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Click here to subscribeFLEMING, Ian. FROM RUSSIA WITH LOVE. Jonathan Cape, London 1957. First edition. 8vo. Black cloth with silver and red stamped rose and revolver design to upper board; light tanning to text block, but a near fine, clean copy. Dustwrapper spine a little darkened, some light rubbing to edges, short closed tear to lower panel. A very good copy of the fifth Bond novel.
FLEMING, Ian. MOONRAKER Cape, 1955. First edition. 8vo. Near fine book in the original Kenneth Lewis flame effect dustwrapper. The book is not inscribed, but has light foxing and part browning to the endpapers and a small booksellers stamp at the foot of the front paste-down. The wrapper is price clipped, with minor fading to the spine, slight edgewear and a couple of tape marks to the back panel. The third James Bond novel.
PARETSKY, Sara. INDEMNITY ONLY Gollanz, 1982. First UK edition. 8vo. Fine in fine wrapper. Signed by the author. The first novel to feature V I Warshawski. ALLINGHAM, Margery. THE ALLINGHAM CASEBOOK Chatto and Windus, 1969. First edition. 8vo. A fine copy in a complete VG wrapper, with light fading to spine and a couple of closed tears to the foot of the spine. ADAMS, Jane. CAST THE FIRST STONE Macmillan, 1996. First edition. 8vo. Signed on the title page, a fine copy in fine dustwrapper. EVANOVICH, Janet. THREE TO GET DEADLY. Scribner 1997. First edition. 8vo. Fine copy in fine wrapper. Signed by the author. Third in the series of Stephanie Plum crime stories. Plus 3 others, similar. (7)
VERNES, Jules. THE ARCHIPELAGO ON FIRE. Sampson Low, Marston, Searle, and Rivington, 1886. FIRST ENGLISH EDITION. 8vo; with 50 illustrations and 32 pages of advertisements dated October 1885; original pictorial publisher's cloth, front and spine panels stamped in blue and lettered in gilt, all edges gilt, light sunning to spine and minor chipping to head and tail. Taves & Michaluk V026. First English (and first illustrated) edition of one of Verne's scarcer titles, a seafaring tale taking place among the Greek Islands during the Greco-Turkish conflict of the 1820s Ñ and also involving the pirate Sacratif, who has plans of his own. After appearing in the original French in 1884, this tale's first appearance in English was in George Munro's wrappered "Seaside Library" in March 1885. This copy is in the more expensive of the two bindings that were offered to the public.
North Italian School, 17th Century The Assembly of the Gods on Olympus, with putti presenting a double portrait: Design for a trompe l'oeil ceiling indistinctly inscribed ( recto ) black chalk, pen and grey ink, grey wash, heightened with white (oxidiZed), on three attached sheets of light brown paper, the largest with watermark Strasburg bend, losses 20? x 25? in. (517 x 655 mm.)
Venetian School, 17th Century Design for a cartouche surmounted by putti supporting a Doge's cap, the whole hung with garlands Study for a pendentive ( verso ) black chalk ( recto and verso ), pen and brown ink, brown wash, heightened with white ( recto ), on light blue paper 15? x 10 in. (389 x 256 mm.)
Giuseppe Bezzuoli (Florence 1784-1855) Brunelleschi, seated, holding a model of the dome of Florence Cathedral with inscription 'Studio dalla figura rap. o F. Brunelleschi dipinto a Ch. o S. c o dal Sig e g. e Bezzuoli nell S.e R. Palazzo Pitti' black chalk, brush and brown wash, heightened with white, on light brown paper 9? x 11 in. (244 x 279 mm.); and five drawings by or attributed to Pietro Benvenuti, Francesco Sabatelli and other early 19th Century artists (6)
Alfred Andr? G?niole (Nancy 1813-1861 Bic?tre) A peasant girl carrying a hoe accompanied by two children, the sea beyond signed 'A. G?niole', and inscribed 'hommage et souvenir au C t e . Cicognara Florence Janvier 1843.' black lead, watercolour, bodycolour, on light grey paper 9 7/8 x 6 7/8 in. (251 x 175 mm.)
Attributed to Theodor van Thulden ('s Hertogenbosch 1606-1669) Neptune commanding the Winds, attended by tritons and nereids, a fleet beyond, after Rubens black and red chalk on light brown paper, watermark Strasburg lily, the lower left corner made-up 11 x 14 5/8 in. (287 x 379 mm.) "After Rubens' Quos Ego or The Felicitous Sea-Crossing of the Cardinal-Infante , a composition designed on the occasion of the Cardinal-Infante Ferdinando's Triumphal Entry into Antwerp.
A French ormolu and sevres style porcelain mounted clock garniture, circa 1860, in Louis XVI style, the clock surmounted by a two handled urn above a circular porcelain dial painted to the centre with a cherub, within Roman hour numerals, indistinctly signed, above a shaped panel painted with a courting couple, flanked by scrolled acanthus leaf brackets, the apron inset with a D-shaped porcelain panel painted with a trophy, the base with laurel leaf and berry borders, on turned and shaped feet, the J. Marti and Cie twin train brass drum movement with anchor escapement and outside count wheel striking on a bell, 37.5cm high, together with a pair of en suite five light candleabra, the vase shaped gadrooned nozels supported by acanthus leaf cast branches and an urn shaped column, on conforming bases to the clock, 41cm high (3)
A good Agra carpet, north India last quarter 19th century, 13ft.10in. x 9ft.10in. 4.22m. x 3m. Light even wear in field, slight heavier both ends. This is a classic Agra jail carpet; the combination of dark turquoise and deep plum red is often found but usually in the reverse arrangement to the one seen here.
Unusual Yomut Turkmen dip khali, Turkmenistan third quarter 19th century, 5ft.8in. x 2ft.10in. 1.73m. x 0.86m. Slight even wear overall. An interesting symmetrically knotted rug with eight colours - red-brown, pink, tan, light brown, dark brown, dark blue, turquoise, ivory. And a Baluchi khorjin, Mashad area, Khorasan, north east Persia early 20th century, overall 4ft.4in. x 1ft.11in. 1.32m. x 0.60m. Complete with plainweave and weft-float brocade back. (2)
Attractive Shahsavan flatwoven panel, in weft-float brocade and supplementary weft wrapping, north west Persia or south Caucasus, second half 19th century, 4ft.5in. x 4ft.3in. 1.35m. x 1.30m. Approximately six holes, mostly very small, sides missing. An old Shahsavan weaving with a very beautiful palette - wine red, purple-brown, purple, light tan, dark brown, turquoise, mid blue, dark blue, yellow, ivory.
A MASSIVE PAIR OF FOUR LIGHT CANDELABRA with a pair of matching candlesticks, after the originals by Paul de Lamerie, the tapering columns with quilt decoration and shell capped shoulders, urn-shaped capitals with calyx leaf decoration, the scroll branches each supporting a spool-shaped capital with foliate borders, the whole on a square base within incurved corners, engraved trellis decoration and shell and foliate motifs, London 1960, by R. Comyns, height of candelabra 18.5", height of candelsticks 14", (c.368oz).
A Royal Worcester bone china pedestal vase and cover, in shape 2736, with twin-handled spherical reserve over tall flared gilt foot, polychrome painted with stag beside a river signed H Stinton on a light blush ground, the gilt cover with detached knop, indistinct date code, 22cm high; and a Royal Worcester coffee can and saucer.
A pair of Meissen porcelain figural four-light candelabra, late 19th/early 20th century, with mother and son and father and daughter decorated uprights each wearing 18th century inspired colourful costume applied to scroll form bird and insect panel painted dome base beneath three floral encrusted scroll branches and separate central sconce, each with foliate nozzles and leafy drip pans, some minor damage to each, 48cm high.
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