We found 534297 price guide item(s) matching your search
There are 534297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534297 item(s)/page
Lot 78
A retro 20th Century 1970's Italian wrought iron designer standard lamp light having a thick frosted glass shade with greek key decoration to the rim. Below a serpent style scrolled stem support with all raised on a weighted circular base. Sold as untested by ourselves. Measures approx; 169cm x 36cm.
Lot 9
John Dugdill & Co - A vintage 20th Century 1930's Art Deco industrial engineers articulated multi positional mountable desk lamp light. The lamp having a green enamel shade with white finished interior with all being raised on two adjustable arms with brass COG joints with all raised on a circular mount base. Impressed makers marks to the base 'Dugdill AP17014'. Measures approx fully extended; 93cm long.
Lot 98
A retro vintage mid 20th Century 1960's Tretchikoff era chalkware Hawaiian girl lamp light being polychrome decorated with hand painted facial features. The female holding a twin handled vase with light fitting section above with the girl having blue flowers in her hair. Measures approx; 37cm x 36cm x 10cm.
Lot 21
ANTONY GORMLEY (B. 1950)BREATHE 2016 signed, titled and dated 2016 on the reversecrude oil, linseed oil and petroleum jelly on paper256 by 134 cm.100 13/16 by 52 3/4 in. This work is from a series of 12 unique monoprints taken directly from the artist's body. Footnotes:ProvenanceAlan Cristea Gallery, LondonAcquired directly from the above by the present owner in 2016ExhibitedLondon, Alan Cristea Gallery, Antony Gormley: CAST, 2016, p. 33, no. 10, illustrated in colour LiteratureMartin Caiger-Smith, Antony Gormley, New York 2017, p. 407, illustrated in colourLe Gallerie degli Uffizi, Antony Gormley ESSERE, Florence 2019, p. 71, no. 3, illustrated in colour Born in London in 1950, Antony Gormley is not only widely acclaimed for his sculptures, installations, and public artworks, but also for a truly remarkable body of drawings. Not unlike a modern-day Leonardo Da Vinci, his drawings are tinged with washes, varnishes, dyes, oil, earth and even blood amongst more traditional media and they serve as much more than just a way to record his surroundings. Always with a workbook at hand, Gormley's drawings form an artistic corpus in its own right and whilst there are visual parallels with his larger three-dimensional work, they go far beyond mere preparatory studies. He is 'going places in the drawing that are not possible in life or sculpture: outer space or deep water' ('BODY AND LIGHT, 1990 – 1996', www.antonygormley.com, 22.02.2022), the process of drawing itself becoming a meditative as well as creative exercise. Gormley draws the viewer in, makes them both spectator and participant in his work by questioning and exploring where human beings as a whole and the human body in particular stand in relation to the space in which they exist; be it a small room, nature, or the cosmos. This was perhaps nowhere more palpable than in his recent critically acclaimed solo show at the Royal Academy where he filled the institution's thirteen vast main galleries with astonishing larger-than-life sculptures and installations. An entire room there was dedicated to drawing, showing the sheer diversity, range, and importance of this part of his oeuvre.Perhaps best known for Angel of the North near Gateshead, Gormley is a monumental figure, both in eminence and stature. His own 6ft 4in tall frame functions as a mould for his sculptural work and as a brush in his drawings which often involve the physical activity of the entire body. Works like the Clearing drawings convey considerable speed and velocity used in their creation, and in life-sized, ethereal Body Prints such as the present work, Gormley himself becomes the painting apparatus. The series of unique works was developed for the exhibition CAST at Alan Cristea Gallery in London in 2016, which explored how our own physical freedom and imaginative potential is progressively more conditioned by the environment we have built and the dependencies we have constructed around us. A number of large woodblock prints based on seven distinct body poses that reinterpreted anatomy in the language of architecture were interspersed with a series of crude oil and petroleum jelly Body Prints. Titles ranged from OPEN to FEEL, SEE, SHOW and the present work, BREATHE. Whilst the woodblock prints relate to Expansion Field (2014) a work which 'applies the principles of an expanding universe to the subjective space of the body' ('CAST, ALAN CRISTEA GALLERY, LONDON, ENGLAND, 2016', www.antonygormley.com, 22.02.2022), the use of crude oil in the artist's body prints has an avowedly political context. To create the transfer, Gormley covered himself in crude oil, linseed oil and petroleum jelly and, with the help of two assistants and two long poles, he would fall onto the handmade paper, the weight of his body creating a corresponding, ghost like imprint. As the 'blood of the earth' slowly seeps into the fabric of the sheet, a kind of halo forms around the figure, imbuing the work with a sacral feel. Having grown up in a devoutly Catholic home, Gormley turned away from the church at the age of eighteen towards Buddhism and became interested in vipassana meditation which he often uses in his artistic practice. The use of 350-million-year-old carboniferous Texan crude mixed with North Dakota oil to perfect the colour shade and effect is meant to highlight our dependency on petrochemicals. The oil represents the planet's DNA, its solar memory, a result of age-old photosynthesis in a time where we have our own capacity to harness the power of the sun and perform a sort of industrialised photosynthesis. The Body Prints act as a memorial to a time in which our dependency on fossil fuels was on the ebb though still pronounced. Antony Gormley was awarded the Turner Prize in 1994, the Praemium Imperiale in 2013 and has been a Royal Academician since 2003. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year's Honours list in 2014. Gormley's work has been widely exhibited throughout the UK and internationally with recent exhibitions at National Gallery Singapore, Singapore (2021); the Royal Academy of Arts, London (2019): Delos, Greece (2019); Uffizi Gallery, Florence (2019) and the Philadelphia Museum of Art, Philadelphia (2019). Permanent public works around the globe include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia), Exposure (Lelystad, The Netherlands) and Chord (MIT - Massachusetts Institute of Technology, Cambridge, MA, USA). Highly political in much of his oeuvre, he uses the strength of his market and public popularity to highlight injustice and confront us with our own needs, our relationship to the planet, other lifeforms and the cosmos.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 22
FERNANDO BOTERO (B. 1932)La Casa de Rosalba Correa 2001 signed and dated 01oil on canvas179.2 by 192 cm.70 9/16 by 75 9/16 in.Footnotes:ProvenanceCollection of the artist, EuropePrivate Collection, Turkey (acquired from the above in 2013)Acquired directly from the above by the present ownerExecuted in Fernando Botero's distinctively voluptuous signature style, La Casa de Rosalba Correa from 2001 is a magnificently complex and distinctive painting by one of the most important Colombian modern artists of our day. Having studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, Botero obtained a remarkable art historical knowledge of Western Classicism that transfuses his work. The canon of art history, especially the European one became a rich source of inspiration whilst studying Italy's Renaissance frescoes, Spain's Golden Age masters and France's turn-of-the-century School of Paris on his travels in the 1950's. Profoundly influenced by these masterworks, Botero embarked on a quest to critically re-interpret iconic paintings, paying homage to the great artists of the past whilst finding true originality doing so. Not unlike Picasso, whose Cubist breakthrough came after experimenting with the construction of a guitar, Botero had his artistic revolution with a mandolin. In 1956, the artist painted an image of a mandolin resting on a table and decided to place a disproportionately small hole in the body of the instrument, thus transforming it into an object of exaggerated mass and monumentality; a lifelong fascination with the exploration of volume was born. Well known for subjects ranging from the Old Masters to circus scenes, bullfights, domestic life and political satire, the present work falls into a theme of brothel scenes and bacchanalia that the artist revisited throughout his career. 'There was a red-light district in Medellín at the time,' the artist recollects of his adolescence in Colombia. 'It was an easy-going place; class lines blurred in a sort of never-ending carnival, a permanent street party.' If he sometimes 'felt like [he] was the local Toulouse-Lautrec,' a sensitive observer of brothels and their late-night habitués, he began to see beauty in all the vagaries of the human body and humour, as well, in its fleshy flamboyance and grandiosity (the artist in: Ana María Escallón, 'From the Inside Out: An Interview with Fernando Botero', Botero: New Works on Canvas, New York 1997, p. 13). Art historically, Botero's brothel scenes are inspired by the lush, arresting depictions of courtesans by the medieval master Lucas Cranach and he has revisited the theme both in painting and sculpture throughout his career. The vibrant, candy coloured La Casa de Rosalba Correa shares clear characteristics with earlier depictions of the theme, notably La casa de Raquel Vega, from 1975 in the collection of Mumok, Vienna, House Mariduque from 1977 and The House of Amanda Ramírez of 1988 which is in the permanent collection of the Museo de Antioquia in Medellin. The latter, shows a similar rudimentary structure of the room, the stage if you will, whilst the protagonists and distinct elements of the scene differ. We appear to be privy to the final stages of a debauched evening in a room that seems too small to hold its curvaceous inhabitants. The smell of tobacco and stale alcohol lingers in the air, and a swarm of flies' buzzes around a lone lightbulb. Much of the night's events have unfolded but some protagonists are still awake and active. A nude couple shares a large bed in the centre of the room. They have fallen asleep in a loose embrace and only a half-eaten plate of food at the man's feet and the green bottle clutched tightly in his hand hint at the preceding evening. He wears a wedding band suggesting an act of infidelity. Two men, one apparently passed out under the bed not unlike the array of discarded clothes around the room, the other taking a large swig from a bottle, along with a further empty bottle and cigarette buds strewn all over the floor tie in with the theme of a raucous party. In the foreground, a man has swept up a somewhat dispassionate woman in a luscious green dress and clutches her tightly in his arms. The only protagonist of the scene to look straight out that the viewer, to acknowledge our peeping eye without judgement, is a cat reclining elegantly in the lower right corner. Symbolic for femininity and domesticity, cats feature in much of Botero's work, often accompanying a dominant matriarch or a sensual nude and in La Casa de Rosalba Correa, it is easy to draw on comparisons with Manet's famous masterpiece Olympia. Despite the scene drawing up questions of male prerogative, Botero's female protagonists tend to be strong, self-alert characters, in control of their situation and playing with their allure. The black feline with its piercing green eyes makes us keenly aware that we are trespassing into this scene, the viewer has become a voyeur, an active participant and we have been spotted. Using humorous and exaggerated elements in his work, Botero breaks with the established classical tradition of eternalizing the classically heroic and brave and adds a fresh approach to age old themes. Botero shifts classical art historical topics into the realm of the common and trivial, the realm of day-to-day life, often infused with a melange of his own lived experiences and the air of his native Colombia.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 35
JULIAN OPIE (B. 1958)Wooden Painting 16 2006 signed on the reverseenamel on wood90 by 61.2 cm.35 7/16 by 24 1/8 in.This work was executed in 2006.Footnotes:ProvenanceAcquired directly from the artist by the present owner in 2007Contemporary British artist Julian Opie is widely recognised for his distinctive depictions of figures, portraits, and landscapes. Born in London in 1958, Opie graduated from Goldsmiths College in 1982, studying under Michael-Craig Martin, and was quickly associated with the New British Sculpture movement. From the 1980s into 1990s he transitioned from painted steel sculptures inspired by Pop Art and Minimalism into a simpler graphic style, which he employs across a diverse range of media, from paintings to animation, continually pushing the boundaries of traditional artistic practice.Opie plays with ways of seeing through reinterpreting the vocabulary of everyday life; his reductive style evokes both a visual and spatial experience of the world around us. Alongside his clear influence in Pop aesthetics, particularly the work of Andy Warhol and Roy Lichtenstein, Opie draws further inspiration from classical portraiture, Egyptian hieroglyphs, Greek mythology, Japanese woodblock prints, as well as public signage, information boards, traffic signs and even the Tintin cartoons by Hergé. Through connecting the clean visual language of modern life with the fundamentals of art history, Opie has produced a distinctive and unique style in his body of work which have appeared in cities and sculpture parks around the world.Perhaps more widely recognised for his portraits and figurative studies, Opie reduces his subjects to essential lines created by thick black outlines and filled in with solid areas of flat, vibrant colour. His figurative subjects are de-personalised; he either chooses to render a featureless face using just a blank circle, or otherwise only depicts very basic facial features using dots and lines in the simplest expression of form. He chooses to differentiate his figures through colour of backgrounds, hairstyles, position of head, light reflected in the eyes and accessories. This depersonalised style creates an ambiguous sense of subjectivity in the sitter and provokes the viewer to question what makes a portrait of a person distinct and how they can relate to it. Bonhams are delighted to be offering three works by Julian Opie - two figurative pieces and a dynamic digital landscape of Lake Kawaguchi in Japan. Aniela 2, executed in 2011, is a portrait of the artist's wife. Set against a vibrant red background, Aniela is not submitting to the viewer; she appears to us in the nude, loosely holding a piece of drapery, captured in a private moment. Aniela was a regular sitter for the Opie and resulted in a series inspired by Renaissance and neoclassical paintings of Greek goddesses such as Aphrodite. In this series, Opie portrayed his wife in the nude occasionally wrapped in drapery which has been reduced to its most essential elements or holding a Grecian urn. Indeed, in this present work we can draw parallels to classicism and his interest in interpreting Greek mythology. Julian Opie's style increased in popularity after he designed the cover of English Britpop band Blur's best of album which was released in 2000.The four-part portrait is not only one of the most famous album covers to be produced but is considered as an iconic artwork. The portraits of the four band members of Blur were bought by the Art Fund in 2001 and now reside in the collection of the National Portrait Gallery in London. Today, Julian Opie is considered one of the leading contemporary artists in the world and his work is exhibited extensively in galleries and museums around the world, including in the Essl Collection, Vienna, the Stedelijk Museum, Amsterdam, Israel Museum, Jerusalem, Takamatsu City Museum of Art, Japan, Museum of Modern Art, New York, Institute of Contemporary Arts, Boston, among many others.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 104
Johnson (Samuel) The Works of the English Poets, 75 vol., engraved portraits, occasional faint offsetting, vol. 5, 24 and 71 with light occasional spotting, contemporary tree-calf with black, green and red morocco labels to spine, some light wear, mainly to joints, overall a handsome set, small 8vo, printed by John Nichols, 1790.
Lot 121
Binding.- Scrope (William) The Art of Deer Stalking, first edition, additional pictorial title (dated 1839), frontispiece and 10 lithograph plates, light foxing and browning, including to additional title and plates, ink ownership inscription front endpaper, half morocco, spine gilt, two small instances of wear to spine, extremities lightly scuffed, 1838 § Voltaire. Candide, illustrations by Étienne Calo, illustrations with hand-colouring, 7 etched plates at rear, full green morocco, spine gilt, a little toned, presentation card slipcase, 1945 § Brontë (Emily) Wuthering Heights, translated by Henri Picard, colour illustrations by Jacques Camus, half morocco, spine a little toned, 1948; and 55 others bound in leather, v.s. (58)
Lot 13
World.- Tyndale (William) Below the Cataracts, one of 150 copies, signed by the author, 60 colour plates by the author, tipped-in, with captioned tissue guards (1 lacking), occasional light uniform browning or scattered spotting, original cream buckram, gilt, spine toned, some light soiling, uncut, 1907 § Lear (Edward Lear) Views in the Seven Ionian Islands, from a limited edition, 21 coloured illustrations, original green cloth, gilt, 1979 § de Loutherbourg (P. J.) Scenery of England and Wales, from a limited edition, 19 colour illustrations, half morocco, gilt, presentation cloth box, 1979; and 2 others British topography and 2 small engraved maps of Ireland (framed), 4to and folio, (5)
Lot 134
NO RESERVE Card game.- The XIXth Century. A New Game, 1 set of 50 portrait cards and 1 set of 50 biography cards, light green backs, some staining, including occasionally from green backs, little chipping to backs here and there, lacking rules sheet (provided in a copy), housed in original colour printed box, split to 1 joint, stained, cards 76 x 54mm., John Jacques & Son, [c.1875].⁂ Includes explorers, writers, artists and scholars.
Lot 14
Britain.- An account of the constitution and present state of Great Britain, together with a view of its trade, policy, and interest, respecting other nations, & of the principal curiosities of Great Britain and Ireland, first edition, engraved frontispiece, title and 7 plates, publisher's advertisement at end, ink ownership inscription dated 1762 to front free endpaper, small hole to N4, affecting a couple letters, occasional very light foxing, hinges cracked but covers holding firm, contemporary speckled calf, rubbed, joints split with small loss along upper joint, [Roscoe J1 (1)], 12mo, for J Newbery, [1759].
Lot 142
James (Henry) The Princess of Casamassima, 3 vol., first edition, half-titles, advertisement leaf at end of vol. 2 and 3, vol. 1 and 3 ink stamp to title, very occasional spotting, vol. 1 upper hinge beginning to crack at head, vol. 2 bookplate, lower hinge starting to crack, original blue/green cloth, vol. 2 spine lightly toned, tears along joints and suggestion of label having been removed from upper cover, each vol. house in protective cloth wraparound slipcase, presentation slip case with morocco spines, single stain and light wear to spine ends, [Edel & Laurence A29; Sadleir 1282; Wolff 3576], 8vo, London & New York, Macmillan and Co., 1886.⁂ Despite the faults mentioned, a very good copy of the first of James' 'political novels', of which 750 copies were printed in the first edition. 1886.
Lot 147
Gaskell (Elizabeth C.) Cranford, frontispiece and illustrations by Hugh Thomson, very occasional light spotting, upper hinge starting, slight shelf-lean, 1892 § Ashdown (Charles H.) British Castles, frontispiece and 31 coloured plates, illustrations, occasional light foxing, endpapers toned, 1911, half-titles, embossed stamp of Neatham Mill Library to rear free endpapers, original pictorial cloth, gilt, lightly rubbed, spine ends chipped; and c.80 others, pictorial cloth, 4to & 8vo (c.80)
Lot 152
Menpes (Mortimer) War Impressions, one of 350 copies, signed by the author, 97 colour plates, with captioned paper guards, 6 letters in facsimile, folding map (loose), gutter split at p.66 and 115 (interim section loose or coming loose), original decorative cloth, gilt, spine very lightly toned, some light finger soiling to covers, t.e.g., others uncut, 4to, [1901]
Lot 154
NO RESERVE Cookery.- Beeton (Mrs. Isabella) Book of Household Management, chromolithograph frontispiece, plates, some colour, scattered faint spotting and staining, cracked hinges, original morocco-backed boards, rubbed, bumping to corners and spine extremities, 1909 § Liebig Company's Practical Cookery Book, illustrations, browned, light spotting, original pictorial boards, rubbed, bumping to corners and extremities, 1894; and 9 others, all cookery, 8vo (11)
Lot 158
Maxwell (William) They Came Like Swallows, first edition, ink ownership inscription to front free endpaper, dust-jacket spine lightly sunned, lower flap creased with tear along upper joint, very slight shelf-lean, New York, 1937 § Balmer (Edwin) and Philip Wylie. After Worlds Collide, the odd spot, spine ends bumped, dust-jacket with small loss to spine ends, Philadelphia & New York, [1944], some very light marginal toning, original cloth, dust-jackets with a few small chips and tears to extremities; and c.250 others, most literature, including a copy of The Constant Gardener with a bookplate signed by le Carré to title, v.s. (c.250)
Lot 164
Bowles (Paul) Let It Come Down, edge spotting, light sunning to spine tips, foxing to jacket spine ends and corners a little chipped, 1952 § Rein (Harold) Few Were Left, jacket with light toning to spine, 1955, first editions, original boards, dust-jackets designed by John Minton, generally excellent; and another, similar, 8vo (3)
Lot 166
Chandler (Raymond) The Simple Art of Murder, upper hinge starting, light toning to head and foot of covers, spine with slight fraying to foot, jacket spine sunned, chipping and fraying to head and foot with creasing, light tape staining, short split to upper fore-edge, Boston, 1950 § Soutar (Andrew) Chain Murder, light edge-spotting, jacket with light sunning to spine, spine ends and corners a little chipped, split to foot of upper fore-edge, light creasing to head and foot, light rubbing to extremities, [1939], first editions, original cloth, dust-jackets, 8vo (2)
Lot 168
Collins Crime Club.- Babson (Marian) A Cover-Up Story, proof copy, signed by the author on title, some marginal spotting initial pages, original drab wrappers, jacket rubbed at joints, folds and spine ends, some light toning at lower panel edges, 1971; A Fool for Murder, signed by the author on title, jacket some light toning lower fold and flap edges, spine foot and fold corners slightly bumped, 1983 § Aird (Catherine) A Late Phoenix, book label, jacket small tear top edge upper panel, extremities a little bumped, 1970 § Butler (Gwendoline) Coffin Following, bookplate, jacket with very light toning at extremities, Geoffrey Bles, 1968, first editions, original cloth, dust-jackets; and 23 other first editions, 2 signed, overall in excellent condition, 8vo (27)
Lot 169
Collins Crime Club.- Christie (Agatha) Towards Zero, jacket spine and folds toned, some other light surface soiling or discolouration, tape repair spine ends verso, price clipped, 1944; A Pocket Full of Rye, some browning to half-title, endpapers renewed, jacket spine faintly sunned, small amount of chipping to extremities, 1953; Ordeal by Innocence, jacket joints lightly rubbed, some faint surface soiling, 1958, first editions, first and last with ink ownership inscriptions front, original cloth, dust-jackets; and 14 others by the same, mostly first editions, overall in excellent condition, 8vo (17)
Lot 17
NO RESERVE London.- Smith (Albert) Gavarni in London: Sketches of Life and Characters, additional pictorial title and wood-engraved plates by Vizetelly after Gavarni, some light spotting, one plate trimmed, original pictorial cloth, rebacked in morocco, spine gilt, new endpapers, 1849 § Taylor (J.G.) Our Lady of Batersey, plates, folding colour map, original buckram, spine faded, 1925 § Chancellor (E.B.) Historical Richmond, Subscriber's Copy, original roan-backed cloth, gilt, 1885 § Halliwell (J.O.) Rambles in Western Cornwall..., contemporary calf, gilt, by Hodgson of Liverpool, 1861 § Traveller's Album and Hotel Guide (The), wood-engraved illustrations, numerous advertisements, original cloth, gilt, [c.1862], all rubbed; and a bundle of old guides to the Tower of London, Palace of Westminster etc., and a large late 19th century scrapbook of programmes, menus & seating plans for livery dinners, posters & fliers for church services etc., mostly relating to London, v.s. (11)
Lot 170
Collins Crime Club.- Christie (Agatha) They do it with mirrors, small amounts of chipping to extremities, some light surface soiling, 1952; A Murder is Announced, jacket large chip spine foot, smaller at spine head, creased and rubbed, laid down on thick paper, 1950; Mrs. McGinty's Dead, jacket small tear upper joint, small chip spine head, some faint toning, 1952, first editions, original cloth, dust-jackets; and 14 others by the same, mostly first editions, 8vo (17)
Lot 171
Collins Crime Club.- Eberhart (M. G.) Five Passengers from Lisbon, spine ends a little bumped, jacket spine ends chipped, very small chips or tears to fold corners, 1946 § Carmichael (Harry) The Link, jacket spine and folds toned, some light surface soiling, 1962 § Blake (Nicholas) The Deadly Joker, jacket with creasing to extremities, large tear to lower panel, repaired with tape on verso, price clipped, 1963, first editions, original cloth, dust-jackets; and 26 other first editions, overall excellent, 8vo (29)
Lot 172
Collins Crime Club.- Ferrars (Elizabeth) Murder Among Friends, cloth very slightly bumped at top edge and spine foot, jacket with repairs to spine and lower fold head on verso, 1946; The Sleeping Dogs, ink annotation and browning to front endpaper, jacket chipped at spine head, 1960; Fear The Light, small tear at upper joint head, another to lower edge upper panel, 1960, first editions, original cloth, dust-jackets, last two with spotting to lower panels, light toning and surface soiling, particularly to spines and folds, extremities a little scuffed; and 15 other first editions by the same, overall in excellent condition, 8vo (18)
Lot 173
Collins Crime Club.- Ford (Florence) Shadow on the House, two ink stamps to front endpaper, endpapers lightly browned, jacket with tears at spine extremities, a few other small tears and chips, price clipped, 1958 § Burgess (Eric) Divided We Fall, jacket with small tear upper panel top edge, spine foot lightly bumped, 1959 § Wainwright (John) Death in a Sleeping City, occasional spotting, cloth lightly soiled, jacket with a few small tears or chips at extremities, 1965, first editions, original cloth, dust-jackets with some light surface soiling or toning in places; and 26 other first editions, overall excellent, 8vo (29)
Lot 174
Collins Crime Club.- Gilbert (Anthony) Death In The Wrong Room, preliminaries and endpapers spotted, cloth spine sunned, dust-jacket in facsimile, 1947; Third Crime Lucky, jacket lower joint spotted, 1959 § Arley (Catherine) Woman of Straw, light marginal spotting initial pages, 1957 § Fleming (Joan) In the Red, ink ownership inscription front endpaper, jacket with small amount of dispersed soiling, 1961, first editions, original cloth, dust-jackets, second and third with lower panels toned, surface soiled and small amounts of bumping and chipping to extremities; and 23 other first editions, 8vo (27)
Lot 175
Collins Crime Club.- Hill (Reginald) An Advancement of Learning, bookplate, jacket with small tear at spine head, other extremities a little scuffed, 1971 § Garve (Andrew) The Far Sands, jacket with some very light toning at folds, 1961 § Howard (Hartley) Epitaph for Joanna, light discolouration in places, extremities a little bumped and creased, 1972, first editions, original cloth, dust-jackets; and 47 other first editions, overall excellent, 8vo (50)
Lot 176
Collins Crime Club.- Marsh (Ngaio) Spinsters in Jeopardy, contemporary ink ownership inscription, jacket with lower fold small tear at head, 1954; Singing in the Shrouds, 1 preliminary page with small tear at top edge, tape repair to verso, jacket with spotting to lower panel, 1959; Hand in Glove, light stain to fore-edge, jacket with tear at top edge lower panel, price clipped, 1962, first editions, original cloth, dust-jackets, some light surface soiling or toning, extremities a little bumped and chipped; and 4 other first editions by the same, 2 with dust-jackets in facsimile, 8vo (7)
Lot 178
Collins Crime Club.- Russell (Martin ) No Through Road, jacket lower panel and fold with some creasing, 1965 § Keating (H. R. F.) Inspector Ghote Hunts the Peacock, jacket with sticker remain to upper flap, 1968 § Anthony (David) The Organization, jacket with some light surface soiling, and very light scuffing to extremities, 1970, first editions, original cloth, dust-jackets; and 30 other first editions, 8vo (33)
Lot 179
Collins Crime Club.- Rutherford (Douglas) A Shriek of Tyres, ink annotation to front endpaper, light foxing to endpapers, jacket with some surface soiling, spine head small chip, light wear to other extremities, 1958 § Jefferies (Roderick) Evidence of the Accused, jacket with some light surface soiling and creasing, spine head with small tear and tape repair to verso, 1961 § Williams (David) Murder for Treasure, signed by the author on title, jacket with scattered light spotting, 1980, first editions, original cloth, dust-jackets; and 26 other first editions, overall excellent, 8vo (29)
Lot 180
Collins Crime Club.- Stout (Rex) Curtains for Three, jacket spine ends and corners a little chipped, extremities a little rubbed, 1951 § Ferrars (Elizabeth) Murder in Time, jacket spine ends and corners a little chipped, a few short closed tears with creasing to foot, 1953 § Morrow (Susan) Murder May Follow, jacket with light rubbing and creasing to spine tips and corners, 1960, first or first English editions, original cloth, dust-jackets, excellent copies; and another, Collins Crime Club, 8vo (4)
Lot 181
Collins Crime Club.- Symons (Julian) The End of Solomon Grundy, original cloth bumped at spine foot, jacket with small tear upper joint foot, some light surface wear, 1964 § Stout (Rex) Death of a Doxy, jacket with chip at lower joint foot, a few small tears, tape repairs to verso, 1966 § Scott (Jack) A Clutch of Vipers, spine lightly sunned, foot bumped, 1979, first editions, original cloth, dust-jackets, some light surface soiling and wear to extremities; and 23 other first editions, overall in excellent condition, 8vo (26)
Lot 182
Collins Crime Club .- Woods (Sara) Error of the Moon, ink annotation front endpaper, jacket spine sunned, extremities bumped, some light toning and surface soiling in places, 1963 § Barnard (Robert) A Corpse in a Gilded Cage, signed by the author on title, light uniform browning, jacket with light wear to extremities, 1984 § Kenyon (Michael) The Whole Hog, jacket with some light soiling to lower panel, 1967, first editions, original cloth, dust-jackets, with some wear to extremities; and 51 other first editions, overall excellent, 8vo (54)
Lot 184
Disch (Thomas M.) On the Wings of Song, first edition, signed presentation inscription from the author, 1979; Under Compulsion, signed by the author, A.N.s. by the author to Janet Freer loosely inserted, 1968 § Disch (Thomas M., editor) The Ruins of Earth, signed by the editor, jacket spine ends and corners a little chipped, 1973, first editions, original boards, dust-jackets, light creasing to head and foot, otherwise excellent; and another, similar, 8vo (4)
Lot 185
Eberhard (H.W.) Wings of Fear, jacket with chip to head spine, some creasing to head, a little rubbed, 1946; Never Look Back, jacket with 1 or 2 short tears to head and foot with light creasing, extremities a little rubbed, 1951, first editions, original cloth, dust-jackets, excellent examples, 8vo (2)
Lot 189
Gray (Berkeley) Conquest Overboard, signed presentation inscription from the author to endpaper, jacket with light rubbing to extremities, 1964 § Gulik (Robert van) The Willow Pattern. A Chinese Detective Story, illustrations by the author, ink ownership inscription to endpaper, jacket with light rubbing to spine tips and corners, jacket with short tear and creasing to head of upper panel, 1965, first editions, original boards, dust-jackets, excellent copies; and 2 others, similar, 8vo (4)
Lot 191
Harbou (Thea von) Metropolis. Roman Prelozila Marie Dolejsi, first Czech edition, black and white photographic illustrations, occasional light spotting, original pictorial cloth, spine and cover edges slightly toned, 8vo, Prague, 1927.⁂ This is the only edition which is illustrated with 66 still frames from the 1927 film directed by Harbou's husband, Fritz Lamb.
![Joyce (James) Dublin-Noveller [Dubliners], first Swedish edition, original pictorial wrappers, light creasing to spine, short](https://cdn.globalauctionplatform.com/4c283513-cc7b-4e00-a8cd-ae5a00cb2d95/13d1eb40-cebf-467e-a6ad-ae5a00ccfeea/468x382.jpg)
Lot 193
Joyce (James) Dublin-Noveller [Dubliners], first Swedish edition, original pictorial wrappers, light creasing to spine, short split to foot of upper joint, light rubbing to extremities, Stockholm, 1931 § Colum (Mary & Padraic) Our Friend James Joyce, first English edition, publisher's file copy with ink stamp to front pastedown and upper panel, original boards, dust-jacket, light rubbing to spine tips and corners, 1959; and another by Joyce, 8vo (3)
![Kerouac (Jack) På Drift [On the Road], first Swedish edition, jacket with very short tear to head of lower joint with light c](https://cdn.globalauctionplatform.com/4c283513-cc7b-4e00-a8cd-ae5a00cb2d95/4b2929a6-0388-4c4a-b36f-ae5a00cbe087/468x382.jpg)
Lot 194
Kerouac (Jack) På Drift [On the Road], first Swedish edition, jacket with very short tear to head of lower joint with light creasing, some light rubbing to extremities, Stockholm, 1959 § Salinger (J. D.) Raise High the Roof Beam, Carpenters, first English edition, jacket with very light sunning to spine, light rubbing, 1963, original boards, dust-jackets; and 4 others, American literature, 8vo (6)
Lot 196
Lawrence (Margery H.) The Unforgetting Heart, first edition, the dedication copy with signed presentation inscription "For Dale, from Margery, Xmas 1963" on dedication p., lacking front free endpaper, light edge spotting, original boards, slight shelf-lean, dust-jacket, vertical crease to upper panel, light rubbing to extremities, chip to foot of upper joint, an excellent copy, 8vo, 1963.⁂ The dedication copy of Lawrence's scarce novel, a supernatural historical romance. The recipient of this dedication and this copy is Dale Hope Parkinson.
Lot 199
Mailer (Norman) Barbary Shore, first English edition, signed by the author on title, original cloth, dust-jacket, light toning to spine, spine ends and corners a little chipped, 1952 § Roth (Philip) A Philip Roth Reader, first edition, signed presentation inscription from the author to half-title, original wrappers, light sunning to spine spine chipped at foot, New York, 1980; and 3 others, American literature, 8vo (5)
Loading...-
534297 item(s)/page