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Lot 65
JOHN LATHAM (1921-2006)Sans titre 1959 signé et daté 1959 au revers huile, livres, colle vinylique et métal sur toile de jute marouflé sur panneau signed and dated 1959 on the reverse oil, books, vinyl adhesive and steel on burlap canvas laid on panel76.5 x 58.8 x 11 cm. 30 1/8 x 23 1/8 x 4 5/16 in.Footnotes:ProvenanceGalleria Piero Cavellini, BresciaAcquis auprès de celle-ci par le propriétaire actuel circa 1990This 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
Lot 52
JORGE EIELSON (1924-2006)Quipus 31 BN-1 1966-1971 signé, titré et daté Roma 66 - Paris 71 au revers acrylique sur toile sur panneau signed, titled and dated Roma 66 - Paris 71 on the reverse acrylic on canvas laid on panel 85 x 71 cm. 33 7/16 x 27 15/16 in.Footnotes:Cette oeuvre est enregistrée sous le numéro JE0771 auprès de l'Archivio Jorge Eielson, Saronno ; un certificat de l'Archivio Jorge Eielson sera remis à l'acquéreur. ProvenanceGalleria Lorenzelli, BergameCollection Maimone, MilanAcquis auprès de celle-ci par le propriétaire actuelThis 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
Lot 20
CLAUDIO PARMIGGIANI (N. 1943)Sans titre (diptyque) 1974 signé, titré et daté 1974 au revers de chaque élémenttirage chromogénique marouflé sur panneau signed, titled and dated 1974 on the reverse of each elementC-print laid on panel Chaque élément: 121.1 x 72.5 cm.Each C-print: 47 11/16 x 28 9/16 in.Footnotes:Cette œuvre est accompagnée d'un certificat signé par l'artiste.Nous remercions l'Archivio Claudio Parmiggiani des informations qu'ils nous ont aimablement communiquées sur cette oeuvre. ProvenanceGalleria Piero Cavellini, BresciaAcquis auprès de celle-ci par le propriétaire actuel circa 1990Exposition Pistoia, Palazzo Fabroni, Claudio Parmiggiani - Apocalypsis cum figuris, 2007, p. 174, illustré en noir et blancThis 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
![PIER PAOLO CALZOLARI (N. 1943)Sans titre [Eroe] 1977 signé et daté 77 au revers sel et plomb sur tissu monté sur panneau s](https://cdn.globalauctionplatform.com/89dae943-5b65-4a6d-ac16-b2330111b800/d8d16faf-fae0-44d4-8d4a-b2330117479b/468x382.jpg)
Lot 12
PIER PAOLO CALZOLARI (N. 1943)Sans titre [Eroe] 1977 signé et daté 77 au revers sel et plomb sur tissu monté sur panneau signed and dated 77 on the reverse salt and lead on fabric laid on panel 18.8 x 23 x 2 cm. 7 3/8 x 9 1/16 x 13/16 in.Footnotes:Cette œuvre est enregistrée sous le n°A-CAL-1977-26 auprès de la Fondazione Calzolari, Faro ; un certificat de la Fondazione Calzolari, Faro, sera remis à l'acquéreur. Provenance Collection particulière, Milan Puis par descendance au propriétaire actuelThis 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
Lot 49
GETULIO ALVIANI (1939-2018)LL I.2.4 - I4. 1964 signé sur l'étiquette de l'artiste apposé au revers aluminium brossé sur panneau signed on the artist's label affixed on the reverse brushed aluminium on panel69 x 69.4 cm. 27 3/16 x 27 5/16 in.Réalisé en 1964.Footnotes:Cette œuvre est enregistrée sous le n° STV19644016202438 auprès du Centro Studi Archivio e Ricerche Getulio Alviani, Milan. Un certificat du Centro Studi Archivio e Ricerche Getulio Alviani, Milan, sera remis à l'acquéreur. ProvenanceGalleria Cadario, MilanCollection particulière, Milan (acquis auprès de celle-ci)Puis par descendance au propriétaire actuelThis 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
Lot 19
CLAUDIO PARMIGGIANI (N. 1943)Orecchio 1983 signé ; signé et daté 1983 au revers plâtre et plumes montés sur panneau peint signed ; signed and dated 1983 on the reverse plaster and feathers mounted on painted panel 42 x 36.5 x 9.5 cm. 16 9/16 x 14 3/8 x 3 3/4 in.Footnotes:Cette œuvre est accompagnée d'un certificat signé par l'artiste.Nous remercions l'Archivio Claudio Parmiggiani des informations qu'ils nous ont aimablement communiquées sur cette oeuvre. ProvenanceGalleria Piero Cavellini, BresciaAcquis auprès de celle-ci par le propriétaire actuel circa 1990This 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
Lot 45
GIULIO TURCATO (1912-1995)Superficie lunare circa 1960 signé ; signé au revers huile et technique mixte sur mousse de polyuréthane sur panneausigned ; signed on the reverseoil and mixed media on foam rubber laid on panel33.2 x 45 cm. 13 1/16 x 17 11/16 in.Réalisé circa 1960.Footnotes:Cette œuvre est enregistrée sous le numéro BM120412ML04DA auprès de l'Archivio Giulio Turcato, Rome ; un certificat de l'Archivio Giulio Turcato sera remis à l'acquéreur.ProvenanceCollection particulière, Italie Puis par descendance au propriétaire actuelThis 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
Lot 775
A JAPANESE FOUR PANEL SCREEN 20TH CENTURY Ink and colour on paper, decorated on one side with trees against a gold background, signed and sealed with a repeated blue pattern on the reverse 152.5cm high, 187cm wide, 2cm deep, 47.7cm wide when folded Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches, and abrasions commensurate with age and use. Some wear and lifting to edges. Hole on the blue patterned side and particular surface wear. Working hinges. The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer
Lot 810
FIRESIDE FURNITURE Comprising; an Art Deco walnut facetted coal box, 37cm high; a pair of modern woven wicker log baskets, 54cm high; and another pair, 36.5cm high (5) Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, splits, losses and repairs The woven baskets with signs of use and wear - but all of solid, stable structure overall The mahogany coal bucket with signs of use and wear. Coal pieces and dust still contained within. The timber panel to the underside with water damage, losses and blooming. The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer
Lot 796
Y TWO PAINTED, GLAZED AND CHINESE PANEL INSET LOW TABLES POSSIBLY BY MALLETT, 20TH CENTURY INCORPORATING EARLIER ELEMENTS One 40cm high, 166cm wide, 59cm deep, the other 39cm high, 170cm wide, 59cm deep AND ANOTHER SIMILAR, with Japanese Shibayama style glazed inset panel, 40cm high, 97cm wide, 64.5cm deep (3) Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available.Marks, knocks, scratches and abrasions commensurate with age and useSome old chips and minor splits to frames and timber panels Some fading throughout to all three tables The glass tops with some surface marks and scratches The lacquer surface to two tables with craquelure throughout Some evidence of worm to inset timber panelsAll tables of stable structure overallThe above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer
Lot 800
A SET OF TWENTY FOUR CHINESE CARVED PANELS 19TH CENTURY Centre sections carved with various motifs, few examples with residue of old paint each approximately 46cm high, 18cm wide Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches, abrasions commensurate with age and use. Old chips, splits and losses, particularly to the edges of the panels. Sign of woodworm and clear restoration. Some panel central sections appear to be entirely restoration work. The above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer
Lot 811
A FRENCH CANED CARVED BEECH SOFA 19TH CENTURY 97.5cm high, 144cm wide, 64cm deep Provenance: The Estate of a deceased Gentleman Condition Report: Please note the below condition report is the only one available. Marks, knocks, scratches and abrasions commensurate with age and useSome old splits and chipsEvidence of old worm in places throughout resulting in fragmentary losses in places - see images for extentSome opening to jointsCentral front leg is slightly loose but remains in positionSome moment within frameOne break to one rear side panel of caningLoose seat cushion with some minor wear and water marksSome supporting blocks of timber to underside of seatThe above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly.Condition Report Disclaimer
Lot 883
Y A VICTORIAN ROSEWOOD AND BEADWORK NEST OF QUARTETTO TABLES CIRCA 1860 Each with glazed beadwork panel of cottages largest 74.5cm high, 54.5cm wide, 33cm deep (4) Provenance: Pelham Galleries London, April 1971 The Estate of a deceased Gentleman A copy of the receipt will be made available to the successful purchaser. Condition Report: Please note the below condition report is the only one available.Marks, knocks, scratches and abrasions commensurate with age and useSome old chips, splits, losses and repairs The timber with some fading. One section of moulding to the smallest table lacking. Some sections of loss/damage to beadwork and gilt trimThe above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. Condition Report Disclaimer
Lot 143
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) RED-PANTILED COTTAGES, FIFE Oil on board, laid down 35.5cm x 25.5cm (14in x 10in) Between 1919 and 1926, Hunter spent part of each spring and summer in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. As Bill Smith and Jill Marriner have written: ‘He came upon an important source of inspiration through his fortuitous discovery of Fife and the possibilities inherent in its colourful landscape and rural architecture…it opened up a whole new realm of possibilities for Hunter. Subsequently he would go to Fife in any season. It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2011, p.79)Favoured locations in which to paint coastal and rural scenes included the villages of Lower Largo, Drumeldrie and Ceres. Whilst it is not known what drew Hunter to the area in the first place, Derek Ogston has explained that ‘the light, the ever-changing hues of the sea and the varied colours of its lime-washed houses with their red pantiled roofs are likely to have been an attraction. It is a part of Scotland that has provided scenic material for generations of artists and continues to attract painters.’ (Derek Ogston, The Life and Work of George Leslie Hunter 1877-1931, Baillieknowe Publishing, Kelso, 2002, p.68)Red-pantiled Cottages, Fife has a charming focus on the distinctive architecture of Fife, affording an oblique view of a typically modest cottage. A painterly technique stresses the rhythm of the titular roof tiles, as well as the leaves and branches of the carefully tended plants and trees around it. Hunter presents an idyllic scene of country life, realised on an intimate panel measuring 14 x 10 inches.Path through the Village, Fife is a more expansive view in which picturesque low-rise stone buildings frame a view along a footpath. There is a sense of unseen people living in harmony with nature, under the shade provided by ancient trees and with hints of space and light beyond. Hunter’s palette, based on shades of green and brown, speaks of the fecundity of the area and a benign climate. Hunter is as readily associated with Fife as his fellow Scottish Colourists Cadell and Peploe are with Iona, as all three painters delighted in and honoured the landscape of their country of birth.
Lot 144
GEORGE LESLIE HUNTER (SCOTTISH 1877-1931) PATH THROUGH THE VILLAGE, FIFE Signed, oil on canvas 63,5cm x 51cm (25in x 20in) Sotheby's Hopetoun House, Scottish Pictures 19th April 2004, lot 72 Between 1919 and 1926, Hunter spent part of each spring and summer in Fife in eastern Scotland, which is bordered by the Firth of Tay, the Firth of Forth and the North Sea. As Bill Smith and Jill Marriner have written: ‘He came upon an important source of inspiration through his fortuitous discovery of Fife and the possibilities inherent in its colourful landscape and rural architecture…it opened up a whole new realm of possibilities for Hunter. Subsequently he would go to Fife in any season. It was there that he made the break to paint en plein air. The artistic ground he gained as a result marked an important turning point in his development in terms of modern colour.’ (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh, 2011, p.79)Favoured locations in which to paint coastal and rural scenes included the villages of Lower Largo, Drumeldrie and Ceres. Whilst it is not known what drew Hunter to the area in the first place, Derek Ogston has explained that ‘the light, the ever-changing hues of the sea and the varied colours of its lime-washed houses with their red pantiled roofs are likely to have been an attraction. It is a part of Scotland that has provided scenic material for generations of artists and continues to attract painters.’ (Derek Ogston, The Life and Work of George Leslie Hunter 1877-1931, Baillieknowe Publishing, Kelso, 2002, p.68)Red-pantiled Cottages, Fife has a charming focus on the distinctive architecture of Fife, affording an oblique view of a typically modest cottage. A painterly technique stresses the rhythm of the titular roof tiles, as well as the leaves and branches of the carefully tended plants and trees around it. Hunter presents an idyllic scene of country life, realised on an intimate panel measuring 14 x 10 inches.Path through the Village, Fife is a more expansive view in which picturesque low-rise stone buildings frame a view along a footpath. There is a sense of unseen people living in harmony with nature, under the shade provided by ancient trees and with hints of space and light beyond. Hunter’s palette, based on shades of green and brown, speaks of the fecundity of the area and a benign climate. Hunter is as readily associated with Fife as his fellow Scottish Colourists Cadell and Peploe are with Iona, as all three painters delighted in and honoured the landscape of their country of birth.
Lot 113
SIR HENRY RAEBURN R.A. (SCOTTISH 1756-1823) PORTRAIT OF JULIA KERR Oil on canvas laid down on panel 76cm x 63.5cm (30in x 25in) Christie's, London, 1908;Cottier & Co before 1911;Christie's, 1912;With Agnews, London;P. Jackson Higgs, New York;Sotheby's, New York, 2nd April 1996, lot 95;Sotheby's, New York, 6th June 2008, lot 77.Literature: J. Greig., Sir Henry Raeburn R.A. His life and Works with a catalogue of his pictures, Otto Limited, London, 1911, p.50
Lot 65
A Roman marble sarcophagus panel of DionysusCirca late 2nd-early 3rd Century A.D.32cm x 25cmFootnotes:Provenance:Private collection, Buckinghamshire, discovered during renovation work in their garden around 10 years ago.There is a sarcophagus corner panel in the Villa Doria Pamphili with a similar head of Dionysus, portrayed with curling hair, adorned with grape vines and flanked by a wine making scene of erotes harvesting grapes, cf. R. Calza, Antichità di Villa Doria Pamphilj, Rome, 1977, p. 249, no. 304, pl. CLXIII.For further information on this lot please visit Bonhams.com
Lot 118
An Egyptian wood relief panel naming Hotep-Amun, daughter of the Sa-meref priest Late Period, 25th-26th Dynasty, circa 747-525 B.C. possibly from a coffin, 41.5cm x 9cmFootnotes:Provenance:J.V. collection, the Netherlands, collected before 1970.with Explorer Ancient Art, New York.Private collection, Rotterdam, acquired from the above December 2016.The Sa-meref priests served at Heracleopolis; the inscription also preserves the end of the woman's title '...of the King of the Two Lands'.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 66
A Roman marble mosaic panel with Eros hunting a stagCirca 3rd-4th Century A.D.312cm long, 68cm high, mounted Footnotes:Provenance:Quintens collection, Belgium, 1975-1994, when acquired by the present owner.Exhibited:Metropolitan Museum of Art, New York, 25 September 2014-25 September 2017, object no. L.2014.62.4.While Eros is more often depicted targeting mortal and immortal victims alike with his deadly arrows to ignite their passions and desires, here we see him preparing to throw a spear at a flighty stag as it attempts to escape his wound. The highly masculine and athletic theme of the hunt is parodied by the appearance of the chubby and seemingly unthreatening Eros; though if the stag symbolises Artemis, as it so frequently does, then we once more see an allegory for the subjugation of chastity to human desire. Many maidens who were followers of Artemis were similarly smited by Aphrodite and Eros in classical literature; for example, the virginal Atalanta lost her foot-race to Hippomenes, who consequently won her hand as a prize, only at the interference of Aphrodite, who felt spurned by the girl's rejection of her cult.On this mosaic, the stylized foliage surrounding the characters and the warm, vibrant colours of the tesserae likely took their inspiration from workshops in North Africa; both features are typical of the increasingly dominant provincial influence on Roman mosaics in the 3rd-4th Centuries A.D.. The relatively narrow height of this panel suggests it may have been part of a decorative border of a large-scale floor mosaic. Another border panel from the same original mosaic was sold at Christie's New York, on 6 June 2013 (lot 652).This lot is subject to the following lot symbols: * W* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Lot 211
Searle (Ronald) Slightly Foxed - but still desirable, limited edition signed by the author, colour illustrations, 1989; The Journal of Edwin Carp, signed by the author below frontispiece, bookplate and ink ownership inscription to front pastedown, light bumping to spine ends, dust-jacket, chips and nicks to spine ends and edges, faint surface soiling and light foxing to panels, tear to upper panel, chipping to lower panel cover and joint with some loss to text, 1954, first editions, original morocco or cloth, 4to & 8vo (2)
Lot 39
Brent-Dyer (Elinor) The Rivals of the Chalet School, faint spotting on title, jacket with portions of loss to upper panel and spine, tears to spine and along joints, edges chipped, nicked and creased, 1929; The Chalet School in Exile, jacket extremities chipped, spine ends frayed and chipped, the odd tear to edges, stain to lower panel, tears repaired with tape verso, 1940; The Chalet School and the Lintons, portion of loss to spine head, extremities chipped and frayed, 1934, first editions, original cloth, dust-jackets, 8vo (3)
Lot 53
Chandler (Raymond) Pearls are a Nuisance, first edition, light spotting to fore-edge, original boards, dust-jacket, few tears to lower edge with resultant creasing, 1" tear from lower edge and across spine, spine faded, chips and nicks to spine edges, light surface wear to lower panel, still very good overall and intact, 1958; and a second impression of The Simple Art of Murder, 8vo (2) *** A curiously rare Chandler title, with few ever being offered in commerce. A quartet of stories taken from The Simple Art of Murder.
Lot 140
Larkin (Philip) Jill, first edition, original boards, fine, later state dust-jacket, clipped and re-priced at 12/6, few nicks and chips to extremities, spine browned, some even toning, small damp-stain on lower panel, still an excellent example of a fragile and scarce jacket, 8vo, 1946. *** Rare in the jacket.
Lot 23
Bates (H. E.). Down the River, first edition, signed presentation inscription from the illustrator on front free endpaper, wood-engraved illustrations by Agnes Miller Parker, some leaves with surface marks, binder's stamp and bookplate to front pastedown, bumping to spine and corners, a few surface marks to covers, second issue dust-jacket with quotation by Eric Gill, spine toned with bumping to ends with minor nicks and chips, some surface marks, foxing to covers, heaviest to lower panel, one or two small tears to lower panel and joint of lower panel flap, 1937 § Lawrence (T. E) The Mint, limited edition, title in red & black, bookplate to front pastedown, foxing to uncut edges, slip-case, toning to spine, bumping, some foxing and surface marks, 1955 § Giles (Lionel) The Analects of Confucius, letter from The Limited Editions Club loosely inserted, glassine dust-jacket, cloth drop-back box, New York, for The Limited Editions Club, 1970, original morocco or cloth, 4to; and 7 others, similar (10)
Lot 129
Joyce (James) Ulysses, first English trade edition, endpapers foxed with strips of toning, otherwise internally clean, original pictorial cloth, gilt, fine, dust-jacket, spine slightly browned, thin strip of toning on upper panel head, a few nicks to extremities but overall an extremely sharp and excellent copy, 4to, 1937.
Lot 119
Gershwin (Ira).- Milburn (George) The Hobo's Hornbook, ink and pencil ownership inscriptions of Ira Gershwin light toning, occasional surface marks to a few leaves, bumping to spine ends with slight fraying, uncut fore-edge, New York, 1930 § Bacon (Peggy) Off With Their Heads!, light toning to margins, Ira Gershwin's posthumous bookplate to front pastedown, toning to spine, some spotting to joints, dust-jacket, loss to spine, panels detached or becoming so, chipped, torn and worn, New York, 1934; Isaacs (J.) The Background of Modern Poetry. Based on the Broadcast Talks, presentation note to Gershwin from Sidney Bernstein attached "I think, this book shld be in the Gershwin library. S", bumping to spine and joints, dust-jacket, fading to spine, toning to edges and lower panel, small nicks and bumps with a few small tears and one or two chips to upper panel, 1951, first editions, original cloth or boards, 4to & 8vo; and two others owned by Ira Gershwin (5)
Lot 100
Fleming (Ian) Goldfinger, first edition, original boards with skull design in gilt and blind, spine lettered in gilt, dust-jacket, extremities very lightly chipped and nicked, light toning and few toning marks to lower panel, spine a little faded, overall still sharp and excellent, 8vo, 1959.
Lot 255
Wodehouse (P.G.) Jeeves in the Offing, 1960; The Old Reliable, portion of loss to spine tail, lower panel with odd tear from lower edge, splitting along joints, 1951; Pearls, Girls and Monty Bodkin, 1972, first editions, light spotting or tape stains on endpapers, original boards, dust-jackets, chipping and fraying to edges, a little rubbed; and 6 others, Wodehouse (9)
Lot 76
Conrad (Joseph) The Arrow of Gold, first English edition, first state with title intact on p.67, toning on endpapers, cloth bright and fine, dust-jacket, portion of loss to spine head affecting title, tears to edges, chips and fraying along edges, 1919; Within the Tides, first edition, spots on fore-edge with a few straying onto margins, endpapers toned, 1915; Suspense, first English edition, bumps to spine ends, dust-jacket, surface scuffs on upper panel, chips to edges, some tears along joints, 1925; and 3 others by Conrad, 8vo (6)
Lot 34
Bond (Michael) More About Paddington, first edition, illustrations by Peggy Fortnum, prize bookplate on front free endpaper, majority of library bookplate removed from lower endpapers but leaving paper residue, light strip of toning, original cloth, dust-jacket, light chipping to extremities and along edges, 1" tears down lower spine joints from bottom edge, one to upper panel lower edge, 5" tear up lower flap joint, 8vo, 1959.
Lot 85
de la Mare (Walter) The Connoisseur and other Stories, one of 210 copies signed by the author, tears to one or two upper margins, slight bumping to foot of spine, upper board with gilt block, edges uncut, 1926 § Fowles (John) The Collector, ink ownership inscription of the film critic Alexander A. Walker dated 1963, spine lettered in gilt, dust-jacket, minor bumping to head of spine with one or two nicks, small scuff to lower joint, clipped at corners, toning to edges of lower panel and a few surface marks, 1963 § Márquez (Gabriel García) Innocent Eréndira and Other Stories, slight bumping to spine and corners, fore-edge uncut dust-jacket, two small tears to lower panel, bumping to spine with minor chipping to laminate, one large tear with tape repairs to lower panels and staining, New York, 1978, first or first American editions, original cloth or boards, 8vo; and 47 others including Pigeon Crowle's Beryl Grey: The Progress of a Ballerina, signed by Beryl Grey with letter from her, (c.50)
Lot 41
Brent-Dyer (Elinor) The New Chalet School, an excellent example and bright jacket, 1938; The Chalet School Goes to It, gift and ownership inscriptions on endpapers and half-title, jacket chipped at extremities, edges nicked and frayed, creased, 1941; The Highland Twins at the Chalet School, jacket rather creased with the odd tear, loss to spine ends, the odd hole, staining to lower panel, 1942; Tom Tackles the Chalet School, ink number on half-title, pen marks to jacket lower panel, extremities chipped, 1955, first editions, original cloth, dust-jackets; and 26 others from the Chalet Girl series, 8vo (30)
Lot 70
Cocteau (Jean) Opium: the Diary of an Addict, first English edition, translated by Ernest Boyd, illustrations by the author, some spotting to fore-edge and throughout, heavier to peripheral pages, original cloth, edges faded, dust-jacket, lower panel spotted, spine browned, small hole to lower spine joint, edges nicked and slightly frayed, spine ends and corners chipped, 8vo, 1933. *** Rare in the jacket.
Lot 221
Spark (Muriel) The Prime of Miss Jean Brodie, first edition, original cloth, slight rubbing and bumping to spine tips and corners, dust-jacket, slight chipping to spine tips and corners, short nick to head of upper fore-edge, light creasing to head of upper panel, light surface soiling to lower panel, light rubbing to extremities, a very good, sharp copy, 8vo, 1961.
Lot 171
Naipaul (V. S.) A House for Mr. Biswas, first edition, publisher's review slip loosely inserted, some very light spotting to endpapers, original cloth, slight bumping to spine tips and corners, dust-jacket, spine ends and corners chipped, a few short nicks and tears with creasing to head and foot, extremities rubbed, ligth surface soiling to lower panel, 8vo, 1961.*** Naipaul's post-colonial novel which received world-wide acclaim and remains his most loved work. Scarce in such bright and unrestored condition.
Lot 195
Pullman (Philip) His Dark Materials, 3 vol., first editions, bookplates signed by the author, original boards, dust-jackets, Northern Lights first state dust-jacket with Point on spine (spine slightly faded, Carnegie medal to upper panel), a near-fine set, 1995-2000; and 8 others, Pullman, 8vo (11)
Lot 1
Adams (Douglas) The Hitch Hiker's Guide to the Galaxy, first edition, light marginal toning, original wrappers, light surface scratches and marks, light rubbing along joints and to edges, some creases, 8vo, 1979. *** The true first edition of this keystone of 20th century sci-fi literature. The conceit was originally a radio series, broadcast in 1978 on BBC Radio 4, with Adams later developing the Hitchhiker's Guide into a "trilogy" of five books which sold more than fifteen million copies during his lifetime. Soon after this paperback release, the first hardback edition was released by Arthur Barker Publishers, noted by collectors for its appearance or lack of the "Capricorn One" advert on the rear panel.
Lot 49
Burroughs (William S.) The Naked Lunch, first edition, first issue with "Francs 1500" on back wrapper and rear flap of dust-jacket, title with typographic border in green, small marginal stain on front free endpaper, original wrappers, few nicks and chips to edges, light toning, dust-jacket, slightly splitting along spine joints, small triangular portion of loss to spine head and slightly on upper panel, nicks to edges with slight discolouring, 8vo, Paris, Olympia Press, 1959.
Lot 97
Fleming (Ian) Live and Let Die, first edition, front endpapers with paper residue, one or two finger-soiling marks, original boards, dust-jacket, second state with design credit to Kenneth Lewis on upper flap, tears to extremities from edges, one encroaching on upper panel lower corner, spine ends frayed, rubbing to joints, small holes on upper flap joint, some nicks to extremities, lower panel with surface wear and toning, 8vo, 1954.
Lot 174
Peake (Mervyn) Titus Groan, first edition, erased ink name and light foxing to front endpapers, original cloth, some edge-spotting, slight bumping to spine tips and corners, first impression dust-jacket without reviews and priced at 15s., a few short nicks to corners and spine ends, spine head a little creased, light toning to spine, light surface soiling to lower panel, an excellent example, 8vo, 1946.*** The first title in Peake's Gormenghast trilogy.
Lot 32
Blish (James) A Case for Conscience, first hardback edition, very light marking on endpapers, original boards, thin strip of fading on upper edge, dust-jacket, edges nicked and slightly frayed, light rubbing along joints, one or two marks and damp=stains to lower panel but overall an excellent and sharp copy, 8vo, 1959. *** A corner-stone of science-fiction and the first in the After Such Knowledge trilogy by Blish. It was first published as a Ballantine paperback original in 1958 and a Faber hardcover 1st printing in 1959.
Lot 55
Chandler (Raymond) The Smell of Fear, jacket with light surface wear and few spots to lower panel, otherwise very excellent and sharp, 1965; Spanish Blood, jacket light rubbing to extremities, 1946; Red Wind, small portions of loss to jacket spine ends, odd nicks to edges, 1946; Playback, creases to lower panel corner, chips and nicks to edges, 1958, first editions, original boards, dust-jackets; and 5 others, including 2 second printings of The High Window, one with the film tie-in jacket, and a second printing of The Little Sister, 8vo (9)
Lot 232
Symons (Beryl) Jane Carberry Investigates, first edition, contemporary ink "3/6" on lightly toned front free endpaper, light spotting, original cloth, a little stained and discoloured, dust-jacket, creasing and nicks to edges, heavier to lower panel lower edge with the odd tear, reinforced with tape verso, light surface discolouration, 8vo, [1940].
Lot 150
Lewis (C.S.) The Voyage of the Dawn Treader, first edition, the odd finger-soiling mark, light spotting to first few pages, original boards, edges faded, dust-jacket, tears down flap joints creeping onto lower flap, 2" portion of loss to lower panel corner, tears on spine from lower edge, crease along upper panel, chips and nicks to edges, still largely intact, 8vo, 1952.
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