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Lot 269
A Treatise of Diseases Incident to the Skin in Two Parts with a short Appendix by Daniel Turner of the College of Physicians, London printed for R. Wilkin, J. and J. Bonwicke etc 1736 fifth edition corrected bound in one volume, full leather raised bands hand lettered label, The Book of Household Management by Mrs. Isabella Beeton, revised & corrected with coloured engravings (2)
![[A & C Black] The West Indies by John Henderson 1905, Egypt by R. Talbot Kelly 1903, Warwickshire 1906 and Yorkshire 1908 eac](https://cdn.globalauctionplatform.com/c0008bde-a610-4fb3-9458-a96c00dfaf0e/6842362e-bbf0-418d-e4f9-0375456b6423/468x382.jpg)
Lot 279
L. Frank Baum An Early Collection of Oz books published by Reilly & Lee and Illustrated by John R. Neill, including The Scarecrow of Oz, The Hungry Tiger of Oz, The Gnome King of Oz, The Patchwork Girl of Oz, The Cowardly Lion, Kabumpo in Oz, Rinkitink in Oz and The Magic of Oz, The Royal Book of Oz, each volume in original cloth with colour illustrated onlays (aside the Patchwork Girl having printed illustration) (9)
Lot 982
Minichamps 1:43 Scale F1 Models, A cased collection of Williams models, comprising, limited edition examples, 970094 German driver, 940103/950096 Coulthard, 840005 Lafitte and 980091 Villeneuve, together with 790027 Jones, 830002 Lafitte, 960005 D.Hill, 990005 Zanardi, 000009 R. Schumacher, 940002 Senna, 970003 Villeneuve, 970004 German Driver, 984302 and Frentzen 860006 Piquet, VG-E, Cases F-G, (15)
Lot 986
Minichamps 1:43 Scale F1 Models, A cased collection of Tyrell models, comprising Tyrell limited edition 980070/ 980051 Tagaki, 980071/980050 Rosset, together with 970028/970018 Verstappen, 970029 Salo, 980020 Takagi, R Rosset, Minichamps Formula, 950004/960019 Salo, 950003/960018/940003 Katayama, and 940004 Blundell ,VG-E, Cases F-G, (15)
Lot 996
Minichamps 1:43 Scale F1 Models, A cased collection of Williams, comprising, limited edition, 940102 Senna (2), 950095/940104 D. Hill, 970094 German Driver, 990095 Zanardi, 990096 R Schumacher, 940102 Mansell, together with 990006 R Schumacher, 950006 Coulthard, 940002 Senna, 940001 Hill, Minichamps Formula Patrese, Mansell Weltmeister 92, and Jaques Villeneuve 980001 World Champion 97, 960006 FW 18 96, VG-E, Cases F-G, (16)
Lot 1000
Minichamps 1:43 Scale 1970S/80S F1 Models, A cased collection of Ford, Williams and Arrows models, comprising, Williams FW07, 800050 R Keegan, Williams Honda 850005 Mansell, 970095 Patrese, 850006 K. Rosberg and March Ford 760010 Peterson, 750028 Donohue, 750009 Brambilla, together with 700022 De Tomaso Ford SA 1970, 850017 Arrows BMW Berger, 790030 Arrows Ford J Mass, 770020 Wolf Ford Scheckter and 830001 Williams Ford K Rosberg, VG-E, Cases F-G, (12)
Lot 192
A collection of six Edward VII and later novelty silver place setting holders including one in the form of a fox, R G Garrard, London 1918, 7cm, a standing owl, (a/f), Sampson & Mordan 1905, riding crop and hunting horn,horseshoe, rabbit and another in the form of two three-masted sailing ships
Lot 311
WILLIAM DE MORGAN (1839-1917)RUBY LUSTRE JAR & COVER, CIRCA 1890decorated with bands of exotic birds and foliage, impressed Sands End mark to base, bears Morris & Co. retailer’s label MORRIS & COMPANY/ 17 ST. GEORGE STREET, HANOVER SQUARE/ R.206/ D.M. LUSTRE/ VASE & COVER/ C P.LY.Y. £2032cm highProvenance: Richard Dennis, London
Lot 33
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE ALMONRYEtching, signed26cm x 18cm (10.25in x 7in)Provenance:Allinson Gallery, Storrs, ConnecticutNote: This edition is 82 in this state. Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 34
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE CRESSETEtching22cm x 30cm (8.75in x 11.75in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 341
TWELVE ENGRAVINGS AND MAPScomprising: Daniell, W. Montrose - Forfarshire; Small map of Forfarshire; Small steel-engraving of Montrose; Hogg, Alexander: View of Montrose in Angus-shire; Mary Stewart Queen, engraved by R. Dunkarton; Chromolithograph of an unidentified house; Abelard & Eloise, sold by Carrington Bowles; Hogarth, W.: The Enraged Musician, 1741; Engravings of houses: Duninald, Southesk, Usan, Rossie Castle (12)
Lot 35
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)THE FORDEtching, signed16cm x 28cm (6.25in x 11in) and another etching by the same hand ‘Epiphany’ (2)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 36
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)SELLENGER - 1917Etching, signed and inscribed14.5cm x 17.5cm (5.75in x 7in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 37
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEMORY OF CLAVERINGEtching, signed in pencil14.5cm x 23.5cm (5.75in x 9.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 38
FREDERICK LANDSEER MAUR GRIGGS (BRITISH 1876-1938)ST BOTOLPH’S BRIDGE NO. 2Etching, 2nd state of three, signed in pencil with initials25.5cm x 21cm (10in x 8.25in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
Lot 387
WILLIAM DE MORGAN (1839-1917)RUBY LUSTRE CHARGER, CIRCA 1880decorated with Cupid & Psyche, Cupid shown bearing a flaming torch, and verso decorated with leafy bands, bears Morris & Co. retailer’s label MORRIS & COMPANY/ 17 ST. GEORGE STREET, HANOVER SQUARE/ R.337/ LUSTRE DISH/ VASE & COVER/ CG.Y.Y £835.5cm diameterProvenance: Richard DennisLiterature: Greenwood, Martin, 'The Designs of William de Morgan', Richard Dennis 1989, p. 205, pl. 7 illus.
Lot 39
FREDERICK LANDSEER MAUR GRIGGS R.A., R.E. (BRITISH 1876-1938)MEPPERSHALL CHAPELEtching, 3rd and final state, signed, dated 1918 and inscribed ‘To J. Short – For his steady kindness and help’16.5cm x 12.5cm (6.5in x 5in)Note: Frederick Landseer Maur Griggs R.A., R.E. was one of the leading etchers and illustrators of the twentieth century whose meticulous technique and eye for architectural detail was unparalleled. Griggs studied at the Slade School of Art before going on to work as an architectural draftsman at C.E. Mallow's architecture firm from 1896 to 1898 where he was especially valued by leading architects of the Arts and Crafts fraternity for his skills in persepctive. In 1903 Griggs settled in the village of Chipping Campden in the Cotswolds, the centre of William Morris's Arts and Crafts Movement. Griggs was heavily influenced by the movement and his passion for locality and knowledge of vernacular architecture can be seen in this collection of etchings which feature rural townscapes depicted to such a high level of detail that every crumbling brick can be seen, transporting the viewer to a bygone age. Griggs worked within the English Romantic tradition and his etchings have a similar nostalgia to Samuel Palmer's pastoral landscapes but instead visualise the grandeur of England's historic architecture leading critics to describe his atmospheric compositions as ''poetic''. Figures in The Almonry wander in a landscape dominated by monumental Gothic facades, pointed arches and spires which reach skyward out of the frame while other etchings like Sellenger are unpopulated, leaving the crumbling buildings preseved in a tranquil silence. These etchings reflect a desire to preserve the gothic and medieval architecture of England's communities which Griggs feared to be endangered as a result of the Reformation of the sixteenth century, the Industrial Revolution of the nineteenth century and the First World War of the twentieth century. Griggs's highly wrought etchings were initially printed commercially but after finding the results unsatisfactory he designed his own etching press in 1921 to prove his plates which were then printed on paper selected to complement the subject matter of each individual composition. This high level of craftsmanship identified Griggs as one of the leading figures in the British Etching Revival resulting in him being one of the few etchers awarded full membership at the Royal Academy in 1931. Griggs was also a member of the Society for the Protection of Ancient Buildings which aimed to repair buildings with the ultimate goal of saving them from demolition and etchings like Memory of Clavering highlight Griggs's sensitivity to the endangered place of British architecture in the modern world. Memory of Clavering exemplifies the visionary technique Griggs later developed as the copper etching was executed fifteen years after he visited the town in Essex with friends in 1919. One friend later stated in a letter to R. L. Hine that during the visit Griggs only made "one or two very rough but decisive sketches on the backs…of old letters which he had in his pocket'' affirming his remarkable ability to immortalise a town in such realistic detail from memory.
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