The title vignette conforms to Smith's 2nd state (no priority) with "£100" on the signpost, six studs on the trunk and signed "Phiz", and 14 line errata (the usual second setting, the first setting 13 lines). First edition in bookform, published in July 1844, after the monthly parts were issued from 31 December 1842 to 30 June 1844.
Dickens (Charles). A Tale of Two Cities, 1st edition, 2nd issue, London: Chapman and Hall, 1859, etched frontispiece, additional title and 14 plates by H.K. Browne, occasional light spotting, front hinge slightly tender, original green blindstamped cloth, spine faded to brown with small chip at head and frayed at foot, contained in later morocco-backed slipcase (a little rubbed with one piece of siding detached), 8voQty: (1)NOTESEckel pp. 86-90, Smith I, 13. Smith's secondary binding in green cloth, the first issue was bound in red cloth. Second issue copy, with p. 213 correctly paginated. .
Dickens (Charles). Our Mutual Friend, 1st edition in the original parts, London: Chapman & Hall, 1864/5, 20 monthly numbers in 19 original parts as issued, 40 wood engraved plates after Marcus Stone, complete with all advertisements called for by Hatton & Cleaver, except the slip following the 'Advertiser' in No. 8 ("December the First ..."), additional Chapman & Hall 8pp. catalogue dated Sept. 1 1865 at rear of No. 18 not called-for (identical to that in No. 17), 2 half-titles and 2 printed titles present, No. 8 with small pencil drawing of a gentleman's face on verso of final advertisement leaf, occasional light spotting, 1 or 2 closed tears, original printed blue-green wrappers, a little soiling and chipping, with some minor losses to spines and edges (particularly to first part), No. 2 with front cover detached, rear cover of No. 11 spotted, Nos. 8 and 9 with pencilled ownership signature on front cover, slim 8vo, housed in a custom-made terracotta cloth solander box with gilt lettering(19)Notes:Provenance: Christie's, 1st June 2009, lot 138.Eckel pp.94/5; Gimbel A149; Hatton & Cleaver, pp.345-370.
Dickens (Charles). Our Mutual Friend, 2 volumes, 1st edition, London: Chapman and Hall, 1865, bound from the parts, half-titles, 40 engraved plates by Marcus Stone, including frontispieces, each volume with an original printed wrapper (parts 5 & 16 respectively) bound-in, 8 original advertisment leaves bound-in (on white, pink, and blue paper), scattered spotting, 1st volume one plate with chip and short edge tear, all edges gilt, near contemporary maroon half morocco, rubbed, corners showing, spines faded, 8vo, together with: ibid. Bleak House, 1st edition, London: Bradbury and Evans, 1853, bound from the parts, half-title discarded, 40 etched plates by H. K. Browne, including frontispiece and additional title, generally soiled throughout, plates toned with some spotting, p.107 with long closed tear (related to paper fault), p.331 with loss to blank fore-margin, 2 plate leaves with a closed tear extending 1cm into image, modern dark brown half morocco, lightly rubbed in places, spine faded, 8vo, plus: ibid. The Personal History of David Copperfield, 1st bookform edition, London: Bradbury & Evans, 1850, half-title discarded, title misbound after Contents, 40 etchings by H. K. Browne, including frontispiece and additional title (with date at foot), some light finger-soiling, letterpress spotted, frontispiece blank reverse with early ink manuscript signature, one plate with small stain to lower blank corner, one with short edge tear touching caption, one close-trimmed at fore-edge clipping caption, contemporary black half calf gilt, worn, cover detached at front hinge, 8vo, and 3 other Dickens 1st editions: Little Dorrit, Martin Chuzzlewit, Sketches by Boz (lacking 2 plates)Qty: (7)NOTESFirst three items: Eckel, pp. 94-95, 79-81, 77-78; Gimbel A149, A130, A122 respectively.
Hardy (Thomas). Wessex Novels, 17 volumes, London: Osgood, Mcilvaine and Co., 1895-97, etched frontispiece to each, a little light marginal toning, light spotting to endpapers, top edge gilt, original uniform green cloth gilt, one or two tiny closed tears at spine ends, a few light marks, 8voQty: (17)NOTESThe set includes the first editions of Jude the Obscure, 1896 [1895] (volume VIII) and The Well-Beloved, 1897 (volume XVII). An 18th volume, A Changed Man, in uniform format was published by Macmillan in 1913.
Henty (G.A.) Friends Though Divided. A Tale of the Civil War, 1st edition, London: Griffith & Farran, 1883, 8 wood-engraved plates, 32 pp. advertisements at end dated September 1983, occasional minor spotting and soiling, neat contemporary presentation inscription at head of title, small sticker to front pastedown, original red pictorial cloth gilt, spine a little faded, slight lean, 8voQty: (1)NOTESNewbolt 12.1 (3). First edition, early issue, Newbolt's note 3 with Catalogue A dated '9.83'. The earliest issue, published in 1882 (but dated 1883) has Catalogue B dated May 1882.
Kipling (Rudyard). Quartette, The Christmas Annual of the Civil & Military Gazette, by four Anglo-Indian writers, [i.e. John Lockwood, Alice, Rudyard & Alice Macdonald Kipling], 1st edition, Lahore: The "Civil and Military Gazette" Press, 1885, title printed in red and black, closed tear repair to outer margin without loss, a little dust soiled, pencil markings to Contents leaf, two closed tears without loss to pp. 37/38, marginal repair with no text loss to pp. 41/42, two words ('Ilbert Bill') circled in ink on p. 53, small closed tear repairs to outer margins of final two leaves not touching text, top edge gilt, original printed wrappers and advert leaves discarded, engraved armorial bookplate of M.C.D. Borden, contemporary crushed brown half morocco over marbled boards, gilt-titled spine with five raised bands, rubbed, 8voQty: (1)NOTESLivingston 5; Martindell 4. One of Kipling's earliest publications, comprising 8 poems and 8 prose pieces by the Kipling family, including the first appearance of 'The Phantom Rickshaw'. Matthew Chaloner Durfee Borden (1842-1912) was a textile leader from Fall River, Massachusetts who in 1880 reorganised the failed American Print Works into the American Printing Company.
Lever (Charles). Davenport Dunn, or the Man of the Day, 22 parts in 21 (as issued), 1st edition, London: Chapman and Hall, July 1857 - April 1859, 44 etched plates by 'Phiz' (H. K. Browne), including frontispiece and additional title (issued in final double-part), numerous advertisement leaves throughout on pink, yellow, white, green, and blue papers, very scarce minor spots, sewn as issued, 2 parts unopened, original pictorial printed pink paper wrappers, somewhat faded and dust-soiled, few minor marks, part III front cover with early ink manuscript signature at head, contained together in brown cloth-covered portfolio with matching morocco-backed slipcase (rubbed with some marks), gilt-lettering to spine, 8voQty: (1)NOTESSadleir 1401; Wolff 4084 both for the bookform. Sadleir regarded Davenport Dunn as the rarest of the octavo novels first published in parts, and this is a rare survival of the original parts in excellent condition. The character of Dunn is loosely based on the notorious Irish financier, politician and swindler John Sadleir, who eventually fell into ruin and committed suicide on Hampstead Heath. Charles Dickens also made use of the character in his novel Little Dorrit, basing Mr. Merdle on Sadleir.
Shelley (Mary Wollstonecraft). Frankenstein: or, The Modern Prometheus [... The Ghost-Seer! From the German of Schiller. In two volumes. vol. I], 2 parts in 1 volume, London: Henry Colburn and Richard Bentley, 1831, pp. [2], [v] vi-xii, 202; [4] 3-163,[1], series-title (with 'Standard Novels. No IX') to front discarded, engraved frontispiece and engraved additional title-page to first part (Shelley, both partly hand-coloured, browned, spotted and dampstained to lower outer corner), separate title-page to each part, half-title to second part (Schiller), advertisements discarded, occasional minor spots, hinges cracked, contemporary black half calf with gilt decorated raised bands, light brown morocco title label to spine, marbled sides, light wear mostly to head & foot of spine, 8vo (16.1 x 10.2 cm)Qty: (1)NOTESSadleir 3734a.9; Wolff 6280a. First Bentley edition of Frankenstein, extensively revised by the author, the third edition overall. Published as the ninth volume in Bentley's Standard Novels series (the volume also containing the first part only of Schiller's The Ghost-Seer), it was also the first illustrated edition, and the first in one volume. Frankenstein was first published in 1818, the second edition appearing in 1823.
[Thackeray, William Makepeace]. The Yellowplush Correspondence, 1st edition, Philadelphia: E.L. Carey & A. Hart, 1838, title and a few leaves detached at front, front hinge broken, small piece of a front endpaper torn away, some spotting, bookplate of Viscount Esher (1852-1930), original cloth-backed boards, spine faded with wear to label, joints splitting, some soiling to boards, 8voQty: (1)NOTESWilliam Thackeray's first separate work in book form, the work first serialised in Fraser's Magazine from 1837-38. The pagination starts on page 13, an introduction or preface likely intended by the publishers for pages 1-12.
Verne (Jules). Twenty Thousand Leagues Under the Seas, 1st UK edition, London: Sampson Low, Marston, Low & Searle, 1873, 112 monochrome illustrations, 5 detached (at pp. 66-67, 79 & 246-47), publisher's 8 pp. advertisements for the season 1872-3 at end, occasional minor spotting, previous owner inscription of H.S. Dewhurst, 1873 at head of title and again to half title, armorial bookplate of Henry Courtney Brocklehurst (1888-1942), hinges tender (front hinge breaking), all edges gilt, original red pictorial cloth gilt, spine ends a little rubbed with small splits and tears, some wear to corners, 8voQty: (1)NOTESMyers 56 (noted in green cloth). The first edition in English was actually published in November 1872 (but dated 1873) preceding the more usual American first edition by James Osgood in Boston in 1873, using the English edition illustrations. Also found in blue cloth.
* Dunhill (Thomas, 1877-1946). English Composer and Writer. A collection of six autograph musical quotations from his work Tantivy Towers, a total of 33 bars, together with autograph letters signed from Dunhill in which he suggests that the autograph musical quotations could be used as examples in an article for the Evening Standard to coincide with the work's publication and anticipation of its first performance, 3 pp., 8voQty: (8)
* Elgar (Edward, 1857-1934). English Composer. Autograph Musical Quotation signed, 'Edward Elgar', 5 September 1901, 4 bars on a hand-drawn stave in brown ink with bold signature and date beneath, some light spotting, dust-soiling and creasing to paper, 16 x 20 cm, mounted with a reproduction photographic portrait, framed and glazed with old typed caption label to versoQty: (1)NOTESThe Dream of Gerontius was first performed in Birmingham in 1900.
* Elgar (Sir Edward, 1857-1934). English composer. Autograph Letter Signed, (‘Edwd. Elgar’), Athenaeum embossed letterhead, 7 February 1910, to [Alfred] Littleton, his publisher at Novello, informing his correspondent of his movements and asking for scores of the First Symphony and the song The Torch to be sent out, the first to Landon Ronald, the second to Miss Viola Tree, 2 pages, 4toQty: (1)NOTESAt the time of writing this letter, Elgar was working on his second symphony. Apparently unpublished: not in J. Northrop Moore, Elgar and His Publishers, 1987.
* Freud (Lucian, 1922-2011). British Painter. Lucian Freud [by] Lawrence Gowing, 1st edition, Thames & Hudson, 1982, colour and black and white illustration from photographs throughout, signed and inscribed in pencil by Freud to title, 'For Lambert from his friend' with two arrows pointing at his first and second names beneath, original decorative cloth, 4to, together with an Autograph Letter Signed 'Lucian', Monday night, 36 Holland Park, circa 1980s, to 'My dear Lambert', in blue ballpoint pen, regretting that he will not meet up, 'I hope you wont think it unfriendly of me but I want to work every night until I have finished my big painting. There is hardly any one I'd rather see than you - I simply feel all wrong, wormlike and pretencious [the 'c' corrected to 't' with green pencil] if Im not working hard', the additional word 'consitenly' (sic) written in green pencil beneath the word 'working', a few minor marks and light creases, one page, 4toQty: (2)
Freud (Sigmund). Psychoanalytische Studien an Werken der Dichtung und Kunst, 1st edition, Leipzig, Vienna & Zurich, Internationaler Psychoanalytischer Verlag, 1924, single photographic plate of Michelangelo's Moses, signed by the author in ink to front endpaper 'Sigm. Freud', and dated 1937, original publisher's yellow cloth, with spine and upper cover lettered in blue, generally in very good condition, 8voQty: (1)NOTESGrinstein 10687. A collection of six various essays on literature and art, originally published between 1908 and 1917 and here for the first time brought together, including The Moses of Michelangelo, and The Uncanny. Inscribed by Freud in 1937, the year before he emigrated to London.
* Glazunov (Alexander, 1865-1936). Russian Composer. Autograph Letter Signed, 'A Glazunov', [St. Petersburg], 4 July 1926, in Russian to Olga Kalantorovna, discussing the recipient's submission to the Board of the Conservatory in St. Petersburg and further mentioning the composer Boris Asafyep and the conductor Oskar Fried, lined paper, some light age wear and original folds, tiny pin hole at centre just touching the top of first name initial, two pages, 8vo, (full English translation provided)Qty: (1)NOTESOlga Kalantrova became a well-respected piano teacher at the St. Petersburg Conservatoire, and was a friend and assistant to the Russian virtuoso pianist Anna Yesipova (1851-1914). Boris Asafyev (1884-1949) was a Russian composer and a pupil of Rimsky-Korsakov, whose chief reputation was as a composer of ballets. Oskar Fried (1871-1941) was a German-born conductor, horn player and composer.
* Grainger (Percy, 1882-1961). Australian composer and pianist. Photograph signed, 'Percy Grainger, Aug[ust] 1923', sepia bromide silver print, half-length in part profile, signed and inscribed for Frederick H. Martens in blue ink to a lighter part of the image, beneath 2 bars of an autograph musical quotation from Hillsong I, small circular blindstamp of the photographer [Alfred] Krauth, Frankfurt, to lower right corner, some silvering visible to lower and right margins (when viewed at an angle), 21.5 x 15.5 cm, framed and glazedQty: (1)NOTESThe first version of Grainger’s Hill Song Number 1 was composed between 1901 and 1902. After much rewriting and revising, it was eventually published by Universal Edition in 1924. Grainger said of this work, ‘…I think it is one of the very richest in herzblut [heart's blood] of all my works'. Frederick Herman Martens (1874-1932) was an American music journalist and writer.
* Larkin (Philip, 1922-1985). English Poet, Librarian and Jazz Critic. An important typed letter signed, 'Philip Larkin, letterhead of University Library, Hull, 23 April 1956, to Mr Sergeant, about Larkin's most famous poem 'An Arundel Tomb', 'I am indeed encouraged by your kind praise of AN ARUNDEL TOMB. I was not convinced it had come off. I think it starts very nicely but loses its way. However, I am indeed grateful for your recommendation of it to POETRY AWARDS, and hope something does come of it...', filing holes to blank left margin, clear blue ink signature at foot, one page, 8vo, together with two autograph letters signed from Larkin, the first to Mr Hobsbaum, 32 Pearson Park, Hull, 8 February 1964, thanking him for sending his book '... which I will read with great interest...', hoping the book will do well and enquiring as to whether he is enjoying Belfast, staple and filing holes to left margin not affecting text, one page, 8vo, the other to Mr Watson, Hull, 22 July 1971, a brief note thanking him for his enouraging letter about the jazz reviews, a few light splash marks touching a few letters, one page, 8voQty: (3)NOTESAn Arundel Tomb was written in 1956, and was published as part of Larkin's first collection of poems The Whitsun Weddings. It is based on a stone monument, which can be found in Chichester Cathedral, near to the ancient town of Arundel. It has become so famous that a copy of the poem is now placed at the side of the statue so that visitors can experience both poem and effigy. [Herbert] Howard Sergeant MBE (1914-1987) was a poet and literary editor of the poetry magazine Outposts which he founded in 1943. Philip Hobsbaum (1932-2005) was a writer, poet and critic and lecturer in English at Queen's University Belfast. The book to which Larkin refers is likely to be Hobsbaum's The Place's Fault and Other Poems (1964). All the letters are apparently unpublished and not included in the Selected Letters, edited Anthony Thwaites, (Faber, 1992).
* Monet (Claude, 1840-1926). French Impressionist Painter. Autograph letter signed, 'Claude Monet', Savoy Hotel, Embankment Gardens, London, 19 February 1900, in French, to Gustave Geffroy, addressing him as 'Cher ami', informing Geffroy that a small single bedroom would cost 7 shillings and a double bedroom 15 shillings, continuing that he will be delighted to see Geffroy rejuvenated and makes a wish for Clemenceau's recovery, and is grateful for his letter of recommendation which he has not made use of yet, concluding that he is working hard at the moment ('Je suis dans le coup de feu au travail'), despite the terrible weather, 2 pages written on the first and fourth page of Savoy Hotel stationery, 8vo, together with the original autograph envelope addressed to Geffroy in Paris, postmarked in London, 20 February 1900Qty: (2)NOTESGustave Geffroy (1855-1926) was a French journalist and art critic, and was one of the earliest historians of the Impressionist Art movement and a friend of Monet. Monet visited London between 1899 and 1901 when he worked on a series of paintings of the Palace of Westminster, depicting the Parliament buildings at different times of the day in varying weather conditions.
* Rubbra (Edmund, 1901-1986). British composer. A good archive of 29 unpublished Autograph Letters Signed and 3 Typed Letters Signed all ‘Edmund Rubbra’, Oxford University and Gerrards Cross, Buckinghamshire, 22 November 1963 to 24 May 1976, to ‘Michael Dawney’, mentioning, inter alia, the first performance and subsequent publication of his Missa Brevis, his Cello Soliloquy, Farnaby Improvisations, 2nd Symphony, Piano Studies Op. 139 and much church music, including the Advent Cantata and Nine Tenebrae Motets, a total of 38 pages (including 14 with filing holes, some affecting the text), occasional paperclip marks and some annotations by Dawney, 8vo, together with an important biographical, autograph textual manuscript in pen and pencil, 24 May 1970, being the answers to 13 questions from Dawney (included on a separate sheet) about Rubbra’s life and music, giving detailed responses about his youth, influences, impressions of Holst and Vaughan Williams, his days at the Royal College of Music, with Constant Lambert, Howard Furguson and Gerald Finzi, his interest in mysticism, the origin of his name, his book on Holst, his views on composition, etc., 6 pages on four leaves, 4toQty: (34)NOTESMichael Dawney (born 1942), musicologist, music editor, composer of hymn tunes and pupil of Edmund Rubbra. The letters are apparently unpublished and are of significant biographical importance.
* Sassoon (Siegfried, 1886-1967). English Poet, Writer and Soldier. Autograph Poem signed with his distinctive monogram 'SS' of the humorous poem 'Out of Date', circa 1925, 12 lines, beginning, 'A noon edition said / "Lord Out of Date is dead"...', written in light purple pencil on a Reform Club Pall Mall correspondence card, 14 x 9 cm, address side blank, preserved in a purpose-made red cloth book box with gilt-titled spine, together with three autograph letters signed by Sassoon, the first to Colin [Fenton], Heytesbury [House], 10 April 1954, declaring that some of his poems depress him and are not worth printing, mentioning his great friend Max Beerbohm lamenting the effects of solitude and disparaging the dons of All Souls, in particular A.L. Rowse, '... the other poems in the M.S. I sent to John [Sparrow] give me a feeling of depression, and I don't think many of them are worth printing. I imagine people finding them too solemn and unstimulating...', written in a close hand in blue ink to upper half a page of light blue paper with monogram signature, 8vo; an earlier autograph letter signed to Mr Horsley, London, 20 July 1926, offering to meet with members of Horsley's College Library Society, and asking him to leave it open, in blue ink on a small correspondence card with verso blank, oblong 16mo; the last and undated letter to Horsley, cancelling a proposed visit to Cambridge and sending his apologies, a little marginal toning, one page, 8vo; plus a printed decorative card featuring Sassoon's poem Another Spring with signed presentation inscription from Siegfried Sassoon to C.F. [Colin Fenton] to lower margin, verso blank, 10 x 16 cmQty: (5)NOTESThe autograph poem is apparently unpublished. It may date from circa 1920/21 if the reference to '... Caruso's grave condition...' is contemporary with the poem. In his biography of the poet, Max Egremont draws attention to the fact that Sassoon's poetry returned to satire in 1920. It was at this same time that Caruso became seriously ill, suffering a throat haemorrhage on 11 December, the news of which would have crossed most of Europe and America. Colin Fenton (1929-1982) was a student at Christ Church College Oxford, and was believed to have been John Sparrow's lover. For a time, Fenton shared Sparrow's accommodation at C1 Albany and it was Sparrow who introduced Fenton to Sassoon in 1953. Fenton was to write Sassoon's obituary for the Times in 1967. The autograph poem and letters are all apparently unpublished.
* Smyth (Ethel, 1858-1944). British Composer, Writer and Suffragist. Autograph Musical Quotation Signed, 'Ethel Smyth', no place, no date, being the first two bars from her opera The Wreckers, written on a hand-drawn stave and identified in her hand as the 'Wreckers Overture', white card with remains of mount to verso, 85 x 115 mm, together with an autograph letter signed, 'Ethel', 5 November [1942?], to Commander Lyndsay Venn [husband of Smyth's late niece, Hilda Hollings], being a letter of condolence on the death of her niece, one page, oblong 8vo, together with: St. John (Christopher, nom de plume of Christabel Gertrude Marshall, 1871-1960). Author, Playwright and Campaigner for Women's Suffrage. 11 autograph letters signed, 'Christopher' and one 'Christopher St. John', mostly 1956-1959, all but one to Clare [Neilson], and relating to the preparation and eventual publication of St. John's biography of Ethel Smyth, mentioning Smyth and her works in many of the letters with further references to Noel Coward, Edward and Vita Sackville-West, Sir Henry Wood, Yehudi Menuhin and Ernest Newman, the eleventh letter to Commander Venn, dated 1943, responding to him with details of her thoughts about Mrs Venn and Dame Ethel Smyth, 2 pp., 8vo, plus: two autograph letters and three typed letters (all unsigned) by Clare Neilson relating to St. John's biography and her preparation of the typescript copy, a Novello Original Octavo paperback vocal score of Smyth's Mass in D, (signed and dated with initials by Kathleen Dale and with a few annotations, with an original 'Order of Service' for Smyth's funeral neatly attached to inside back cover, an original obituary notice for Smyth and two contemporary newspaper reviews of St. John's biography and a newspaper article about SmythQty: (a folder)NOTESAn important series of letters to the dedicatee of St. John's book Ethel Smyth: A Biography. Nielson acted as typist and copyist for St. John when in her late 80s. Ethel Smyth studied in Leipzig and is famous for two works: Mass in D and an opera The Wreckers, the latter written in 1906. As a crusader for women's suffrage, she composed the battle-song of the Women's Social and Political Union; she was also imprisoned for three months.
* Sorabji (Kaikhorsru Shapurji, 1892-1988). English Composer of Parsi Extraction. Autograph Musical Quotation Signed 'Kaikhosru Shapurji Sorabji', no date, in black ink on part of an album leaf with printed staves, the handwritten being one long bar (14 notes) from the opening of Sorabji's most famous work Opus clavicembalisticum for piano, titled and signed across printed staves beneath, paper size 12 x 18 cm, light central vertical fold, remains of adhesive, mount remains to versoQty: (1)NOTESSorabji's massive piano piece Opus clavicembalisticum was given its first and only performance during the composer's lifetime on 1 December 1930 by Sorabji himself. At nearly 3 hours in length, it is one of the longest works in the repertoire, and is of labyrinthine complexity. Being a highly eccentric composer, Sorabji put a ban on all performances of his works between 1940 and 1976. The pianist John Ogdon recorded the whole work in 1989. Autograph material by Sorabji is scarce, with autograph quotations from his most famous work being particularly uncommon.
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![* Glazunov (Alexander, 1865-1936). Russian Composer. Autograph Letter Signed, 'A Glazunov', [St. Petersburg], 4 July 1926, in](https://cdn.globalauctionplatform.com/a83f8a98-ef22-4386-8e98-ac9400fa1bd0/15f69c1b-2002-4a53-8478-ac950130ca53/468x382.jpg)
![* Grainger (Percy, 1882-1961). Australian composer and pianist. Photograph signed, 'Percy Grainger, Aug[ust] 1923', sepia bro](https://cdn.globalauctionplatform.com/a83f8a98-ef22-4386-8e98-ac9400fa1bd0/a2a02668-8c8d-4c37-aa99-ac950130cabc/468x382.jpg)
