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A silver and enamel Art Deco wine label, by T and S, Birmingham, date letter worn, shaped oval form, with blue, black and white enamel decoration, titled `WHISKY`, plus other base metal examples including two with enamel lettering `RYE` and `SHERRY` and a set of four modern labels `BOURBON`, `RUM`,`VODKA`, and `BRANDY` and three gilt examples of the same design, titled `SCOTCH`, `BOURBON` and `GIN` (10)
Amendment - NO LOT: A mahogany five glass decanter set box and cover, 19th century, hinged lid opens to reveal a fitted interior, containing five cut glass decanters, each etched Rum, Brandy, Sherry, Whiskey and Gin to neck, above a diamond cut pattern, loop handles to sides, height 19 cm, (key).
[Mordaunt (Elinor)] “A. Riposte”. Gin and Bitters first edition heavily marked up in pencil by the author with tipped-in sheet of autograph amendments original cloth New York Farrar & Rinehart 1931; and a copy of the withdrawn UK edition with inscription from the publisher Martin Secker on front free endpaper [Stott F30] housed together in custom morocco-backed cloth drop-back box 8vo (2) *** A fascinating work and even more intriguing publishing history. Gin and Bitters was published in America in 1931 a thinly veiled attack on Somerset Maugham via its central character Leverson Hurle a famous novelist who had travelled extensively in the Far East the title of the book itself an overt pastiche of Cakes and Ale. The book was published pseudonymously not long after Cakes and Ale and many initially assumed that it was written by Hugh Walpole in retaliation to Somerset Maugham`s caricaturing of him in that work. Walpole immediately wrote Somerset Maugham denying this and it seems the latter was relatively untroubled by the publication. However when it was announced that the work was to be published in the UK initially by Somerset Maugham`s own publishers Heinemann then Martin Secker he took the advice of his brother Frederic and issued a writ which was brought to bear upon the publishers and the book was withdrawn despite considerable alteration by Mordaunt. This lot comprises a copy of the original US edition with Mordaunt`s revisions and notes for the UK edition including a new working title (firstly apparently Traveller`s Tale) and a copy of the UK edition which has a manuscript note at the front by Martin Secker detailing the history of the work its withdrawal and the destruction of the remaining stock. Stott refers directly to this copy of Gin and Bitters and explains that most likely the author was motivated by her friendship with Thomas Hardy`s second wife who along with her husband was referred to unfavourably in Cakes and Ale as evidenced by some of the marginalia in this marked-up copy.(2)
Three Japanese cloisonne vases, c.1900. One decorated in gin barrie enamels with flowers, the others a pair decorated with birds in flowering trees on a dark blue ground, 15cm, one with a wood stand, both with original wooden boxes, the former with a paper label inscribed ‘Manufactured by T. Hattori.’ (4)
A set of three George IV silver wine labels, by Rebecca Emes and Edward Barnard, London 1824, with flowers, fruiting vines and a shell surmount, pierced ‘Sherry’, ‘Port’ and ‘Madeira’, ensuite another set of three silver wine labels, by Messrs Barnard, London 1829, of the same design, pierced ‘Brandy’, ‘Rum’ and ‘Gin’, 6.75 cm long (6)
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