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Lot 230
Patrick Hughes (British 1939): 'Sideways', limited edition screen print signed titled dated '91 and numbered 78/100 in pencil with publisher's blind stamp 60cm x 46cm DDS - Artist's resale rights may apply to this lot Condition Report Excellent conditionClick here for further images, condition, auction times & delivery costs
Lot 381
J. BLUCK AFTER T. HOFLAND - FOUR AQUATINTS OF 'DOVE DALE', framed aquatints with grey borders entitled Dove Dale No 1, 2, 3 and 4, c. 1805, ranging in size from 48 x 61 cm including frames (4)ConditionReport:No. 1 Small tear to left hand border, a bit grubby, remains of labels stuck to glass, small losses to frame edgesNo 2 Badly damaged frame, glass missingNo 3 Crease across top border, very small surface losses, grubby on print edges, remains of labels stuck to glass, frame damagedNo 4 Crease across top border, very small surface losses, remains of labels stuck to glass, frame damaged
Lot 411
FOUR PORTRAIT ENGRAVINGS, one a proof print featuring The Earl of Mulgrave, Sir George Beaumont Bartt., The Hon. Augustus Phipps and Gen. The Hon. Edmund Phipps engraved by W. Ward after a painting by John Jackson R.A. c.1822, an unknown gentleman painted and engraved by John Linnell 1836 together with two others, one engraved by Samuel Bellin (4)
Lot 668
TERENCE CUNEO, C.V.O., O.B.E., R.G.I., F.G.R.A. (BRITISH, 1907-1996) 'D-Day - 6th June 1944', colour print, limited edition 69/850, signed by the artist lower right and by General Sir John Mogg, G.C.B., C.B.E., D.S.O., D.I., President of The Army Benevolent Fund lower left, 67cm x 97cm, framed and glazed.
Lot 846
TWO STEIFF COLLECTOR'S TEDDY BEARS comprising 'Teddy Bear Signature' (EAN 037245), green, limited edition 603/2008, with certificate of authenticity, 30cm high; and 'Teddy Bear Leopard' (EAN 420696), honey leopard print, limited edition 798/2008, with certificate of authenticity, 40cm high, both unboxed.
Lot 130
VERNE, JULES. 1828-1905.Twenty Thousand Leagues Under the Seas. Boston: George R. Smith, 1873. 8vo. Numerous wood-engraved illustrations. Publisher's green pictorial cloth decorated in black and gold, edges gilt. Spine ends bumped, foxing to first few leaves, otherwise very minor wear. SECOND AMERICAN EDITION, after the very rare Osgood edition which was mostly destroyed in the Great Boston Fire of 1872. This example does not have 'THE END' on p 303, which is sometimes referred to as an issue point, but more likely a case of type slippage during the print run, as there are examples known with the words present, but only partially printed.
Lot 178
FAULKNER, WILLIAM. 1897-1962.Sanctuary. New York: Jonathan Cape & Harrison Smith, (1931). 8vo. Publisher's cloth-backed magenta paper boards, spine lettered in magenta, patterned endpapers, black topstain, original dust-jacket. Minor wear at spine ends of jacket, tiny tear to lower joint.FIRST EDITION, FIRST ISSUE, OF FAULKNER'S FIRST SENSATIONAL SUCCESS. When Faulkner first sent Sanctuary to Harrison Smith, he received the reply: 'Good God, I can't publish this we'd both be in jail.' So he was surprised when galley proofs arrived a year later. Faulkner replied, 'You can't print it like this; it's just a bad book,' and set about revising Sanctuary, pulping the galley proofs at his own expense. In the end, his revised text did nothing to alleviate the terror of the book, but the book found its reading audience and became his first bestseller. A fine copy in a bright, unfaded jacket. Connolly Modern Movement 69. Petersen A8b.
![SHAKESPEAREAN FORGERIES.[IRELAND, WILLIAM HENRY. 1775-1835.] The Confessions of William Henry Ireland. London: Ellerton &](https://cdn.globalauctionplatform.com/e4eb5919-aacc-4acb-a34e-ab050126a074/758857c8-f1f5-4da1-bad5-ab0900c2d17d/468x382.jpg)
Lot 39
SHAKESPEAREAN FORGERIES.[IRELAND, WILLIAM HENRY. 1775-1835.] The Confessions of William Henry Ireland. London: Ellerton & Byworth, 1805. 8vo (185 x 112 mm). Half calf and marbled boards. Rubbed, text block cracking slightly, minor spotting.WITH: Miscellaneous Papers, Legal Instruments, The Tragedy of King Lear, and a Small Fragment of Hamlet, from the Original Mss in the Possession of Samuel Ireland. London: Egerton, et. al., 1796. Small 4to (224 x 140 mm). Folded engraved frontispiece portrait of Shakespeare by Samuel Ireland. Contemporary quarter calf and plain boards, paper spine label, edges uncut. Covers soiled, scattered browning and spotting, library stamp on rear paste-down. Provenance: Francis Bacon Library (bookplate). WITH: GREATHEAD, BERTIE. 1759-1826. The Regent, a Tragedy. Dublin: Burnet, et. al., 1788. Contemporary wrappers, edges uncut. Chips to spine and edges of wrappers, soiling and creasing to page corners. William Henry Ireland was a book collector whose father, Samuel Ireland, held a great fascination for Shakespeare's works. Having access to old paper stock at the legal office where he worked, William produced forgeries of documents supposedly written in Shakespeare's hand, the first of which were published by his father as Miscellaneous Papers, Legal Instruments, The Tragedy of King Lear, and a Small Fragment of Hamlet. William then forged two entirely new plays, Vortigern and Rowena and Henry II, purported to be lost Shakespeare manuscripts, but denounced in print as fakes. With Samuel Ireland accused of forgery, his son published a confession, but the family reputation was ruined and neither he nor his father were able to make it whole.
Lot 90
CLEMENS, SAMUEL LANGHORNE ('MARK TWAIN'). 1835-1910.Photograph Initialed ('SLC') and inscribed 'Oh, I could, couldn't, couldn't get a count out of this arrangement!' [month illegible] 7, 1908, gelatin silver print, approximately 11 x 14 inches, tipped to board and matted, depicting Clemens standing at his billiard table, inscription somewhat faint, two words traced over, a few stray marks.Clemens, dapper in his trademark white three-piece suit, studies the three balls on the billiard table, two long rows of books are visible on the shelf behind him. Clemens became obsessed with billiards late in his life when he received a table as a gift before his 71st birthday.
Lot 92
DICKENS, CHARLES. 1812-1870.Oliver Twist, or, the Parish Boy's Progress. By 'Boz.' London: Richard Bentley, 1838. 3 volumes. 8vo (203 x 128 mm). 24 plates by George Cruikshank, including the original 'fireside' plate in Vol III, p 312. Half titles in volumes I and II; 4 ad pp at end of volume I and 2 ad pp at beginning of Vol III. Original reddish-brown cloth upper and lower covers with arabesque design in blind, lettered in gilt to spine, light yellow endpapers. Vol I frontispiece detached; some dampstaining to Vols I and II plates; some sunning and wear to bindings.FIRST EDITION, FIRST ISSUE, with the original 'fireside' plate and 'Boz' as only attribution. Dickens issued Oliver Twist in book form before the novel had run its course in the periodical. Impatient to get the book to print, he had not approved all of Cruikshank's illustrations, and within a week of printing, stopped the press to replace the final plate and put his name on the title pages. Eckel pp 59-61; Smith I pp 28-37; Gimbel A27.
Lot 121
An Album of cartes de visite of Mexican or French sitters resident in Mexico in the 1870s, 90 portrait albumen prints, all loosely inserted within window mounts, most captioned "amis Mexicains" on the mount, approximately 7 or 8 inscribed by the sitters with presentation inscription on the verso, one albumen print view ("Arabes prisonniers a l'Ile St. Marguerite" by W. Debray, 9.5cm x 15cm.) loose at end, contemporary morocco, lacks spine, upper cover (and a couple of leaves) loose, oblong 8vo, [mostly 1870s] Footnotes An album associated with a member of the Ricard family (portrayed in one group photograph, and to whom several images are dedicated by the subjects, all resident in San Luis Potosi or Guanajuato between 1870 and 1873). Sixty-six of the images are captioned "amis Mexicains". Photographers include Pedro Gonzalez (5) and Martin Duhalde (7), both with studios in San Luis Potosi. Approximately 6 images depict Maximilian I, and his circle (the Empress Charlotte, Miguel Miramon, generals), and composite photographic representation by Duhalde of the execution of Maximilian in 1867.
Lot 629
SPARE, Austin Osman (1886-1956, illustrator). Earth Inferno. London: Co-Operative Printing Society Limited, February 1905 [but dated 1904 on illustrations and on the verso of the final printed leaf]. Folio (440 x 340mm). Woodcut illustrations by the "ARC" engraving Co., Limited, after Austin Osman Spare, some full-page. Original green buckram lettered in black, uncut (corners lightly bumped, some very light staining). Provenance: original invoice from Otto Schulze & Co., Edinburgh, loosely-inserted, made out to Dr. H. B. McCaskie on 27th March 1909 for £1-5-6, and "out of print" added by the bookseller below. FIRST EDITION OF THE ARTIST'S FIRST (SELF-)PUBLISHED WORK. NUMBER 41 OF 265 COPIES SIGNED BY THE ARTIST. Harper A1a. A printed "Foreword", appearing on page 4 of the book, by the unknown (and unexplained) "C.H.L." gives a brief synopsis but sheds very little light on this puzzling work: "In venturing to submit this, the first collection of Drawings to Austin Spare's few friends and admirers, we can only hope for the kindly reception that so many have promised ... In turning contemptuously, as many will, from these Spare creations, remember - they cannot be proved to be senseless although they may seem so to us ...[etc]."
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