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Lot 219
Pink FloydRare tour poster for St James Hall in Chesterfield, 1969 Printed on paper for the band's show presented by the Chesterfield College of Technology Student's Union, on 27th March 1969, with support acts The Shape of The Rain and Emery Chase.Framed.51 x 76 cms (20 x 30 ins)Footnotes:This show was part of the band's 'The Man and The Journey' tour which was an informal concert tour of a few dates from March to September 1969. During the shows the conceptual music piece 'The Man and The Journey' was often played, however not always as was the case for this show at Chesterfield. Instead, the setlist usually included 'Astronomy Domine', 'Set the Controls for the Heart of the Sun' and unaltered versions of 'Careful with That Axe, Eugene' and 'A Saucerful of Secrets'.For further information on this lot please visit Bonhams.com
Lot 93
Henri Van der Velde: Made by Val Saint LambertA rare Art Nouveau cut glass vase, circa 1900Glass, with a fine pink and green flashed surface over clear glass, soft-cut with sinuous tendrils, with shaped neck.25.5 cm highFootnotes:Bonhams wishes to thank Eric Delvaux, Designer from Val Saint Lambert, for his assistance with cataloguing the present lot.For further information on this lot please visit Bonhams.com
Lot 22
A set of three EPNS Kynoch rifle prize spoons, 115mm, each depicting lion's head left at handle finial above crossed rifles and target, the stem/handle marked "Kynoch", the reverse marked "M&W" (Mappin & Webb), VGC, in case. 4 other EPNS spoons for rifle prizes including: The Stock Exchange Rifle Club, handle finial of Bull & Bear; 1 with crossed rifles over target finial, the inner bowl engraved "M.C.S.A.M 1938"; one by Dunklings with rifle shaped handle; and a rare spoon with finial crest and scroll of the Bombay Light Patrol. All GC (7) £20-40
Lot 1132
Isaac Basire (1704-1768) after Thomas Sandby RA (1721-1798) - The South Prospect of the Town and County of the Town of Nottingham, published by the artist 1 May 1742, engraving, mounted to within plate mark, 48.5 x 109.5cm Sandby's mastery of perspective is exemplified in this remarkable, and rare, engraving of his native town. Sandby dedicated the print to the Hon. Rothwell Willoughby (1696-1752) a 'natural and experimental philosopher' with a 'peculiar genius for mechanics and... mathematicks'. Another local figure, Thomas Peat, an amateur astronomer and publisher of a cartographic survey of Nottingham (1744), commissioned drawings of the town's principal buildings from the young, self taught draughtsmen. Such encouragement led him, according to John Williams, to visit London to have the present subject engraved. Lee Bonehill (S) and S Daniels (editors) - Paul Sandby Picturing Britain (2009) pp166-7 and fig 45, the example of the print in the Castle Museum, Nottingham Extensive creasing and several generally short closed tears. Unexamined out of frame
Lot 1171
Reg Butler (1913-1981) - Seated Girl, RB 192, Garlick 212, bronze and patina, signed and dated Butler 62 and inscribed MORRIS SINGER FOUNDERS LONDON, 95cm h; 67.5 x 120.5cm Provenance: Victoria MacEwan, by whom sold in situ with her house and grounds in the South of England to the father of the present vendor in 1973; or alternatively acquired elsewhere although soon afterwards (c.1973-1975) by the vendor's father Conceived between 1959 and 1961 to be published in an edition of eight, casts were exhibited by Butler's dealer, Pierre Matisse, in 1962 (Catalogue 27), at Hanover in 1963 (Catalogue 4) and at The J B Speed Art Museum, Kentucky in 1963 (Catalogue 95). Seated Girl is an exceptionally large figure in Butler's oeuvre. Lacking the monumentality of the one or two other larger bronzes of the '50s, such as Bride (1954-1961) and Manipulator (1954-1956), Seated Girl, in which the arms have been dispensed with altogether, follows Girl Looking Down (1956-1957). In both, the viewer's attention is drawn down the body, where shape and form, outline and texture lead to long, tapering legs. These were conceived at the peak of his greatest fame and success, when Butler rejected architecture for sculpture and, with Moore and Hepworth, Chadwick and Armitage had become one of the most distinguished contemporary sculptors. Seated Girl is also rare, from which one might conclude that it is likely fewer than the projected eight were cast. In 2022 the work was returned to Morris Singer Art Foundry for restoration and is now in good condition. Entirely fresh to the market; not hitherto offered for sale
Lot 133
Veteran motoring. Two Edwardian 9ct and 18ct gold and enamel wheel shaped prize watch fob shields, of The Yorkshire Automobile Club Filey Speed Contest 1905 and The Blackpool Automobile Races 1906, 26mm diam, the 1905 18ct gold example by B H Joseph & Co, Chester 1904, 9ct gold example by William James Dingley, Birmingham 1906, 7.9 and 7.6g respectively Good condition with a few light wear scratches, enamel not cracked or chipped, no restoration and rare
Lot 289
A rare Portuguese Indian silver mounted figural crocodilian ivory snuff bottle, Goa, late 17th / early 18th c, carved as a mestiza woman, her right hand claspsing her breast, her hair dressed with three plaits and wearing a short sleeved knee length dress, the upper layer carved with diaper, the lower length pleated, the silver mount with serrated edge, the flat underside engraved with scrolls, 89mm h excluding suspension ring Good condition
Lot 564
The Atlas of Rare Pheasants I, limited edition 61/600, Palawan Press and sundry books including topographical works relating to Birmingham, Oxford, Cambridgeshire and Edinburgh CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 1422
Carlo Bugatti (1856-1940), Rare walnut and mixed metal inlaid corner chair, with semi circular top rail inlaid with stylised insect motif, hung with silk thread tassels and stud-closed cushion seat on sunburst inlaid frieze and turned and block supports, 68cm wide x 75.5cm highSound original condition, frame has woodworm which needs treating but is not beyond restoration in our opinion ( please make up your own mind before bidding ) . One leg has a split near the end and some of the tastles are missing . See extra images Provence: found in a local house clearance .
Lot 279
Rare Charles II silver gilt St Bartholomew apostle spoon, ascribed to the South West, with a plain nimbus, pricked S over IA, with slightly tapering flat section stem, struck on the reverse with a maker's mark WC, an indistinct mark and an unidentifiable pelleted mark (also repeated in the bowl), Gloucester circa 1665, William Crossley or Corseley, approximately 1.9ozs, 18.5cm overall lengthProvenance: How of Edinburgh Ltd., 2 Pickering Place, St. James'sLondon Literature: Jackson's Revised pp 317/318 for details of William Crossley (Corseley) and his marks; How, Volume II, Chapter III Section II, plate 63, for two apostle spoons by this makerGeneral overall condition good, some surface scratching and wear, gilding slightly worn in places, bowl is slightly offset. Marks rubbed. See extra images.
Lot 53
A very rare Worcester blue and white sauce ladle, in the Kangxi Lotus pattern, circa 1770, 17cm long - Worcester blue and white sauce ladles are extremely rare; See Branyan, French and Sandon, Worcester Blue and White Porcelain, I.E.33. for a sauce ladle in the Ladle Sprays Pattern, then the only Worcester blue and white sauce ladle recordedChip to the rim of the bowl, and a firing imperfection on the other side. Otherwise in good condition.
Lot 704
Rare mid-17th century miniature oil on copper, gentleman with white collar, oval, inscribed and indistinctly dated A.D. 1662 (?), with coat of arms verso, in ebonised frame, total size 11 x 9.5cmIn a glazed frame and not examined out of the frame. The portrait has some restoration and overpainting to the face and elsewhere, cracks to the face and collar, some pitting throughout and small losses. The reverse with substantial losses to painted surface
Lot 718
Rare pair of early Robert ‘Mouseman’ Thompson bookends, each carved with initial ‘G’, 15cm high. Provenance: Ryedales Auctioneers, September 21st 2021, lot 2025. Described as 'probably by Joseph Heu (Austrian 1876-1952) and to the present vendor by family descent.' Joseph Heu (Austrian 1876-1952) was a master carver who fled Nazi persecution and settled in Ampleforth, working at the Mouseman Workshops in Kilburne
Lot 841
Rare late 19th/early 20th century French etched glass claret jug by Daum, Nancy, with silver mounts and reserve showing the fox and raven from Aesop's fables, the glass heightened in colours and gilt with trailing foliage which is reciprocated in the silver mounts, signed to base, 26cm highSome wear to the enamelling and gilding, some minor dents to the silver base; otherwise in good condition.
Lot 161
An important and virtually unique collection of signatures of Victoria Cross Winners.The tooled red leather album contains the signatures of 127 VC winners, plus another loose example.It’s believed that the signatures were obtained were obtained during a Victoria Cross Association function in the late 1950’s.Every Victoria Cross holder’s signature that was alive (and well enough to attend) at the time of the function is contained within the book.Many of the signatures relate to WW1 decorations, with 2 being of Boer War era, and another from the Pre-Boer War era.Another official example exists within the Royal Collection, and those signatures were also collected at the same function.It’s understood that special permission was granted from H.M. Queen Elizabeth II to obtain the signatures.So far as we can ascertain, there hasn’t been as comprehensive a collection of VC winners signatures ever offered on the open market.The album also comes with a type written sheet detailing who the signatures relate to, with their regimental details. 16 signatures are unknown, and are therefore not listed on the typewritten sheets.It may be possible, with further research to identify the unknown signatures.Among that list of names, there includes:Richard Annand VC, the first winner of the VC during WW2.Captain Ishar Singh, the first Sikh recipient of the VC (his VC award is unusual in itself as it was won in the interwar period).Stanley Hollis VC DCM MM, the only winner of the VC during D-Day.The loose signature is that of Alexander Murray, 8th Earl of Dunmore VC, the only journalist to win a VC - his decoration was earned while serving with the 16th Lancers in 1897 in Nawa Kili (now modern day Pakistan).Charles Hazlitt Upham, one of only 3 men to win a VC with bar.Sidney Frank Godley, the first Private to win a VC during WW1.Frederick Luke and John Henry Charles Drain, 37th Battery RFA, the only survivors of of the last stand during the retreat from Mons August 26th 1914.A truly extraordinary and rare archive of names.Size: 23.2cm x 18.3cm.Condition: generally very good, some wear to the leather on the outside of the cover.Some ink blots or smudges to some of the pages.15 of the pages have been written on, with the rest remaining blank.The ‘Dunmore’ signature is loose.Viewing is highly recommended.
Lot 199
Rare Royal Navy Group of documents belonging to Lieutenant (later Captain) Edward Drew R.N of his passport, letters from Captain Robert Barrie (Captain of H.M.S Dragon) whilst on the station off the coast of America in the 12 years war giving a very rare snapshot of navy life onboard H.M.S Dragon and the actions and shore raids that they took part in, his official Admiralty orders giving him command of H.M.S Falcon (Sloop of War) after his time on the American station in 1815, his Admiralty letter informing him of being placed on the half pay list (an early form of naval pension) whilst retired. His letter of introduction giving his details of date of birth, place of birth and parentage with a note from the Heraldic Office dated 1863 informing him of the cost of the creation of his Crest & Arms.
Lot 229
Rare WWI publication The Ypres Alphabet, by LT Colonel CM Truman and LT Major J Leslie, the booklet was produced in a small print run using the cyclostyling printing method, the back page has a pencil inscription XII Royal Lancers somewhere in the Flanders, from JH Crawford to here Winstanley Aug 18 1915, PTE Joseph H Crawford, served in the 12th Lancers throughout WWI and was also a Boer War Veteran, green linen cover with stitched in pagesGenerally good condition for its age foxing to many of the pages, plus a couple of pages have small tears
Lot 354
A potentially rare WWII ear Spider Web type gun sight with associated tools housed in a canvas and leather pouch, the leather case stamped with NSDAP Eagle probably for Anti Aircraft use, with the MG35 Machine gun, a couple of the metal tools appear to be stamped with the Turkish Crescent Moon, suggesting a German made export pieceGenerally good condition and appears to be complete, soiling and service wear to canvas
Lot 113
12 MIXED BOTTLES LIQUEURSDrambuie; Cazcabel Honey; Evan Williams Honey; Roner Williams Pear; Badel Pelinkovac; Whistler's Storm Assam Black; Elixir d'Anvers; Bertrand Coeur de Biere Organic (50cl); Isidoros Azvanitis Ouzo of Plomari; de Kuyper Triple Sec; Rich + Rare Caramel; Kostelac Visnja Cherry
Lot 114
12 BOTTLES WHISKEY/WHISKYPaul John Oloroso Indian Single Malt; Agitator Argument; Kastanj Single Malt; Teerenpeli Single Malt (50cl); Cirka Single Grain; Bellevoye Triple Malt Edition Tourbee; The Westfalian German Single Malt (50cl); Gibson's Finest Rare; 78 Degrees Muscat Finish; Terence Hill The Hero; The Cotswolds Single Malt; Mountain Distilling Company Red Gum Single Malt; The Whistler PX I Love You Single Malt
Lot 83
8 BOTTLES FRENCH AND 4 ITALIAN SPARKLING WINETorley 2 x Francois President Brut NV; Dopff 2 x Solera Brut Nature; Asda 2 x Extra Special Cremant de Louire Rosé Brut NV; Maison Louis Bouillot Perle Rare Brut 2018; Cantina di Santa Croca 2 x La Tradizione Frizzante Brut 2021; Dal Bello Celeber Superiore Extra Brut Prosecco; Vigna Dogarina Prosecco Extra Dry Millesimato 2021
Lot 32
Action Man - Hasbro - A rare boxed Action Man Emergency Fire Tender # 34741. The model appears in Very Good condition overall with ladders and hose intact, the rear hand rails are missing and some of the stickers are peeling. The box is Fair to Good with some wear and some sticky tape damage. (This does not constitute a guarantee)
Lot 324
Matchbox - 4 x unboxed models, Bedford Car Transporter in the rare red and grey finish, Accessory Pack # 2, Mercedes 220 SE Coupe with silver plastic wheels # 53, Ford Zephyr 6 in sea green with silver plastic wheels # 33 and Vauxhall Victor Estate with red interior and silver plastic wheels. The models appear in Very Good condition with only minor marks. (This does not constitute a guarantee)
Lot 80
Miniature Figurines Ltd - Wargame Figures - A rare collection of over 1000 Roman Wargame 25 mm figures made circa 1970 by Miniature Figurines Limited of Southampton. There are 915 x Legionary First/Second Century and 108 Auxiliary First/Second Century. They have been fixed to a green painted wooden base measuring 105 x 41 cm. They appear in Good condition and come with some spare shields, pila and transfers. (This does not constitute a guarantee)*Please speak to office about collection of this lot or to arrange a private courier due to the size and weight of this item*
Lot 100
The Charter Granted by Their Majesties King William And Queen Mary, To The Inhabitants Of The Province Of The Massachusetts-Bay In New-England. Boston in New England: Printed by B. Green, Printer to the Honourable the Lieut, Governour & Council, for Benjamin Eliot, and Sold at his Shop near the Town-House in King’s Street. 1726. Bound by Blackwell in pebbled brown boards with gilt lettering on the spine that reads “King William’s Charter To The Inhabitants Of Massachusetts 1726”, with wide gilt dentelles and marbled endpapers, followed by four blank endpapers and the title page, then twelve pages of text, the two-page Explanatory Charter granted by His Majesty King George, and The Table, which is another seventeen pages long, and four more free blank endpapers at the rear. This is an historically significant document. The Charter for Massachusetts Bay was first enacted on May 14, 1692 and severely curtailed the Colony’s autonomy. It also includes the rare Explanatory Charter issued by King George on January 17, 1726, and this went even further in limiting the independence of the Colonies - the Provincial Governor was loyal to the King, and the King expanded the power of the colony’s governor, giving the governor the right to dissolve the House of Representatives and the right to veto their choice of Speaker of the House. (See pages 13 and 14 here.) The Explanatory Charter is often missing, and it is included here. The King’s radical alterations to the Charter was a major point of contention in the colonies, and a significant event leading up to America’s Declaration of Independence and the American Revolutionary War in 1776. The Explanatory Charter set the stage for war between the colonies and Great Britain and led to America’s independence and becoming its own country. The owner’s name John Goodridge is signed at the top of the title page and a partially illegible signature is signed in the margin on A2. We think the name reads Samuel Soul [illegible] County of Oxford, but we’re not sure. The title page has double-ruled borders in black, and The Table that follows the Explanatory Chapter is seventeen pages long, as called for, and is an alphabetical index of topics with double columns. There are printer’s notes in the margins - the margin notes start on page 6 and run all the way through page 14, as called for - and these are not hand-inscribed notes, but come straight from the printer; the margin notes on page 7 clearly say the Governour has Power to Adjourn Prorogue and Dissolve the Assembly as well, and that is the heart of the Explanatory Charter. Other copies we’ve seen lack most or all of the title page, or the explanatory charter, or the Table, and this copy has it all - the fourteen-page long Charter, the Explanatory Charter, and the seventeen-page long Table. Other copies tend to include laws enacted after 1726 - the Acts - and there are no Acts here, just the basic parts of the Charter. The brown boards measure 11 7/8 x 8 in. wide, with very light rubbing along the edges of the spine and at the tips, and the actual Charter shows browning, soiling, and has some holes here and there, but the text is all present, as called for. The condition could be better, but it is the words and text that matter the most here - this is one of the most significant documents in American history and eventually led to freedom for Massachusetts and the rest of the colonies.
Lot 104
The Punishments of China, Illustrated By Twenty-Two Engravings: With Explanations In English and French, London: Printed For William Miller, Albemarle Street, By S. Gosnell, Little Queen Street. 1808. With five raised bands, a gilt title and gilt devices on the spine, tooled in gilt with blindstamped covers, blank endpapers, and there are two title pages: one in English and the other in French, and the French title follows the English title. The French title is Les Punitions De Chinois, Representes En Vingt-Deux Gravures: Avec Des Explications En Anglais Et En Francais, there are 22 hand-colored stipple-engraved plates, and all the edges are gilt, in a full red straight-grained morocco. The first edition was issued in 1801, followed by a second edition in 1804, and this edition was published in 1808. The text is based on the experiences of George Henry Mason (1770 - 1851), a British army officer who traveled to Canton in 1789, making drawings of the costumes and customs of the region, including these rather disturbing images of torture and execution in China. Canton was one of only two cities in China that outsiders could visit, and he became an author of two influential works, The Costume of China and The Punishments of China. This folio measures 14 1/4 x 10 5/8 in. wide, with exquisite covers, the plates and binding are tight and secure, with just a hint of occasional spots. A rare look at customs and punishments outside this country, with spell-binding plates that make you think about the way people were punished years ago for petty, and sometimes serious, crimes.
Lot 105
This is a panoramic album entitled “Les Boulevarts De Paris”, published by Lemercier circa 1855, with designs by Paul Lancel (“dessine par Lancel”); there are 24 hand-colored lithographs in the album, with gilt lettering and fancy gilt decorations on the brown embossed front cover and French titles on each leaf, the individual scenes are 4 1/2 in. high x 7 3/4 in. long and all attached to each other to create one continuous view of the streets of Paris - we had to lay out the scenes on the floor to measure the album full length, and they come to 184 inches - an astounding 15 1/3 feet long when fully extended. In fancy language, the album has a leporello binding with concertina-style pages - they fold out like an accordion - but it also has front and back boards, so it can be handled like a normal book. The last lithograph says “Imp. Lemercier 57 r de Seine Paris” at the bottom of the leaf; Imprimeries Lemercier & Cie was a French publishing house which operated between 1803 and 1901, and the views here were published between 1845 and 1860, according to similar prints at the Library of Congress. The scenes show street level views of Paris in the 1850’s, and these views include theaters, the Cirque Olympique, kiosks and arches, hansom cabs, pedestrians and street vendors in contemporary dress, and the Place de la Bastille and Column of July (“Colonne de Juillet”) to commemorate the French Revolution. These color views start with the Boulevart de la Madeleine and include the Boulevart Capucines, Boulevart Monmartre, Boulevart du Temple, Boulevart des Filles du Calvaire, and Boulevart Beaumarchais, among others. “Boulevart” in French means “Boulevard” and these are some of the main streets in Paris. There are only four other known albums with views of Paris by Lemercier, but those copies are in black and white. The Library of Congress has a few individual scenes from the set, but no complete sets; Indiana University, Harvard, and the Boston Athenaeum have complete sets in their Special Collections departments, according to WorldCat, but those sets are in black and white, and this set is in color. The spine panel is missing and the album needs to be reattached at the spine, but it still operates fully like an accordion, and this is a rare color archive of Paris in the 1850’s. The original owner’s name is inscribed on the back board, underneath the last leaf - “Mr. W M Kinsley Paris 1860”, and he may well have walked these very streets of Paris in his day, just loving the stroll.
Lot 108
A Channel Passage And Other Poems, By Algernon Charles Swinburne, London, Chatto & Windus 1904, a rare first edition, with five raised bands, gilt titles on red labels, six gilt-ruled compartments with gilt devices and “1904” in gilt at the base of the spine, with gilt-fillet borders on full crushed Levant, gilt dentelle borders with the bookplate of Raphaeli Mauritii Bauer on swirled marbled endpapers, the half-title followed by the imprint of Spottiswoode and Co Ltd, New-Street Square, London, followed by the title page and a dedication to William Morris and Edward Burne Jones, three pages for the table of contents, and 213 pages of text followed by the imprint of Spottiswoode again at the bottom of the last page of text, and the top edge is gilt, all in a fine binding by Zaehnsdorf. Swinburne (1837 - 1909) was an English poet, playwright, novelist, and critic. who wrote several novels and collections of poetry. He devised a poetic form called the roundel, which corresponded to the French rondeau. The title poem here was inspired by a trip to France: in 1855, Swinburne made his first trip abroad with his uncle. As they were crossing the English Channel, a violent storm thrilled the young poet with its awe-inspiring display of lightning and thunder. It was an unforgettable experience that stuck with Swinburne all his life - the poem here which recalled that crossing was written 40 years after the event, just five years before his death. He was influenced by the works of Shakespeare, Shelley, William Morris, Rossetti, Robert Browning, Tennyson, and Victor Hugo - a temple mount of writers and authors - and he was nominated for the Nobel Prize for Literature every year from 1903 to 1907. Swinburne was also a controversial poet. He was an alcoholic and algolagniac and liked to be flogged, and he wrote about many taboo topics, such as lesbianism, sado-masochism, and anti-theism, and he was considered a decadent poet; these taboo subjects often attracted Victorian ire, which led to him becoming persona non grata in high society. Rumors about his perversions often filled the broadsheets. Raphaeli Bauer (1864 - 1947) was born in Germany and was a foreign banker trading from London, as well as a stock broker at Drapers Gardens with Eustace Blundell, so he was a man of means. The title poem was first published individually in 1899, and this is a beautiful copy of the rare first edition. It’s easy to tell this is a first edition, too, because it was published by Chatto and Windus, and there is just a single date of 1904 on the title page and no other printings listed on the copyright page. (See Bill McBride, A Pocket Guide to the Identification of First Editions, McBride / Publisher, 585 Prospect Ave., West Hartford, CT 06105.) The book is crown 8vo. and measures 7 5/8 x 5 1/2 in. wide, with clean text and just a hint of rubbing along the front edge of the spine, at the crown and two tips. Overall a very attractive copy of this first edition by Swinburne, bound by one of the premiere binders of the nineteenth century.
Lot 110
Aucassin and Nicolette Done Into English by Andrew Lang, London, Published By David Nutt In The Strand 1887 on the paper dust jacket, with “Aucassin And Nicolette, A. Lang, London 1887” in gilt lettering and fleur-de-lis decorations on the spine of the leather slipcase, with five raised bands on the spine and triple gilt fillets on the green slipcase cover. This is a first edition on Japanese paper; just sixty-three copies were printed on Japanese paper altogether and of these, only fifty-three were for sale, this is number 9 of the 63 copies, and it is signed “D. Nutt “ on the limitation page. The half-title reads “Aucassin And Nicolette, Translated June, 1887, Printed November, 1887”, and prior to the title page, there are two etched engravings by P. J. Hood in two states as issued. The engravings are titled “C’est D’Aucassin Et De Nicolette”, with a tissue guard between the two etchings, and they are basically double frontispieces. The Introduction is sixteen pages long (b - xvi), followed by the “Ballad of Aucassin” and the “Ballad of Nicolette” (xvii - xx), and there are 66 pages of text with four pages of notes (pages 67 to 70) and the colophon of the Chiswick Press at the rear. There is a small bookseller’s label at the bottom of the dustjacket in front (B. H. Blackwell, 50 and 51, Broad St., Oxford), and the bookplate of Chas. B. Foote on the front endpaper; Foote was a noted bibliophile whose book collection was auctioned off by Bangs & Co. (New York) in 1895, and some of those books included editions by Longfellow, Lowell, William Morris, Lewis Carroll, and Andrew Lang, among others. Andrew Lang (1844 - 1912) was a Scottish poet, novelist, and literary critic who collected fairy tales and folk tales, and his wife helped him translate some of these copies into English; Aucassin and Nicolette was also a French medieval love story called a “chantefable” - a sung story - which combines prose and verse. The book is 8vo. and measures 9 x 5 1/2 in. wide and has clean pages and text, and the slipcase measures 9 1/4 x 6 1/8 in. wide and in solid condition, with light rubbing at the extremities of the leather slipcase. A beautiful copy of a rare first edition by Andrew Lang.
Lot 115
This is an anti-slavery album with poetry and floral watercolors created to raise money to fight slavery in America, with a page near the beginning stating the purpose of the album; it reads “This album given by Ladies in England with other rare and valuable articles in aid of the Cause of Anti-Slavery was purchased at a fair held by the Liberty Party in 1847 to raise funds to further the work, publish documents & otherwise spread information of the condition & needs of the slaves in our Southern States, and influence a healthy public sentiment toward their freedom. Its cost was a real sacrifice at that time and therefore rendered doubly valuable to my wife”, signed A F Farrar. We don’t know who A F Farrar was, but he clearly had an anti-slavery mind set. England abolished slavery in the 1830’s and this album was created to help out the Liberty Party (1840–48), which was the first political party organized in America to oppose the spread of slavery and cut down the power of the Southern states in owning and engaging in slavery.The album has a beautiful floral watercolor after a poem near the front, with several other poems inside, all hand-written in the Boston and Marblehead areas of Massachusetts between 1849 and 1852; there are two pages that philosophize about good and bad virtues in life, four embossed chromolithograph cards of young girls picking flowers and giving them out and one of a young girl ice skating - probably why this is also called a friendship album - and several pages with embossed borders to encase the chromolithograph cards; there’s a pastoral vignette by M H Middleton, and the album comes with beautiful lacquered covers - one with mother-of-pearl and hand-painted floral decorations on the front and a striking gilt floral decoration on the back - the spine is decorated in gilt, and the album is housed in a velvet-lined custom box with a metal clasp and the initials E J F on top. The custom box also opens to reveal a fold-out slipcase that holds the album itself, and the only apology is that the top part of the custom box is detached, but you don’t notice that when the box is closed.We don’t know who painted the watercolors in this album, but the first one resembles watercolors painted by Sarah Mapps Douglass and Ada Howell Hinton. Both were educators and anti-slavery activists from the African American community in Philadelphia in the 1830’s and 40’s, and their watercolors are highly prized. The images painted on letters by Sarah Mapps Douglass may also be the first or earliest surviving examples of signed paintings by an African American woman in this country.The box measures 6 x 8 1/2 in. wide and the album itself measures 7 1/4 x 5 in. wide, with gilt dentelles on silk moire floral-patterned endpapers, and all the edges are gilt, and selling albums like this was one way to raise money for the abolitionist movement in the mid 1800’s, and coming from England and being bought at a fair here, the album has a wonderful connection - it makes it seem like people in England were joining handswith people in this country to promote freedom and equality. A rare archive with social and historical significance.
Lot 13
Dombey And Son, By Charles Dickens, With Illustrations By H. K. Browne. London: Bradbury And Evans, 11, Bouverie Street. 1848, imprint of Bradbury And Evans, Printers, Whitefriars on reverse of the title page; Dealings With The Firm Of Dombey And Son, Wholesale, Retail, And For Exportation. By Charles Dickens, London, Bradbury & Evans, Bouverie Street, 1848 on the vignette title page, in a fine binding by Riviere & Son, first edition, first issue, 8 vo., with five raised bands, gilt lettering and six compartments with gilt tooling on the spine and “1848” in gilt at the bottom of the spine, in wine crushed morocco with triple gilt fillet borders on both covers; a lion couchant (a lion laying down) is nestled inside two gilt rings on the front cover, and the lion is holding a star-like cross called a “patoncy" in heraldry; on the front paste-down, an original water color drawing on calf by Helen R. Haywood is bordered by wide gilt dentelles, with red moire silk on the front and rear free endpapers. The binder’s name is at the bottom of the front paste-down, just below the gilt dentelles, and a preliminary leaf reads “With Water Colour Drawing on Calf Doublure by Helen R. Haywood”; the illustrated frontispiece is by H. K. Browne, with a List of Plates and an eight-line Errata page following the List of Plates, and counting the frontispiece and the vignette title page, there are forty plates altogether. The Preface page is unnumbered and dated “Devonshire Terrace, Twenty-Fourth March, 1848”. The original tissue guard between the frontispiece and the illustrated vignette title page is present, there are 624 pages altogether, as called for, and all the edges are gilt. The book has virtually all the points of issue that make this a first edition, first issue. Eckel (page 76) notes one error by the author that was not included in the errata. On page 284, the fifth and sixth lines from the bottom, Dickens mixed up the name of Mr. Toot’s boat - twice he called the little cutter “Delight” when it should have been called “Joy.” That error occurs here - the boat was called “Delight” instead of “Joy” - and Eckel says this detail must be in the book for it to be considered a first edition, first issue. The eight-line errata leaf is present, and this is necessary to be a first issue. We are aware of an eleven-line errata leaf in a later issue, and nearly all the points of issue documented by Walter Smith are present here too - there are over fifty uncorrected points of issue in the book - these include the famous hook on Captain Cuttle’s left hand instead of the right hand, spelling mistakes, raised letters, missing words or quotation marks - all uncorrected details in the book here - and those speak volumes about whether this is a first edition first issue or a later copy. Dombey and Son also contains the first published example of the so-called dark plate (“On the Dark Road” page 547), and the lines on the plates here are clean and clear, not smudgy, which indicates the plates were from an early printing, not a later one. H. K. Browne (Hablot K. Browne 1815 - 1822) was an English artist who illustrated many of Dickens’ novels - his pen name was “Phiz” - and Helen R. Haywood (1908 - 1995) was an English painter who illustrated children’s books and was also the granddaughter of Robert Riviere, founder of the noted bindery which bears his name and which executed this binding; she painted a similar watercolor in Little Dorrit, which is being sold by David Brass Rare Books for $7500, and the watercolor she did here looks like a beautiful wall painting that reproduces in color the plate titled “Paul And Mrs. Pipchin” facing opposite to page 75. This is Dickens’ seventh novel, and it was first issued in monthly parts, and the bound volume which sold for one guinea was published after that; this is the first edition in book form. The book was bound by Riviere about 1930, it comes in a slipcase which measures 8 15/16 x 5 3/8 in. wide and the book measures 8 3/4 x 5 3/4 in. wide, and the book is in exquisite condition … the text and plates are clean and quite attractive. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and Walter E. Smith, Charles Dickens In The Original Cloth, A Bibliographical Catalogue Part I, Los Angeles: Heritage Bookshop 1982.
Lot 16
A Tale Of Two Cities, By Charles Dickens, With Illustrations By H. K. Browne, London: Chapman And Hall, 193, Piccadilly; And At The Office Of All The Year Round, 11, Wellington Street North, MDCCCLIX [1859], first edition, first issue in book form, exquisite binding by Marius Michel, 8 Vo., with tooled blue best French crushed levant, five raised bands, six compartments with gilt lettering and gilt devices on the spine, “1859” in gilt at the heel of the spine, triple gilt-ruled borders and gilt devices with a gilt- ruled design inside the triple gilt borders; silk doublures within the gilt-ruled borders on the front paste-down, with the binder’s name in gilt at the bottom; the original marbled endpapers are bound in just after the front free paste-down and just before the silk doublures in the rear, all edges gilt, with the original red boards and spine used to create the custom slipcase here. The list of plates include the illustrated frontispiece, the vignette title page, and fourteen other plates as called for, and all the points of issue called for by Eckel and Walter Smith are present to make this a first edition, first issue: page 213 is misnumbered “113”; “affectionately” is misspelled “affetcionately” on page 134, line 12; signature “b” is at the bottom of the list of plates; the letters “lf” in “himself” are lacking on page 166, five lines from the bottom; page vii in the Contents says Chapter VII of Book the Second is titled “Monsieur the Marquis in Town”, while it reads “Monseigneur in Town” in the text, and page vii in the Contents for Chapter VIII of Book the Second says “Monsieur the Marquis in the Country”, while the text reads “Monseigneur in the Country”; page ix entry 8 in the List of Plates reads “Stryver”, but it is spelled “Striver” in the caption below the illustration on page 94; there appears to be a comma rather than a period after the chapter number on page 98; and page 238, line 14 has triple quotation marks after the exclamation point (Smith page 98); the publisher’s catalogue is lacking, and the captions under the plates are printed in fine lines, which means they are easy to read and come from the early plates - if the captions are difficult to read, that means the plates have worn down and the captions come from later printings (Eckel page 87). The book edition was bound in a vivid red cloth, and the binder Marius Michel used the original red boards here to form the slipcase; his full name was Henri Marius Michel (1846 - 1925) and he was considered the best book binder of his generation, as well as the founder of modern French bookbinding; his bindings are considered works of art, and books bound by him bring high prices. When a book is bound elaborately, the binder will sometimes use leather to cover the interiors of the book’s boards, often with “swoon-inducing” designs; the leather takes the place of paper and these interiors are called doublures; in some cases, the term is used with materials such as decorated silk. The book has 254 pages and measures 8 15/16 x 6 in. wide, and the slipcase measures 9 1/4 x 5 3/4 in. wide; light foxing on a couple of plates, the slipcase has rubbing on the top and bottom and faded lettering on the spine, but the rubbing and fading on the slipcase don’t affect the book at all; overall an exquisite copy of A Tale of Two Cities by a premier book binder in Paris, with all the points of issue called for to make this a rare first edition, first issue. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and Walter E. Smith, Charles Dickens In The Original Cloth, A Bibliographical Catalogue Part I, Los Angeles: Heritage Book Shop 1982.
Lot 17
Our Mutual Friend, By Charles, Dickens, in the original monthly parts as issued, complete with the original 20 parts bound in 19, in the original green wrappers, with Illustrations by Marcus Stone, London: Chapman And Hall, Piccadilly, a first edition, first issue, with “The right of Translation is reserved” in small italics at the bottom of the front wrappers. There are 40 plates altogether, all designed by Marcus Stone, and all engraved on wood by Dalziel and W.T. Green (21 by Dalziel and 19 by Green), all the plates are present, and the wrappers are housed in a green custom slipcase. The book was Dickens’ fourteenth novel and was published in monthly installments called “Parts” that ran from May 1864 to November 1865; the last installment had two parts - No. 19 and 20 - bound as one and cost 2 shillings, instead of the usual 1 shilling for each of the parts. It was also Dickens’ last complete novel - he wrote Edwin Drood in 1870, but died later that year, so Edwin Drood was only halfway done and incomplete when Dickens died. Our Mutual Friend also took longer for Dickens to write because he suffered recurrent illnesses towards the end of his life, and the illustrations by Marcus Stone that were engraved on wood by Dalziel and Green also mark a departure from the steel etchings in Dickens’ earlier works. The slipcase measures 9 5/8 x 6 3/4 in. wide and has “Our Mutual Friend, Charles Dickens, Original Parts” in black lettering on the spine, and the green wrappers are 8vo. and measure 8 3/4 x 5 5/8 in. wide. There are many points of issue present that we believe make this a first edition, first issue. The printer’s imprint (W. Clowe’s And Sons) is missing on the front wrapper of Part No. 1 and it appears at the bottom of all the other wrappers, as called for. Part No. 1 has the scare slip addressed to the reader bound in just before the first page of the text; the small white slip reads “The Reader will understand the use of the popular phrase OUR MUTUAL FRIEND, as the title of this book, on arriving at the Ninth Chapter (page 84)”, and Eckel (page 95) says it is a necessity to have this slip “to insure a perfect copy”. It also has the four-page advertisement “The Economic Life Assurance Society” in No. 19 (the ad is tucked underneath the uncut text on pages 257 through 264). Page 13 is misprinted “31” in the front ads in No. 10, and Hatton and Cleaver state that this misprint appears in a few copies. There are other ads which appear in these parts that are often missing too. Each part has the advertisers for “Our Mutual Friend” at the beginning of the ads in front. The Headless Horseman slip appears at the rear in No. 11 and No. 12; the yellow announcement slip for “All The Year Round” is present in No. 8, 12, and 18, and No. 18 has the rare yellow “At The Bar” ad on the slip for “All The Year Round”. No. 1 has the four pages of Thorley ads inserted at the rear and No. 6 has the orange Armadale slip. No. 12 has The People’s Pickwick full-page ad after the 2 plates and before the text, and all the Norton Pill ads and Mappin Webb ads that are required are here. There are numerous ads in green, pink, orange, and blue, and the only ads lacking are the scarce "Economic Life Assurance" ad in Part 14 and the green Foreign Bank Note slip at the rear of Parts 19 - 20, otherwise all the ads called for by Hatton and Cleaver are present. All the plates are clean and present, with tissue guards in between the plates for Nos. 16 and 17. There are light nicks at the edges of some of the wrappers. No. 1 has light soiling and wear along the edges and a tear in the lower right on the front wrapper. No. 5 has slight restoration at the bottom tip on the front wrapper, but you have to look to find it. No. 9 and 10 have small paper loss at the bottom corners of the front wrappers, and there is a faint black oval or circular stamp on the front of No. 7 and a darker circular stamp on the front of No. 11. Otherwise the wrappers and ads and text are clean. Besides WorldCat and abe.com, we used The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and A Bibliography of the Periodical Works of Charles Dickens: Bibliographical, Analytical & Statistical, by Thomas Hatton and Arthur Cleaver 1933 as reliable references. Eckel and Hatton and Cleaver are considered the bibles for periodical works by Dickens.
Lot 23
The Life Of Charles Dickens, By John Forster, London: Chapman And Hall, 193, Piccadilly 1872 - 1874, in three volumes, tenth edition, bound by Morrell in red crimson, 8vo., 3/4 bound, with gilt ruled compartments and gilt lettering and gilt devices on the spine, crimson boards, with the bookplate of William King Richardson on the marbled endpapers, the half-title reads The Life Of Charles Dickens, and the top edges are gilt. Volume The First, 1812 - 1842, 1872, has a portrait of Dickens on the frontispiece; the frontispiece was done after a painting of Dickens by D. Maclise when Dickens was just 27, and it was engraved here by R. Graves, with a tissue guard between the frontispiece and the title page; with no notes about corrections to the first edition, the Table of Contents is twelve pages long, with nine illustrations listed after the Table of Contents, and this volume is 398 pages long. Volume The Second. 1842 - 1852, has a portrait of Dickens on the frontispiece when he was “AET 47”, and it was engraved again by R. Graves, with a tissue guard between the frontispiece and the title page and “1873” at the bottom of the title page, followed by the imprint of Bradbury, Evans, And Co., Printers, Whitefriars on the reverse of the title page, then three pages of Corrections Made In The Later Editions Of The First Volume - it appears to be a tenth edition set which Forster himself said was needed because the demand for this biography was so high - followed by an Illustrations page with eleven plates listed, followed by twelve pages for the Table of Contents (ix - xx), with 462 pages of text, and light wear along the edges of the spine. It also has the name of the binder “Morrell, Binder, London” on the reverse of the front free endpaper. We originally believed this to be a first edition set because there are no additional printings on the title page or the reverse of the title page (see Bill McBride, A Pocket Guide to the Identifications of First Editions, West Hartford, Ct., 1995 for first editions by Chapman And Hall), but the three pages about “Corrections Made In The Later Editions Of The First Volume” appear to indicate this is a tenth edition, not a first edition of Forster’s biography of Dickens. Volume The Third. 1852 - 1870, has a frontispiece portrait of Dickens when he was “AET 56”, the frontispiece was engraved by J.C. Armytage, with a tissue guard between the frontispiece and the title page and “1874” at the bottom of the title page, followed by the imprint of Bradbury, Evans, And Co., Printers, Whitefriars on the reverse of the title page and a list of Illustrations with thirteen plates, then nine pages for the Table of Contents, followed by 504 pages of text and a seventeen page Appendix, a blank leaf, and a thirty page Index, for a total of 552 pages, with very light rubbing on the edge of the spine, and it has the name “Morrell, Binder, London” on the reverse of the front free endpaper. John Forster was the officially recognized biographer of Dickens because they were such close friends and he handled Dickens’ literary estate. William King Richardson was a prominent Boston lawyer and bibliophile who assembled a remarkable collection of rare books and manuscripts that are now housed at the Houghton Library at Harvard University. Each volume measures 8 11/16 x 5 5/8 in. wide and this is an attractive set in red crimson.
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