CHOPPING, Richard (1917-2008). The Fly, London, 1965, 8vo, original blue cloth, dust-jacket designed by the author. FIRST EDITION.CHOPPING, Richard (1917-2008). The Fly. London: Secker & Warburg, 1965. 8vo (196 x130mm). Half title (some light spotting and browning to half title and title). Original navy blue cloth, spine lettered in silver, dust-jacket designed by the author with the price of 25s. unclipped (small chips to corners of jacket, closed tear to lower wrapper, backstrip darkened). Provenance: from the Collection of the late Robert Michael Booth (1945-2024), publisher, writer, collector and broadcaster. FIRST EDITION. The author is now perhaps chiefly remembered for his distinctive trompe-l'oeil jacket designs for Ian Fleming's James Bond novels.
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SYMONDS, R. W. (1889-1958). Thomas Tompion, London, 1951, 4to, plates, original blue cloth, dust-jacket. FIRST EDITION, PRESENTATION COPY, inscribed, "For Conrad Ackner, best wishes from Robert Symonds, Dec. 1951."SYMONDS, Robert Wemyss (1889-1958). Thomas Tompion. His Life & Work. London: B. T. Batsford Ltd., 1951. 4to (291 x 222mm). Half title, coloured frontispiece, title printed in red and black, coloured and monochrome plates and illustrations, facsimile of "The Association Oath Roll of the Members of the London Clockmakers' Company in 1697" on 2 folding sheets at the end (some light spotting and staining to first and last few leaves). Original blue cloth gilt, dust-jacket with price of £7 7s. unclipped (jacket with some chipping to head and foot of backstrip). FIRST EDITION, PRESENTATION COPY, the front free endpaper inscribed, "For Conrad Ackner, best wishes from Robert Symonds, Dec. 1951." Conrad Ackner, whose name is first in the list of subscribers, was a renowned "society dentist" who came to England from Vienna before the First World War.
![DARWIN, Charles (1809-82). The Expression of the Emotions in Man and Animals, London, 1873 [but later], 8vo, 7 photographed p](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/f2dc248f-349c-4900-9c9a-b1a2013c99d1/468x382.jpg)
DARWIN, Charles (1809-82). The Expression of the Emotions in Man and Animals, London, 1873 [but later], 8vo, 7 photographed plates, illustrations, original green cloth gilt. FIRST EDITION, "Tenth Thousand".DARWIN, Charles (1809-82). The Expression of the Emotions in Man and Animals ... With Photographic and Other Illustrations. Tenth Thousand. London: John Murray, 1873 [but some advertisements dated 1879]. 8vo (188 x 125mm). 7 heliotype photographed plates [not folding, as in some copies], illustrations, 36-pages of publisher's advertisements at the end, the first 4-pages dated "November, 1872", the remaining 32-pages dated "January, 1879" (some light spotting and staining). Original green cloth, the covers ruled in blind, the spine lettered and decorated in gilt, brown endpapers (some chipping to head and foot of spine). Provenance: from the Collection of the late John Anthony Benjafield (1938-2023). FIRST EDITION, "tenth thousand", with the plates numbered in Roman and without the misprint 'htat' for 'that' on p.208. "With this book Darwin founded the study of ethology (animal behaviour) and conveyance of information (communication theory) and made a major contribution to psychology" (DSB). "... [The] Expression of the Emotions in Man and Animals, published in 1872, grew out of The Descent of Man, just as the latter grew out of Variation under Domestication, for it had been intended as a chapter in the natural history of man, but as before, as soon as he began to put his notes together he saw that it would require a separate volume. His study of this subject originated in 1840, in his conviction that even 'the most complex ... shades of expression must all have a gradual and natural origin'" (DNB). Freeman The Works of Charles Darwin: An Annotated Bibliographical Handlist 1144: "This is an important member of the evolutionary set, and it was written, in part at least, as a confutation of the idea that the facial muscles of expression in man were a special endowment ... The third issue may contain inserted advertisements dated as late as January 1883, showing that it remained in print after Darwin's death"; Garrison & Morton 4975; Norman 600; Goldschmidt & Naef The Truthful Lens. A Survey of the Photographically Illustrated Book 1844-1914 43.
BINDING - Biblia, dat is de Gantsche Heylige Schrifture. Amsterdam, 1837, 12mo, attractively bound in full 19th-century Dutch tortoiseshell, highly elaborate gilt clasp, gilt edges.BINDING - Biblia, dat is de Gantsche Heylige Schrifture. Amsterdam: Bij de Nederlandsche Bijbel-Compagne, 1837. 5 parts in one volume, 12mo (142 x 85mm). Engraved frontispiece, printed in double column. Attractively bound in full 19th-century Dutch tortoiseshell, with a finely-worked gilt clasp taking the form of a Doric pillar with cornucopia decoration, floral embossing on the hinges, gilt edges (some very light rubbing and scratching to the covers and spine). Provenance: [?]W. Weyland (old signature on the verso of the title, bleeding through to the title); later pink pen trials on front free endpaper.
GREGYNOG PRESS - John Milton (1608-74). Four Poems. L' Allegro. Il Penseroso. Arcades. Lycidas, Newtown, 1933, large 8vo, wood-engraved illustrations by Blair Hughes-Stanton, printed on Japanese vellum, original calf. NUMBER 137 OF 250 COPIES. Harrop 26.GREGYNOG PRESS - John Milton (1608-74). Four Poems ... L' Allegro. Il Penseroso. Arcades. Lycidas, edited by H. C. Beeching. Newtown: The Gregynog Press, 1933. Large 8vo (258 x 170mm). Wood-engraved illustrations by Blair Hughes-Stanton, printed on Japanese vellum, the text hand-set in Gill Perpetua Type by John Hugh Jones and Idwal Jones. Original red reverse calf with the illustration of Euphrosyne taken from the title page stamped on the upper cover above the stamped monogram "G.G." ([?]"Gwasg Gregynog"), uncut (some light fading, light stains to the head and foot of spine). NUMBER 137 OF 250 COPIES. "Blair Hughes-Stanton ... was working at the Gregynog Press in Montgomeryshire between 1931-4. Here he illustrated six books with wood engravings of a delicacy and fineness of line that was quite new to the craft - a delicacy that also made very considerable demands on his pressmen. I suppose that Hughes-Stanton and Gill were the best craftsmen in this English wood engraving revival, though Gill never attempted the intricacies that Hughes-Stanton took in his stride. The fineness of the latter's white line engravings has to be seen in the original, where they are printed on a smooth, cream-coloured Japanese vellum, with impeccable presswork, most sparely inked" (John Lewis, The 20th Century Book (1967, reprinted 1984), p.166). Harrop A History of the Gregynog Press 26.
![MILNE, A. A. (1882-1956). A Gallery of Children, London, [1925]. 4to, 12 coloured plates by H. Willebeek le Mair, original cr](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/4f34e1cf-cca0-490d-9b13-b1a2013ee555/468x382.jpg)
MILNE, A. A. (1882-1956). A Gallery of Children, London, [1925]. 4to, 12 coloured plates by H. Willebeek le Mair, original cream pictorial buckram. FIRST EDITION. NUMBER 392 OF 500 COPIES SIGNED BY THE AUTHOR.MILNE, A. A. (1882-1956) & Henrietta WILLEBEEK LE MAIR (1889-1996, illustrator). A Gallery of Children. London: Stanley Paul & Co., Ltd., [1925]. 4to (322 x 255mm). Half title, coloured illustration on title and 12 coloured plates by "Saida" (some very faint staining to the title and contents leaves). Original cream pictorial buckram gilt, bevelled edges, top edges gilt, others uncut (light stain to one corner of the upper cover). Provenance: Peggie Morden (bookplate). FIRST EDITION. NUMBER 392 OF 500 COPIES SIGNED BY THE AUTHOR. The book has an interesting origin. The delightful coloured illustrations by "Saida" (i.e. pseudonym of Henrietta Willebeek le Mair) were originally commissioned by the American company Colgate (of toothpaste fame) for an advertising campaign, although there is nothing overtly commercial about them. They proved so popular with the public, however, that A. A. Milne wrote a series of 12 children's fantasy stories based around them, and in so doing produced his first prose work for children, a year before Winnie-the-Pooh.
BINDING - "Lewis CARROLL" (1832-98). Alice's Adventures in Wonderland, London, 1974, 4to, 13 coloured plates by Arthur Rackham, FINELY BOUND in burgundy calf with the White Rabbit stamped in gilt on the upper cover. With another illustrated book. (2)BINDING - "Lewis CARROLL" [i.e. Charles Lutwidge DODGSON (1832-98)]. Alice's Adventures in Wonderland ... With a Proem by Austin Dobson. London: William Heinemann Ltd., 1974. Small 4to (195 x 145mm). Half title, coloured frontispiece and 12 plates by Arthur Rackham, illustrations. FINELY BOUND by Bayntun in full polished burgundy pictorial calf gilt, the upper cover with the White Rabbit consulting his watch stamped in gilt, the spine gilt in compartments with purple and green morocco lettering-pieces and four motifs stamped in the compartments, marbled endpapers, gilt edges (some light scratching to covers). With The Sleeping Beauty and other Fairy Tales ... Retold by Sir Arthur Quiller-Couch (London, 1983, 4to, coloured frontispiece and 29 plates by Edmund Dulac, original "genuine leather" [according to the label] gilt, slipcase, NUMBER 475 OF 500 COPIES). (2)
BUKOWSKI, Charles (1920-94). The Movie "Barfly", Santa Rosa, Black Sparrow Press, 1987, large 8vo, photographed illustrations, original boards. FIRST EDITION. NUMBER 179 OF 400 "SPECIAL HARDCOVER COPIES" NUMBERED AND SIGNED BY THE AUTHOR. Krumhansl 103.C.BUKOWSKI, Charles (1920-94). The Movie "Barfly". An Original Screenplay ... for a Film by Barbet Schroeder. Santa Rosa: Black Sparrow Press, 1987. Large 8vo (229 x 149mm). Title printed in red and black, monochrome photographed illustrations by Michael Montfort and Andrew Cooper of scenes from the making of the film (some extremely faint marginal staining to a few leaves, small light stain to the limitation leaf). Original dark blue cloth-backed coloured pictorial boards, the upper cover with a monochrome photographed illustration of Charles Bukowski (as himself), Faye Dunaway (as Wanda Wilcox) and Mickey Rourke (as Hank Chinaski), printed paper spine label, yellow endpapers (some light spotting to front endpapers, without an acetate wrapper, [?]as issued). Provenance: from the Collection of David Kotthoff. FIRST EDITION. NUMBER 179 OF 400 "SPECIAL HARDCOVER COPIES" NUMBERED AND SIGNED BY THE AUTHOR. Krumhansl 103c.
![PHOTOGRAPHY, IRAQ - [Title stamped in gilt on the upper cover:] Camera Studies in Iraq, Baghdad, A. Kerim & Hasso Bros., [c.1](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/d801f2a4-7782-4b3a-889c-b1a300b80023/468x382.jpg)
PHOTOGRAPHY, IRAQ - [Title stamped in gilt on the upper cover:] Camera Studies in Iraq, Baghdad, A. Kerim & Hasso Bros., [c.1925], oblong 4to, 50 photographed plates, original padded album. RARE.PHOTOGRAPHY, IRAQ - [Title stamped in gilt on the upper cover:] Camera Studies in Iraq. Baghdad: A. Kerim & Hasso Bros., [n.d. but c.1925]. Oblong 4to (238 x 310mm). 50 monochrome photographed plates of Iraq, some with 2 or more subjects, and including 3 aerial photographs with the small printed caption "R.A.F. Official Photograph" (the sheets with very light uniform sprinkled spotting, probably an integral feature of the paper stock). Original padded album lettered in gilt, with silk thread and with "Rotophot [?]A. G. Berlin" stamped in small letters on the rear pastedown (extremities lightly rubbed). RARE.
![[LAWRENCE, D. H. (1885-1930)] – Robert BROWNING (1812-89). Love Poems, London, 1908, 16mo, original cloth, INSCRIBED by D. H.](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/e2209283-8a20-4099-8628-b1a2013e2773/468x382.jpg)
[LAWRENCE, D. H. (1885-1930)] – Robert BROWNING (1812-89). Love Poems, London, 1908, 16mo, original cloth, INSCRIBED by D. H. Lawrence to "Peg" Brinton.[LAWRENCE, D. H. (1885-1930)] – Robert BROWNING (1812-89). Love Poems ... With Biographical Introduction by Hannaford Bennett. London: John Long, 1908. 16mo (150 x 100mm). Two photographs of Lawrence pasted in, one with Margaret Brinton, captioned "D. H. Lawrence & Meg ["Peg"] Brinton at Kew Gardens" (66 x 64mm) on the front endpaper, the other of Lawrence alone taken on the same occasion captioned "D. H. Lawrence" (79 x 103mm) on a blank page opposite the first poem; newspaper illustration of Lawrence tipped onto front pastedown. Original red cloth (light wear, some slight splitting to textblock). A copy of Browning’s "Love Poems", presented to "Peg" Brinton and playfully INSCRIBED by D. H. Lawrence: "To Peg / these lessons in love / Hoping she may profit by them / from her adoring / Baby / alias David Herbert Richards Lawrence / Compton House / Bournemouth Jan 1912". We have been unable to trace any other Lawrence presentation inscription in which he uses his full name. According to family tradition recorded in the auction catalogue of 1983 where this volume was first sold, the recipient of Lawrence’s gift was Margaret "Peg" Brinton, who had been resident in the same boarding-house as Lawrence during his convalescence from a near-fatal attack of pneumonia the previous year. The two photographs pasted into the volume were probably taken on the same day, April 26 1912, by Margaret's sister, Irene Brinton, during a visit to Kew Gardens. It is understood that Margaret destroyed Lawrence's letters to her when she married. Provenance: Margaret "Peg" Brinton (presentation inscription from D. H. Lawrence on endpaper) – by descent and sold Sotheby’s, London, 21-22 July 1983, lot 457, where bought by – Sotheran’s, booksellers – Sotheby’s, London, 14 December 1992, lot 125.
FLEMING, Ian (1908-64). Goldfinger, New York, 1959, 8vo, half title (a few pages with light stains and spots), original black cloth with skull design stamped in blind with gold coins as eyes, dust-jacket. FIRST AMERICAN EDITION. Gilbert A7b.FLEMING, Ian (1908-64). Goldfinger. New York: The Macmillan Company, 1959. 8vo (188 x 120mm). Half title (a few pages with light stains and spots). Original black cloth with skull design stamped in blind and with gold coins as eyes, the spine lettered in gilt, dust-jacket designed by Richard Chopping with price of $3.00 unclipped (jacket with some fraying at head and foot of backstrip). Please note that the dust-jacket has been photographed in its protective acetate wrapper which we have not removed to avoid damaging it. FIRST AMERICAN EDITION. Biondi & Pickard p.45; Burgess Ninety-Nine Novels p.74 (his only choice of a work by Fleming): "... Fleming's passion for plausibility, his own naval intelligence background, and a kind of sincere Manicheism, allied to journalistic efficiency in the management of his récit, make his work rather impressive"; Gilbert A7b.
LONDON, THE THAMES - Walter G. BELL (1867-1942). The Thames from Chelsea to the Nore, London, 1907, 4to, mounted coloured frontispiece, 30 lithographed plates, morocco gilt. ONE OF 310 COPIES. With 8 other books of related interest, leather-bound. (9)LONDON, THE THAMES - Walter George BELL (1867-1942). The Thames from Chelsea to the Nore. London: John Lane, The Bodley Head, 1907. 4to (278 x 215mm). Half title, mounted coloured frontispiece, title printed in red and black, and 30 lithographed plates by Thomas R. Way. Attractively bound by Henry Sotheran in dark blue half morocco gilt, top edges gilt, others uncut, marbled endpapers, original blue cloth gilt wrappers bound in at the end (spine faded, some light staining to boards). FIRST EDITION. ONE OF 310 COPIES, this copy unnumbered. With 8 other books of related interest, all bound in half morocco or half calf, including John Fisher Murray's A Picturesque Tour of the River Thames in its Western Course (London, 1862, large 8vo, wood-engraved plates COLOURED BY HAND, maps, later half blue morocco gilt), G. H. Birch's London on Thames in Bygone Days (London, 1903, 4to, coloured plates, later blue half morocco gilt) and W. L. & M. A. Wyllie's London to the Nore (London, 1905, large 8vo, coloured plates, later brown half morocco gilt with ship motifs in the compartments of the spine). (9)
NONESUCH PRESS - William SHAKESPEARE (1564-1616). The Works, London, The Nonesuch Press, 1929-33, 7 volumes, large 8vo, original full niger morocco gilt. NUMBER 798 OF 1,050 COPIES. (7)NONESUCH PRESS - William SHAKESPEARE (1564-1616). The Works ... The text of the First Folio with Quarto variants and a selection of modern readings: edited by Herbert Farjeon. [London]: The Nonesuch Press, 1929-33. 7 volumes, large 8vo (235 x 150mm). Titles within ruled borders with small woodcut ornaments. Original full niger morocco by A. W. Bain, the covers with double gilt-ruled fillets, the spines with five raised bands and lettered in gilt, top edges gilt, others uncut (some very light scratching and scuffing to covers). ONE OF 1,600 COPIES, THIS NUMBER 798 OF 1,050 COPIES FOR SALE IN GREAT BRITAIN AND IRELAND. The limitation leaf states: "This edition consists of 1,050 copies for sale in Great Britain & Ireland and 550 copies for sale in the United States of America. It has been designed by Francis Meynell, printed and made in England by Walter Lewis, M.A., Printer to the University, at the Cambridge University Press, in Monotype Fournier with new capital letters made for this edition, and bound in London by A. W. Bain." Nonesuch Century 58: "The Shakespeare represents the chef d' oeuvre of the Nonesuch Press ... This is the finest of all editions of our greatest poet"; Ransom Private Presses p.169. (7)
BUKOWSKI, Charles (1920-94). In the Shadow of the Rose, Santa Barbara, 1991, 4to, original coloured decorated boards, dust-jacket. FIRST EDITION. NUMBER 721 OF 750 COPIES NUMBERED AND SIGNED BY THE AUTHOR AND WITH A SELF-PORTRAIT SKETCH. Krumhansl 122a.BUKOWSKI, Charles (1920-94). In the Shadow of the Rose. Santa Barbara: Black Sparrow Press, 1991. 4to. Title printed in turquoise, pink and black (some very faint spotting to the title and slightly heavier spotting to the half title [which is bound after the title] and "Table of Contents" leaf). Original black cloth-backed coloured decorated paper boards, printed spine label, turquoise endpapers, turquoise dust-jacket, acetate wrapper (some light spotting and staining to boards). FIRST EDITION. NUMBER 721 OF 750 COPIES NUMBERED AND SIGNED BY THE AUTHOR AND WITH AN ORIGINAL SELF-PORTRAIT SKETCH. The book bears a printed dedication to the actor Sean Penn. Krumhansl 122a.
KIPLING, Rudyard (1865-1936). Just So Stories, London, 1902, 4to, illustrations by the author, original cloth. FIRST EDITION, FIRST ISSUE. With c.50 other books, a few inscribed by Kipling to Stanley Baldwin. (c.50)KIPLING, Rudyard (1865-1936). Just So Stories For Little Children. London: Macmillan and Co., 1902. 4to (230 x 175mm). Half title, 22 plates, illustrations and initials by the author (some light mainly marginal spotting and staining). Original red pictorial cloth (lightly stained and rubbed, inner hinges weak, spine a little faded). Provenance: Phyllis Neilson Terry, October 15, 1902 (signature on front free endpaper). FIRST EDITION, FIRST STATE, with the binding blocked in white. Stewart 260. With c.50 other books by, or relating to, the same author including H. Staunton's The Chess Tournament. A Collection of the Games Played at this Celebrated Assemblage (London, 1852, 8vo, diagrams, contemporary half calf, INSCRIBED BY KIPLING, "Stan from Rud: Dec 31, 1919" [i.e. inscribed by Kipling to Stanley Baldwin who was a first cousin of the poet's]), Rudyard Kipling's The Brushwood Boy (London, 1907, 8vo, coloured plates by F. H. Townsend, original cloth), Verse. Inclusive Edition 1885-1918 (London, 1919, 3 vols., large 8vo, original buckram gilt, SIGNED BY KIPLING on the half title of the first vol. and INSCRIBED BY KIPLING, "Stan from his cousin, New Year, 1919-20"), Land and Sea Tales for Scouts and Guides (London, 1923, 4to, original cloth), Harry Stillwell Edwards' Eneas Africanus (Macon, Georgia, 1924, square 8vo, original wrappers, INSCRIBED BY KIPLING in pencil, "Read every word of this and study the map, R."), Horati Carminum Libri IV (London, "Impensis Petr. Davies", 1926, large 8vo, coloured illustrations, original decorated cloth, INSCRIBED BY KIPLING, "Stan from Rud. Dec. 1926") and Sea and Sussex (London, 1926, 4to, mounted coloured plates by Donald Maxwell, original cloth gilt). Please note that only a very small part of the lot is illustrated. (c.50)
![[MOULIN, Peter du (1601-84, attributed)]. Tragicum theatrum actorum, Amsterdam, 1649, small 8vo, 8 engraved portraits, foldin](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/23589810-3d88-41a5-9217-b1a2013dc13d/468x382.jpg)
[MOULIN, Peter du (1601-84, attributed)]. Tragicum theatrum actorum, Amsterdam, 1649, small 8vo, 8 engraved portraits, folding plate of the execution of Charles I (lacks all before title [i.e. blanks]), contemporary calf. FIRST EDITION.[MOULIN, Peter du (1601-84, attributed)]. Tragicum theatrum actorum, & casuum tragicorum Londini publice celebratorium, quibus Hiberniæ proregi, Episcopo Cantuariensi, ac tandem Regi ipsi, aliisque vita adempta, & ad Anglicanam metamorphosin via est aperta. Amsterdam: Apud Jodocum Jansonium, 1649. Small 8vo (139 x 90mm). Woodcut ornament on the title, 8 engraved portraits, folding plate of the execution of Charles I with the Banqueting House in the background, 4-pages of errata inserted between pp.84 and 85 (lacks all before title [i.e. blank or blanks], variable but mostly light browning throughout, some light spotting mainly at margins). Contemporary mottled calf gilt (neatly rebacked, rubbed). Provenance: Nathan of Churt (armorial bookplate). FIRST EDITION.
BINDING, THE SPEAKER OF THE HOUSE OF COMMONS' COPY - The Royal Kalendar, London, 1848, large 12mo, FINELY BOUND in contemporary straight-grained armorial morocco gilt with "The Speaker" stamped in gilt on the covers.BINDING, THE SPEAKER OF THE HOUSE OF COMMONS' COPY - The Royal Kalendar, and Court and City Register, for England, Scotland, Ireland, and the Colonies, for the Year 1848. Containing a Correct List of the Fifteenth Imperial Parliament, Summoned to Meet for their First Session November 18, 1847. London: Printed for R. & A. Suttaby (and others), [1848]. 2 works bound in one volume [with Companion to the Calendars, for the Year 1848], large 12mo (175 x 105mm). (Occasional light spotting and staining.) FINELY BOUND in contemporary scarlet straight-grained armorial morocco gilt, gilt edges (corners rubbed). Provenance: "The Speaker" (stamped in gilt on both covers beneath the Royal coat-of-arms). Bound for Charles Shaw-Lefevre, 1st Viscount Eversley (1794-1888), who was Speaker of the House of Commons from 1839-57, the second longest-serving speaker in Parliamentary history. "[Shaw-Lefevre] proved himself a speaker of distinction. He set himself to reform procedure, and during the stormy debates on Irish questions in O'Connell's time, and afterwards on free trade, maintained order firmly and impartially. He was very dignified, strong, and tactful, and the business of the house benefited greatly by his election" (DNB).
![[GILLRAY, James (1757-1815)]. A collection of 45 "suppressed" plates on 23 sheets, engraved by Hannah Humphrey after James Gi](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/c933a94e-b8c8-4925-9363-b1a300b7767a/468x382.jpg)
[GILLRAY, James (1757-1815)]. A collection of 45 "suppressed" plates on 23 sheets, engraved by Hannah Humphrey after James Gillray, variously dated in the plates 1779-1804 [but re-issued by Henry G. Bohn c.1851], folio, red morocco portfolio, with catch.[GILLRAY, James (1757-1815)]. A collection of 45 "suppressed" plates on 23 sheets, etched and engraved by Hannah Humphrey after James Gillray, variously dated in the plates 1779-1804 [but re-issued by Henry G. Bohn c.1851]. (The first two plates spotted, some light mainly marginal spotting to the other plates.) Folio (640 x 480mm). Bound in a contemporary half red morocco and marbled portfolio, the spine elaborately decorated in gilt, with a simple metal catch (not a lock, hence not requiring a key) on the flap (extremities rubbed, patch of wear to lower board, some staining). "Gillray's most enduring work ... was done as a caricaturist, and as a caricaturist pure and simple he holds a foremost place in that division of English graphic art. Much of the intensity, the almost ferocious energy, of his satire is scarcely conceivable in these milder days, but, that admission made, it is impossible not to admire his inexhaustible fertility of fancy, the frequent grandeur of his conception, the reckless audacity of his attack, and his skill in selecting the vulnerable side of his victims" (DNB). After Gillray's decline into insanity and his eventual death, the original plates of his caricatures passed into the hands of his publisher and (reputedly) sometime "companion" Hannah Humphrey; on her death, they were purchased by Henry G. Bohn who published a selection of them in 1818 and a further issue, with descriptions by M'Clean, in 1830. In 1851 he issued a folio volume entitled The Works ... from the Original Plates, with the addition of many subjects not before collected which contained 582 plates - virtually Gillray's complete oeuvre - and at the same time he issued the present supplement, or companion volume, without a title page, of 45 "suppressed plates" which were considered too explicit for general circulation.
KIPLING, Rudyard (1865-1936). Collected Verse, London, Hodder & Stoughton, 1912, 4to, original full limp vellum, ties, slipcase. NUMBER 368 OF 500 COPIES SIGNED BY THE PUBLISHER AND PRINTER.KIPLING, Rudyard (1865-1936). Collected Verse. London: Hodder & Stoughton, 1912. 4to (265 x 205mm). Half title, title printed in turqoise and black, turqoise initials (some very light marginal staining to first few leaves). Original full limp vellum lettered and decorated in gilt, blue silk ties, top edges gilt, others uncut (a little bowed, lightly stained), slipcase. NUMBER 368 OF 500 "EDITION DE LUXE" COPIES PRINTED ON HANDMADE PAPER SIGNED BY THE PUBLISHER AND PRINTER. Richards A258.
![LONDON - [David HENRY (1710-92)]. An Historical Account of the Curiosities of London and Westminster, in Three Parts, London,](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/60ed56e0-e8a4-4065-b39c-b1a300b7af82/468x382.jpg)
LONDON - [David HENRY (1710-92)]. An Historical Account of the Curiosities of London and Westminster, in Three Parts, London, 1759-61, 12mo, contemporary calf. With 9 works of related interest in 10 vols. (11)LONDON - [David HENRY (1710-92)]. An Historical Account of the Curiosities of London and Westminster, in Three Parts. Part I. Contains a full Description of the Tower of London ... Part II. Contains the History of Westminster-Abbey ... Part III. Treats of the Old Cathedral of St Paul's and the New. London: Printed for J. Newbery, 1760 [second part dated 1761; third part dated 1759]. 3 parts in one volume, 12mo (165 x 100mm). Woodcut ornaments, tables (some light browning and spotting). Contemporary speckled calf gilt (joints splitting, rubbed). Provenance: Sir John Cope, Bart. (armorial bookplate). [?]FIRST EDITION. Cf. Roscoe A219. With 9 works of related interest in 10 vols., namely Thomas Lane's The Student's Guide through Lincoln's Inn ... The Third Edition (London, 1814, 8vo, engraved frontispiece, 2 facsimiles, one folding, original cloth-backed boards, the title inscribed "from the Author"), John James Park's The Topography and Natural History of Hampstead ... Republished with Additions and Corrections (London, 1818, large 8vo, folding engraved map of Hampstead, plates, 19th-century half morocco), William Robinson's The History and Antiquities of the Parish of Tottenham High Cross ("Middlesex", Printed for the Author, 1818, large 8vo, large folding hand-coloured engraved map, plates, modern half morocco gilt), Thomas Cromwell's Walks through Islington (London, 1835, 8vo, plates, contemporary green calf gilt, FIRST EDITION), William Edward Trotter's Select Illustrated Topography of Thirty Miles round London (London, 1839, large 8vo, plates, FINE original cloth lettered in gilt and decorated in blind, FIRST EDITION), John Thomas Smith's The Cries of London: Exhibiting Several of the Itinerant Traders of Antient and Modern Times (London, 1839, 4to, 30 etched plates, 19th-century black half calf gilt, FIRST EDITION), London Interiors: a Grand National Exhibition (London, 1841-44, 2 vols., 4to, engraved plates, attractively bound in contemporary black half calf gilt, FIRST EDITION), The Comic Almanack ... Second Series, 1844-1853 (London, [n.d.], wood-engraved plates and illustrations by George Cruikshank and others, a few folding, attractively bound by Rivière in full red calf gilt) and Thomas Crofton Croker's A Walk from London to Fulham (London, William Tegg, 1860, 8vo, illustrations, contemporary half morocco, FIRST EDITION). The lot sold not subject to return. (11)
HOSPINIAN, Rudolf (1547-1626). De origine, progressu, usu et abusu templorum, Zurich, 1587 [bound with 2 other works by the same author, dated 1592 and 1593], folio, full contemporary vellum gilt. FIRST EDITIONS.HOSPINIAN, Rudolf [i.e. Rudolf WIRTH (1547-1626)]. De origine, progressu, usu et abusu templorum, ac rerum omnium ad templa pertinentium. "Tiguri" [i.e. Zurich]: "In officina Froschouiana," 1587, woodcut illustration of the printer's device of a frog on the title [bound with the same author's:] De origine, progressu, ceremoniis et ritibus festorum dierum Iudaeorum, Græcorum, Romanorum & Turcarum libri tres. Zurich: "Apud Ioannem Wolphium, Typis Frosch.", 1592 [and the same author's:] Festa Christianorum. Hoc est: De origine, progressu, ceremoniis et ritibus festorum dierum Christianorum liber unus. Zurich: "Apud Ioannem Wolphium, Typis Frosch.", 1593. 3 works bound in one, folio (318 x 205mm). Initials (some light mainly marginal staining and spotting). Contemporary full vellum gilt, later silk ties (head of spine repaired with later vellum, rubbed and scuffed). Provenance: Henry Spelman (1562-1641, antiquary, old signature on the title of the first work). FIRST EDITIONS. The author was a Swiss reformed theologian and controversialist. The first work in the present volume is about the the origin, progress and abuse of temples in the early church; the two further volumes are on ceremonies, festivals and rituals.
FLEMING, Ian (1908-64). Casino Royale, London, 1953, 8vo, original black cloth (without the dust-jacket, but supplied in modern facsimile). FIRST EDITION. With 2 other books by Fleming, both in facsimile dust-jackets. (3)FLEMING, Ian (1908-64). Casino Royale. London: Jonathan Cape, 1953. 8vo (190 x 125mm). Half title (quite heavy spotting to the front and rear endpapers and half title, some mainly marginal spotting and staining). Original black cloth with red heart motif stamped on the upper cover, the spine lettered in red with the publisher's device at the foot (without the dust-jacket, but supplied in modern facsimile, hinges a little weak, some very faint white stains to the cloth, slight rubbing to the red lettering on the spine). Provenance: Leslie New (label on front free endpaper). FIRST EDITION OF THE AUTHOR'S SCARCE FIRST BOND NOVEL. Biondi & Pickard The James Bond Books of Ian Fleming. A Descriptive Bibliography p.40; Gilbert Ian Fleming. The Bibliography A1. With the same author's Diamonds are Forever (London, 1956, original cloth, inner hinges weak with narrow split at the front, endpapers and half title spotted, some light spotting and staining) and For Your Eyes Only (London, 1960, original cloth), both FIRST EDITIONS in facsimile dust-jackets. (3)
![[BELL, Vanessa (1879-1961)] - Manet and the Post-Impressionists. Nov. 8th to Jan 15th 1910-11, London, Grafton Gallery, [1910](https://cdn.globalauctionplatform.com/aacd4915-06c6-4a34-9915-b1a2013be072/9ffae97c-dbbf-4208-ab06-b1a2013c38f8/468x382.jpg)
[BELL, Vanessa (1879-1961)] - Manet and the Post-Impressionists. Nov. 8th to Jan 15th 1910-11, London, Grafton Gallery, [1910], 8vo, 38-page exhibition catalogue, wrappers. FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE WRAPPER.[BELL, Vanessa (1879-1961)] - [Exhibition Catalogue:] Manet and the Post-Impressionists. Nov. 8th to Jan. 15th 1910-11. 10 a.m. to 6 p.m. (Under Revision). London: Ballantyne & Company Ltd [for Grafton Galleries], [1910]. 8vo (178 x 120mm). 38-page exhibition catalogue, advertisements (some very light mainly marginal spotting and staining, very lightly browned throughout). Original printed wrappers (detached, lacking backstrip, some fraying and short marginal tears not affecting letters, each wrapper lightly stained at one edge). FIRST EDITION, IMPORTANT ASSOCIATION COPY, SIGNED BY VANESSA BELL ON THE UPPER WRAPPER. The exhibition held at the Grafton Galleries in London was a ground-breaking succès de scandale which first established the term 'Post-Impressionist'. It contained previously unseen works by Manet, Cézanne, Gauguin, Matisse, Picasso, Seurat and Van Gogh, among others, and shocked the British artistic establishment which remained largely Victorian in outlook, as revealed in the vitriol of contemporary reviews with their accusations of 'degeneracy'. On the gallery's "Honorary" and "Executive" committees were Clive Bell - Vanessa Bell's husband - Roger Fry, Lionel Cust, Lady Ottoline Morrell and, its Secretary, Desmond MacCarthy. In the catalogue's 7-page introductory essay, unattributed but probably by Roger Fry, the writer (commenting specifically on Matisse, although his words could apply more generally to the artists on display) states: "... this search for an abstract harmony of line, for rhythm, has been carried to lengths which often deprive the figure of all appearances of nature. The general effect ... is that of a return to primitive, even perhaps of a return to barbaric, art. This is inevitably disconcerting ..." Vanessa Bell (née Stephen), who has signed the upper wrapper of this catalogue in ink, was an English painter and interior designer, a prominent member of the Bloomsbury Group and sister of Virginia Woolf. Provenance: Included in the lot is Sotheby's 'Charleston' catalogue for its sale held on 21st July 1980, containing 130 lots "... donated from various sources to be sold for the benefit of The Charleston Trust ..." and in which the present exhibition catalogue ("Vanessa Bell's copy") is included as lot 225 with the footnote "The celebrated exhibition which introduced Post-Impressionism into this country"; loosely-inserted is an accompanying autograph note from the buyer. RARE.
STEPHENSON, George (1781-1848). Autograph letter, signed ("Geo. Stephenson"), to his son Robert Stephenson ("My Dear"), Liverpool, 31 January 1828. Four-pages, 203 x 257mm, on the design and manufacture of his locomotive the "Liverpool Travelling Engine."STEPHENSON, George (1781-1848). Autograph letter, signed ("Geo. Stephenson"), to [his son Robert Stephenson] ("My Dear"), Liverpool, 31 January 1828. Four-pages, 203 x 257mm, bifolium, postmark, wax seal. A letter to his son, Robert Stephenson, containing detailed and technical suggestions for the design and manufacture of his locomotive, the "Liverpool Travelling Engine". Stephenson discusses the length of the boiler and the number of chimneys ("with respect to the Engine for Liverpool I think the Boiler ought not to be longer than 8 feet if the Engine ought to be made light as it is intended to run fast. Mr Booth & myself think 2 chimneys would be better than one say 8 in diameter"), focusing on the use of steam pipes round the boiler as a support for a cistern as well as the diameter of pipes and the material of which they should be made. These are considered in conjunction with aspects such as the adjustments made for decreasing the level of noise and the ordering of the coach wheels. With regards to the employment of a man for his colleague James Moss, he describes a principal difficulty, "honestly speaking … he is not a man to be trusted with a charge", complaining also of the high cost of employing engineers and other skilled workmen. Concluding the letter, he comments on his poor handwriting, "I wish you may be able to read this scrible". The present letter is predominantly unpublished, with only six lines appearing in John Cordy Jeaffreson’s biography of Stephenson of 1864. The "Liverpool Travelling Engine" incorporated many features used a year later in the construction of the "Rocket", which had only one chimney and not the two suggested here. It was later modified and known as the "Lancashire Witch". Provenance: Sotheby's, 27 September 1988, lot 97.
BOURKE-WHITE, Margaret (1904-71, photographer) & Erskine CALDWELL (1903-87). Say, is this the U.S.A., New York, 1941, 4to, monochrome photographed illustrations, original pictorial boards, dust-jacket. FIRST EDITION, SIGNED BY THE PHOTOGRAPHER AND AUTHOR.BOURKE-WHITE, Margaret (1904-71, photographer) & Erskine CALDWELL (1903-87). Say, is this the U.S.A. New York: Duell, Sloan and Pearce, 1941. 4to (307 x 215mm). Half title, monograph photographed illustrations by Margaret Bourke-White (title spotted and stained, occasional light spotting, mainly to text). Original pictorial boards, dust-jacket (the jacket with a small section torn away from lower edge of upper wrapper, some creasing, lightly browned and stained). FIRST EDITION, SIGNED BY THE PHOTOGRAPHER AND AUTHOR on the front free endpaper. Although the tone of the book is generally up-beat about contemporary American life, some of the photographs and captions draw attention to the stark injustices of racial segregation, as embodied in the so-called "Jim Crow Laws", which were not officially, and fully, overturned until the Civil Rights Act of 1964.
England Illustrated, or, A Compendium of the Natural History, Geography ... of England and Wales, London, 1764, 2 volumes, 4to, 53 engraved maps only (of 54, lacking the map of Hertfordshire), 29 plates, calf. FIRST EDITION. With another book. (3)England Illustrated, or, A Compendium of the Natural History, Geography, Topography, and Antiquities Ecclesiastical and Civil, of England and Wales. With Maps of the Several Counties, and Engravings of many Remains of Antiquity, Remarkable Buildings, and Principal Towns. London: Printed for R. and J. Dodsley, 1764. 2 volumes, 4to (288 x 225mm). 2 large folding engraved general maps of England and Wales by Thomas Kitchin at the front of each volume, 51 engraved county and island maps only (of 52, lacking the map of Hertfordshire), 29 engraved plates, illustrations (some light spotting and staining). Contemporary calf, the spines elaborately decorated in gilt with red morocco lettering-pieces (skilfully rebacked preserving old spines, minor repairs to corners, some light scuffing and staining). Provenance: Henry Wemyss Feilden (armorial bookplate); Catherine Haughton Jackson (old signatures on front pastedowns). FIRST EDITION. Brunet II, 180; Chubb CCXXIV (listed under Thomas Kitchin); Lowndes p.668; Upcott I, xxiv. With [William Herbert's] Select Views of London and its Environs; Containing a Collection of Highly-Finished Engravings (London, 1804, large 4to, engraved plates, contemporary half calf, rubbed). (3)
Stephen Mangan (British, born 1964)First Light signed 'MANGAN' (lower right); titled 'First light' (on canvas overlap)oil on canvas30.5 x 25.5cm (12 x 10 1/16in).Footnotes:ProvenanceWith Flying Colours Gallery, London, where acquired by the present owner, circa 2013-14Private Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Helen Bradley (British, 1900-1979)The Mountains and Trees Float on the Water of the Lake signed with fly insignia (lower left); further signed, dated and inscribed 'The Mountains and Trees/float on the Waters of a Lake/and Light comes down from/Heaven./from the song of never ending grief/from the Tang Dynasty./Helen Layfield Bradley 1964' (on Artist's label attached to backboard)watercolour on paper50 x 35.5cm (19 11/16 x 14in).Footnotes:ProvenanceThe Artist, from whom acquired by the previous ownerAcquired from the above by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
William Pye (British, born 1938)Equinox signed, dated and numbered 'PYE 6/8 1986' (to edge)bronze with a green patina, brass and fish wire21cm (8 1/4in) wideFootnotes:ProvenanceThe Claudia R. Luebbers Trust, ChicagoPye created a larger version of this structure in fired clay with stainless steel cables, reminiscent of the giant astrological instruments of the Jantar Mantar observatory in Jaipur. The circle on both examples can only truly be viewed from one position, suggesting a shadow or eclipse; the cables interpreted as shafts of sunlight or the movement of light around the Earth.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Denis Mitchell (British, 1912-1993)Gulval signed with initials, titled and dated 'GULVAL/1990/DAM' (to underside)Delabole slate37.5cm (14 3/4in) highFootnotes:ProvenanceWith Askew Fine Art, Henley-on-ThamesExhibitedSt. Ives, Penwith Galleries, Denis Mitchell: Sculptor, 30 June-1 August 1992, no. 104London, Flowers East, Denis Mitchell, 1993, no. 46Swansea, Glynn Vivian Art Gallery, Denis Mitchell Sculpture, 26 March-19 June 1994, no. 12St. Ives, Penwith Gallery, The Rock and The Light: An Exhibition of Work by Denis Mitchell Sculptor & Tom Early Painter, 12 October-9 November 1996 , no. 3Dublin, Bridge Gallery, Denis Mitchell and Friends, 31 January-2 March 1997, no. 22 Gulval was part of a series of slates carved by Denis towards the end of his life, characterised by clean sharp edges and highly polished surfaces.We are grateful to the Artist's Estate for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Helen Bradley (British, 1900-1979)Wistfully the Young Sister Looked Beyond Her Garden signed and dated 'Helen Layfield Bradley/1955' (lower left); further signed, dated and inscribed 'Wistfully the young sister looked beyond/her garden, out to the fields and the/distant blue hills, out into a world/she would never know - 'For you/cannot go, you must stay with/me and guard our Home', said the/Old Sister, 'Home', sighed the/young one, 'Out there are citys/and perhaps Love' and she sighed/again, and again for Love, for Love/from the tale of two sisters living in a/lonely Irish Castle/Helen Layfield Bradley/Painted about 1953' (on Artist's label attached to backboard)watercolour and gouache on paper34 x 29.5cm (13 3/8 x 11 5/8in).together with two further works on paper, Once Upon a Time There Lived Two Sisters and 'What is Light' She Said 'What is Colour and What is the Moon', by the same hand(3)Footnotes:ProvenanceThe Artist, from whom acquired by the previous ownerAcquired from the above by the present ownerPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Kate Nicholson (British, 1929-2019)Torhouse Stone Circle signed, dated and inscribed 'stone circle in cumbria/Kate Nicholson 1940' (to backboard)oil on board42 x 63.5cm (16 9/16 x 25in).Footnotes:LiteratureJ. Nicholson, Kate Nicholson, Philip Wilson Publishers, London, 2019, p. 32, illustrated'That was a nice holiday up in Cumberland and Scotland. It is lovely to be able to find places that are real and unspoilt. I thought that almost the most beautiful part was the drive back along the Solway. But it is v much dependent on having just the right light. There is a lot of painting to be done at Whithorn so I hope you can manage to go back someday and finish all those schemes.' - Kate Nicholson, Letter to Winifred Nicholson, circa 1959 (J. Nicholson, Kate Nicholson, Philip Wilson Publishers, London, 2019, p. 32)The present work was almost certainly painted at the same time as Winifred Nicholson's painting, Stranraer Bronze Age Circle, (see A. Strang, Winifred Nicholson in Scotland, National Galleries of Scotland, Edinburgh, 2003, p. 20 and A. Nicholson (ed.), Unknown Colour: Paintings, Writings, Letters by Winifred Nicholson, Faber and Faber, London, 1987, p. 205).We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Keith Vaughan (British, 1912-1977)The Garden at Ashton Gifford pen and ink and wash on paper21 x 28cm (8 1/4 x 11in).Executed circa 1942-1943Footnotes:ProvenanceThe Estate of the ArtistWith Gillian Jason Gallery, LondonWith Albemarle Gallery, London, where acquired by the present ownerPrivate Collection, U.K.During the early part of the war Vaughan was stationed at Codford in Wiltshire, serving in no. 9 Company of the Pioneer Corps. He and his comrades were given the task of clearing the overgrown grounds of Ashton Gifford House in the summer of 1942. Greenways Preparatory School had been evacuated there in 1940 from Bognor Regis. He had recently been engaged in stacking sacks of coal, filling sandbags, quarrying gravel and mowing acres of grasslands. He wrote in his journal: 'I live with as much purpose and enthusiasm as a cow. A belly-filling existence. Driven and chivvied all day by NCOs we have no idea of the beginning or the end of a job or what its purpose it. This more than the labour itself is what makes it exhausting. Day follows day with no more change than the date on the calendar.' (Keith Vaughan, Journal July 1941)The clearing of the Ashton Gifford woodland now offered the recruits worthwhile community service and provided fuel for the army in the form of wood. Using little more than chopping axes, they felled dozens of trees and then cut them up into regulation-sized logs with handsaws. Despite the backbreaking work, Vaughan found aesthetic qualities in his surroundings, enough to write about them to his friend, the painter Norman Towne: '...white and ochre branches plunging down into the oceanic surging of tangled nettles. People walking through the waist-high grass, through the aqueous leaf-green shadow, arms full of dead wood...and the wall running as an indefatigable horizontal, losing and finding itself in the jungle of weed and ivy...I wanted to capture this in lassoes of line and nets of colour, but it's more difficult than writing about it.' (Keith Vaughan, letter to Norman Towne, October 12, 1942)During his cigarette breaks and rest periods, Vaughan recorded his daily activities in his sketchbooks. Then, on his return to the barracks in the evening, he worked his sketches into more detailed images such as we see here. Cosmo Rodewald, a fellow comrade, recalled him painting and drawing in uncomfortable surroundings whenever army duties permitted. 'He was always at work in the evenings by candlelight or lamplight, lying on his straw paillasse, his back propped up by a pile of blankets.' (Cosmo Rodewald, letter to Gerard Hastings, May 1980). He also remembered Vaughan cadging candle stubs from his barrack room comrades, not so much to provide light from which to work, but to use in his wax-resists. The romantic, overgrown setting inspired several pen, ink and gouache pictures (see The Working Party, (1942); Tree Felling, Ashton Gifford, (1942-3), illustrated p. 71: Keith Vaughan, His Life and Work, Malcolm Yorke, Constable London, 1990; The Wall at Ashton Gifford, (1943/1944, several versions), illustrated p. 161, Keith Vaughan, Vann and Hastings, Lund Humphries, 2012). The present version is typically Neo-Romantic in execution. The composition is held together with a mesh of pen and ink lines, while expressive washes and translucent tonal layers create an interplay of light and brooding shadow, echoing the darkness and blackout of wartime Britain.We are grateful to Gerard Hastings for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Michael Ayrton (British, 1921-1975)Cretan Red Landscape signed and dated 'michael ayrton June 65.' (lower right)collage and oil on canvas39 x 49cm (15 3/8 x 19 5/16in).Footnotes:The present lot is one of the series of paintings inspired by the light and landscapes of Crete, which formed the essential background in Ayrton's mind to his developing understanding of the myth of Daedalus, Icarus and the Minotaur which preoccupied his sculpture from his first visit to the island in 1958. The landscapes painted at this time had an extra level of significance for Ayrton because he was in the midst of conceiving and writing his fictional autobiography of Daedalus, The Maze Maker (published in 1967). Thus these works not only celebrate his love of the country, its history and myth, but also spring from a need to 'understand' every aspect of his narrator/alter-ego's experiences. Many were made as collages rather than simply oil paint, which seemed to Ayrton a better and more expressive technique to represent the urgent physicality of the land, with its stark geology and the many-layered strata of its history and archaeology.We are grateful to Dr Justine Hopkins for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
![WILDE, OSCAR An Ideal Husband. London: Smithers, 1899. Octavo. First edition, first impression. pp. [xiv], 213. Original lave](https://cdn.globalauctionplatform.com/d8cc9bbd-7136-40e1-9257-b1a800f4b5a5/cfe7b370-2a8a-49e4-8433-b1a901055381/468x382.jpg)
WILDE, OSCAR An Ideal Husband. London: Smithers, 1899. Octavo. First edition, first impression. pp. [xiv], 213. Original lavender publisher's cloth with gilt titles to the spine and gilt flourishes to the spine and front panel. Decorative bookplate of Georg Mecklenburg on front pastedown. One of 1,000 copies printed. Condition Report: Top edge gilt. Light wear to extremities and usual mild fading. A nice copyMason 385
Mixed Lot: A pair of Victorian silver light house peppers with reeded detail supported on a spreading foot, London 1894, makers mark for William Hutton & Sons Ltd, 8cm tall, a pair of Victorian fiddle pattern condiment spoons, London 1838, makers mark Charles Boyton (I), a white metal two part Chinese buckle with floral border around a set of Chinese character marks together with a Treen peppermill with silver mounts, hallmarked London 1987, makers mark Mappin & Webb, weighable silver is 180 grams
2 x horse racing books comprising Ruby - An Autography by Ruby Walsh published by Orion London 2010 First Edition hardback with dust wrapper and The Winter Kings - Great Steeplechasers Lottery to Desert Orchid by Ivor Herbert and Patricia Smyly published by Pelham Books 1989 First Edition hardback with dust wrapper, both books show some light signs of age / wear and otherwise are in good condition (see photographs. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Eliza Simmance (1857-1935) for Doulton Lambeth Tapered vase with incised foliate and beaded decoration, late 19th century Glazed stoneware Manufacturer's and maker's marks 40cm high Condition Report: This vase is in overall good condition and presents well. There is a slightly rough edge to the foot where the glaze is not fully applied, and there is some very minor pitting to the blue neck, and some light scratches to the interior.
Willy Rizzo (1928-2013) for Mario Sabot 'Savage' cabinet, circa 1970 Brown lacquered wood, chromed metal 75.5cm high, 120cm wide, 47.5cm deep Condition Report: Overall surface wear to include light scratches and scuffs. The top surface particularly, with light scratches, scuffs and patches of surface wear throughout. There is a small knock to lacquer to top front edge. Finish with wear/losses to interior of handles.
Lalique 'Bagatelle' No.12-219 vase, designed 1939, post-war production Moulded cear and frosted glass Signed 'Lalique France' 17 cm highCondition Report: Only very light surface wear throughout, there is one minor chip to underside edge of base. Otherwise in generally good presentable condition
René Lalique (1860-1945) Roger & Gallet - 16, two ‘Pavots d’Argent’ scent bottles, circa 1927 Moulded glass Moulded marks 'R LALIQUE FRANCE' 8.5cm high (2) Condition Report: Both bottles with general light surface wear commensurate with age and use. The stopper on one bottle is jammed tight. The other bottle has a layer of chalky residue to interior making the bottle translucent.
George Nelson & Associates for Howard Miller Clock Company Model '2236' wall clock, 1957 Lacquered walnut, enameled aluminum, lacquered brass Manufacturer's marks to verso 40cm diameter Condition Report: Dial with fine hairline craquelure to lacquer, there is a lacquer/varnish drip which I assume is from manufacture as well as general light surface wear to include faint marks and light scuffs. The original manufacturer’s label to dial is missing. The clock is not currently working, however, according to the owner he had it serviced when he first purchased it and it worked previously.
The Studio Works of Deirdre Burnett (1939-2022) Larger plant pot, second half 20th century Glazed earthenware Impressed ‘DB’ 19cm high, 27cm wide, aperture 20.2cm diameter (ARR) Provenance Estate of the artist Footnote Deirdre Burnett graduated from Camberwell School of Art & Design in 1967, where she was heavily influenced by visiting lecturers Hans Coper & Lucie Rie. Her work was included in the 2020 exhibition 'Hans Coper, Lucie Rie & Pupils', Oxford Ceramics Gallery, Oxford, and the 1990 exhibition 'Lucie Rie, Hans Coper & their pupils', Sainsbury Centre, & Fitzwilliam Museum, Cambridge. Burnett's work has been held at the Victoria & Albert Museum, London and the MOMA, New York, as well as in numerous private and prestigious collections worldwide. Deirdre Burnett was a Fellow of the Craft Potters Association and a member of Contemporary Applied Arts. Condition Report: Light general surface wear throughout, dust/dirt build up to surfaces, would benefit from cleaning. There are a few small chips to the underside of the applied frilled decoration.
Eliza Simmance (1857-1935) for Doulton Lambeth Baluster form vase with pierced rim and tube lined foliate decoration, late 19th century Glazed stoneware Manufacturer's and maker's marks 42.5cm high Condition Report: Please Note - A large part of the lower neck and upper shoulder has professionally-applied restorative glaze, visible under UV light and also under natural light by the matte appearance of the neck in comparison to the body. Otherwise there are no major flaws to the rest of the vase.
Giotto Stoppino (1926-2011) & Lodovico Acerbis (1939-2021) for Acerbis 'Parioli' sideboard, circa 1975 Black lacquered ash, steel 73cm high, 190cm wide, 43.5cm deepCondition Report: Sideboard with some scratches to brushed steel panel top surface. The back of the sideboard with two minor losses to wood, Otherwise only light general wear to ebonised wood surfaces. Both cupboards are lacking shelves
Sandro Vachetti (1889-1976) for Essevi ‘Bimba con il passeggino’ circa 1935 Glazed earthenware Painted manufacturer's marks to underside 29.5cm high Literature Maria Grazia Gargiulo, 'Sandro Vacchetti e la Essevi: Ceramiche Del Novecento Italiano', Paparo Editioni, Napoli, 2005 Condition Report: Only light surface wear, no chips, cracks or damage
Italian Console table and mirror, circa 1960 Lacquered steel, brass, glass, mirrored glass Console : 74cm high, 115cm wide, 37cm deep ; Mirror : 90cm x 70cm (2) Condition Report: Table with small losses to lacquered finish particularly to top surface around glass insert and some small losses to lacquer on one leg. There are signs of oxidisation to exposed metal beneath the losses to lacquer. There are three missing rubber pads to the supports for the glass insert. Mirror with light general surface wear throughout.
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