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Lot 515
Fleming (Ian) Casino Royale, first edition, first impression, light spotting to edges and endpapers, ink inscription to front fee endpaper, crease to pp.17-18, original black boards with heart motif in red to upper cover, spine lettered in red, slight shelf-lean, slight bumping to spine tips and corners, first issue dust-jacket without Sunday Times review, price-clipped, slight dulling to spine, spine ends and corners a little chipped with chip to head of spine touching author's name, small portion of insect damage to upper fore-edge, lower panel with light spotting and browning, 1 or 2 very short nicks to head and foot of upper panel with some light creasing but a very good copy overall, 8vo, 1953.
![Snow (C. P.) [Strangers and Brothers sequence], 11 vol., comprising Strangers and Brothers, neat ink ownership inscription, s](https://cdn.globalauctionplatform.com/ed94c307-2ea5-4819-9284-afc100bd58c0/0faefff6-f0d1-467e-8b06-afc1010143c7/468x382.jpg)
Lot 564
Snow (C. P.) [Strangers and Brothers sequence], 11 vol., comprising Strangers and Brothers, neat ink ownership inscription, second issue dust-jacket with shorter flaps and printed on the reverse of an Eleanor Farjeon title, price-clipped, chip to head of spine affecting title, small chip and short tear to foot of upper panel, 1940; The Light and the Dark, light sunning to lower half of spine, first issue jacket with design flush to head of upper panel, lacking lower half of spine, chipping and tears to panels, 1947; Time of Hope, signed presentation inscription from the author to endpaper, slight shelf-lean, jacket price-clipped, short split to head of lower joint, a few chips to extremities, 1949; The Masters, jacket price-clipped and with publisher's stamp to front flap, split along upper joint, chip to head of spine, 1951; The New Men, 1954; Homecomings, jacket with light spotting to rear panel, 1956; The Conscience of the Rich, jacket with light creasing to head and foot, 1958; The Affair, T.L.s. from the author regarding the correction of a grammatical Latin error for the third printing loosely inserted, jacket with light surface soiling to lower panel, light rubbing to extremities, 1960; Corridors of Power, ink ownership inscription to endpaper, jacket extremities rubbed, 1964; The Sleep of Reason, 1968; The Last Things, 1970, first editions, occasional light browning to endpapers, original cloth, some light bumping, dust-jackets, some light toning to spines, spine ends and corners a little chipped, 8vo.⁂ A complete set of Snow's remarkable roman fleuve, rare to find complete.
Lot 541
Murdoch (Iris) Under the Net, first edition, signed by the author on title, some marginal foxing, two Autograph Cards signed "Iris" from the author loosely inserted, ink ownership inscription and bookseller's label to front pastedown, slight shelf-lean, spine slightly browning, spine ends a little bumped with short split to head, dust-jacket, light sunning to spine, spine chipped at head, light marginal browning and small splash-mark to rear panel, a very good copy, 8vo, 1954.⁂ The author's first novel, scarce signed.
![[Evans (Mary Ann)] "George Eliot". Mill on the Floss, 3 vol., half-titles, divisional fly-titles, vol. 3 with 16pp. publisher](https://cdn.globalauctionplatform.com/ed94c307-2ea5-4819-9284-afc100bd58c0/cda20631-d0ef-46f9-b4c7-afc100fde683/468x382.jpg)
Lot 163
[Evans (Mary Ann)] "George Eliot". Mill on the Floss, 3 vol., half-titles, divisional fly-titles, vol. 3 with 16pp. publisher's catalogue at end, the odd scattered spot, pastedowns with four spots each of ?wax/paint adhesive and paper remains, original orange-brown cloth (Carter variant B) by Edmonds & Remnants, small mark vol. 2 upper cover, spine ends a little bumped, [Baker & Ross A5.1.a1], 8vo, 1860; Felix Holt, 3 vol., half-titles, 24pp. publisher's advertisements to vol. 3 at end (2 pp. stuck together), vol. 1 manuscript ink inscription to front endpaper, original reddish-brown cloth (Cater variant A) by Edmonds & Remnants, some wear to spine and corners, [Baker & Ross A8.1], 1866; Silas Marner: The Weaver of Raveloe, half-title, divisional fly-titles, 20pp. publishers advertisements at end, original cinnamon cloth (Carter variant A), spine ends bumped, a few marks to lower cover, slight shelf-lean, [Baker & Ross A6.1.a], 1861, all first editions; and 8 others by the same or relating to, 8vo (15)
Lot 521
Golding (William) Lord of the Flies, first edition, third impression, signed by the author on endpaper, foxing to endpaper, pencil and ink ownership inscription to endpapers, original cloth, shelf-lean, wear to head of spine, sunning to spine tips, dust-jacket, price-clipped, toning to spine, spine ends and corners chipped, marking and soiling to panels, 8vo, 1955.⁂ With the ownership inscription of Maisie Purves-Smith, wife of the Australian painter Peter Purves-Smith.
Lot 546
Orwell (George) Nineteen Eighty-Four, first edition, light spotting to endpapers and edges, original cloth, slight shelf-lean, spine slightly faded, light sunning to upper and lower edges, red dust-jacket by Michael Kennard, spine sunned, slight fraying to head of spine, minor chipping to corners, short closed tear to head and foot of lower panel, light rubbing, an excellent copy overall, 8vo, 1949.⁂ An excellent example of Orwell's final novel, as dystopian classic and one of the most popular and influential novels of the 20th century.
Lot 434
DNA.- Watson (James D.) The Double Helix, first English edition, signed by the author on title, some edge-spotting, ink ownership inscription to endpaper, original boards, slight shelf-lean, light sunning to lower edge, dust-jacket, short tear to head of upper panel, light rubbing and creasing to head and foot, 1968 § Crick (Francis) What Mad Pursuit, first edition, signed presentation inscription from the author to endpaper, original cloth, dust-jacket, sunning to spine and head of upper panel, New York, 1988, excellent copies, housed together in custom velvet-lined drop-back box, lettered in gilt on upper cover, 8vo (2)⁂ Two accounts of the discovery of the structure of DNA, a milestone in the history of science, signed by the two key figures, joint authors of the original paper published in Nature magazine that gave rise to modern molecular biology.
Lot 527
Huxley (Aldous) Brave New World, first edition, light spotting to endpapers and scattered edge-spotting, original cloth, slight shelf-lean, dust-jacket, some light spotting, minor chipping to tip of spine and corners, very light creasing to head, a bright, near-fine example overall, 8vo, 1932.⁂ A superb example of Huxley dystopian classic.
Lot 48
Ireland.- Petty (Sir William) Sir William Petty's Political Survey of Ireland, second edition, with final advertisement leaf, contemporary ink inscription to title (partly crossed out), with manuscript correction tipped to p.8 concerning numbers of nationalities, papists etc., a little browned, contemporary panelled calf, gilt shelf-number to foot of spine, rubbed, spine chipped at head, [Goldsmiths 5514; Keynes 38; Kress 3111], 8vo, for D.Browne, 1719. .⁂ An enlargement of the work originally published in 1691 as The Political Anatomy of Ireland, with an additional section on 'The Present State of Ireland' giving lists of the lords spiritual and temporal, the members of Parliament, and the principal officers in the government in 1719, as well as the 'Verbum Sapienti' which was included in the original edition.
Lot 526
Hemingway (Ernest) Fiesta, first English edition, first impression, original cloth, marginal browning to endpapers, original cloth, slight shelf-lean, light shadowing to spine, first impression dust-jacket, light browning to spine, minor chipping to spine tips and corners, pencil notes to rear flap, light creasing to head, some light marking or surface soiling to panels, but an excellent example overall, [Hanneman 33A], 8vo, 1927.⁂ The first English edition of The Sun Also Rises, one of Hemingway's best works and a cornerstone of modernist fiction. While copies in the second impression jacket have occasionally appeared on the market, copies in first impression jackets are exceptionally rare with only a handful of copies recorded.
Lot 545
Orwell (George) Nineteen Eighty-Four, first edition, original cloth, very slight shelf-lean, light sunning to spine tips, green dust-jacket designed by Michael Kennard, spine tips and corners a little chipped, very light fading and light rubbing to spine, a near-fine example otherwise with the Evening Standard Book of the Month s wraparound band, [Fenwick A12a], 8vo, 1949.⁂ A superb copy, rare in such condition and with the wraparound band.
Lot 493
Burgess (Anthony) A Clockwork Orange, first edition, ink stamp of Rice's Bookshop, Newcastle, Australia to front free endpaper, original boards, very slight shelf-lean, light spotting to top edge, first issue dust-jacket with wide flaps, price-clipped, light toning to spine, minor chipping and light rubbing to spine tips and corners, light surface soiling to lower panel, an excellent example overall, 8vo, 1962.
Lot 549
A VICTORIAN OAK AND BRASS MOUNTED HALL STAND ATTRIBUTED TO JAMES SHOOLBRED & CO, CIRCA 1883Headed by a baluster gallery above a shelf with a drawer below with handle and convex quarter-fillets, the lower shelf with baluster galleries, flanked by D-shaped stick stands with metal drip-trays, on tapering block feet, the drawer stamped with two lozenge marks for November 1883102cm high, 101cm wide, 31cm deep James Shoolbred and Co. was located on Tottenham Court Road, a thriving centre for fashionable furniture shops from the 1860s, and became one of the first large department stores in London. The company expanded from a small draper business and started to manufacture high quality furniture circa 1870, for which they were granted a Royal warrant by the mid-1880s. Much of the furniture designed by the company was influenced by the 'Aesthetic Taste' popularised by the architect E.W. Godwin.An identical hall stand was sold Christies London, Important English Furniture, 22nd Nov 2007, Lot 683 (£8125), and another identical example Christies London, Furniture Sculpture and Carpets, 11th September 2008, Lot 117 (£8750).
Lot 31
Gordon Russell (1892-1980) Oak, low round book or coffee table, with circular top and undertier shelf, unmarked, 61cm wide x 45cm highProvenance: Cleeve House, Cleeve Prior, Worcestershire.Overall signs of wear, marks and scratches, consistent with age and use. Some small watermarks to the top.
Lot 76
In the manner of Liberty and Co Aesthetic movement side or occasional table, with octagonal top on turned supports with a shaped under tier shelf on splayed legs, 41cm wide x 61cm highOverall wear, marks and scratches. Some watermarks and stains to the top. Small old repairs in places. Fit for purpose.
Lot 4
Robert Thompson of Kilburn (1876-1955)Mouseman, 'Headington School' small bookcase, oak, with signature mouse, 60cm wide x 122cm high x 26cm deepWear, marks and scratches. Stains and watermarks. Some splits. One fixed shelf, all other shelves are missing. Some time/UV fade. Minor losses and scuffs to edges, especially near the base.
Lot 51
John Ruskin (British, 1819-1900)La Cascade de la Folie, Chamonix signed with initials, inscribed and dated 'Chamonix; 1854. JR.' (lower right)pencil, pen and ink, watercolour and wash40 x 31.1cm (15 3/4 x 12 1/4in).Footnotes:ProvenanceSir John Simon, MD, FRS, KCB and Lady Simon (almost certainly received as a present from Ruskin).Sir John Simon sale, Messrs Trollope, 7 Hobart Place, Eaton Square. By order of the Executors of Sir John Simon. K.C.B., deceased, 40 Kensington Square, W. ...The Contents of the Residence ... including a number of water-colour drawings, by J. Ruskin ... etc., as 'La Cascade de la Folie' and its uplands, as seen from the old Hotel de l'Union, Chamonix, (with price of 22 [guineas] added in ink), 16 November 1904, lot 198.Private collection, UK (probably acquired from the above).Property of an Institution (gifted by the above).LiteratureEd. E.T. Cook and Alexander Wedderburn, The Works on John Ruskin, Library Edition, London, 1903-12, vol. 5 (Modern Painters III), plate C, opposite p. xxii; and, vol. 38 (Catalogue of Ruskin's Drawings), p. 241. Christopher Newall, John Ruskin – Artist and Observer, exhibition catalogue, National Gallery of Canada, Ottawa, 2014, pp. 23 and 275, fig. 1.8.The present lot is one of two drawings showing a particular feature of the mountain landscape at Chamonix made by Ruskin in the course of his stay there from 10 July to the end of August in 1854. Its counterpart, a somewhat larger drawing of the same topography but shown in a wider perspective and therefore allowing a view of fretted horizon and sky to be included, is in the collection of Birmingham Museum and Art Gallery (1905P2).The view shown is of a mountainside to the south-east of Chamonix which is known as the Montagne de Blaitière and at the summit of which lie the Glacier and Aiguille de Blaitière. The Cascade de la Folie, which took its name from a hamlet called Fouilly which once stood on the south-eastern edge of Chamonix, is now referred to as the Torrent de Blaitière. As seen in both drawings, the stream runs over relatively level ground at a higher altitude but then crosses a shelf or sill below which it flows more steeply within a jagged ravine with flanks of exposed earth. Dense groves of pine trees are seen on the folding ground above while fringes of trees stand along the upper edge of the ravine. A distinction may be made between the sketches that Ruskin drew when walking and climbing in the mountains, often loosely treated and serving as memoranda of landscape formations, and the more deliberate drawings that he made from relatively convenient vantage points in the valley bottom and representing topographies to which he attached particular significance. The two views of the Cascade de la Folie are of this latter type. The original titles of both the present drawing and that now in Birmingham identify them as having been made from the Hotel de L'Union, which in the nineteenth century stood at the centre of Chamonix close to the river Arve, and which – as the most comfortable hotel in the town – was where Ruskin and his parents chose to stay. From this vantage point the mountainside represented in the two drawings was seen at a range of between one and a half and two kilometres and at a steep angle of vision. Furthermore, the particular feature of the stream, sill and ravine on the Montagne de Blaitière as shown represents a very small part of the entire expanse of mountain landscape to be viewed from Chamonix and along the sides of the valley of the river Arve, and thus it may be understood that Ruskin operated a system of search and selection to find and then to focus on landscape elements which he considered to be especially interesting. It may be assumed that Ruskin used binoculars or a telescope to give careful study of the landscape and it is known that he referred to daguerreotype photographs that he and his servant Frederick Crawley had taken to ensure the accuracy of his drawings (Daguerreotype 73 in the collection of the Ruskin Foundation at Lancaster University shows the Cascade de la Folie and the glacier and aiguilles above).In the early months of 1854 Ruskin was in a state of despondency. The crisis in his marriage, although in a practical sense brought on by his having deliberately encouraged a friendship between his wife Effie and the painter John Everett Millais, leading to their falling in love, nonetheless was the cause of lingering anxiety. In April of the year Effie left Ruskin and shortly afterwards a suit for nullity of their marriage on grounds of non-consummation was served upon him. In May, Ruskin and his parents set out on a long tour of France and Switzerland, in part to escape from the unpleasantness associated with the failure of the marriage, and gradually his spirits recovered. He had an intense love of Chamonix and the mountains of Savoy, and so – on his arrival there on 10 July 1854 – he exclaimed: 'Thank God, here once more; and feeling it more deeply than ever. [...] all unchanged, and happy'.Much has been written about Ruskin's sexuality, with the conclusion widely drawn that because his marriage to Effie was unconsummated, and because he never subsequently had the experience of physical love with any other partner, that he must have been in some way asexual or indifferent to the mechanisms of sexual attraction. In my view, and as previously discussed in the catalogue of the 2014 exhibition John Ruskin – Artist and Observer, particular drawings of his of landscape forms derive from or parallel feelings of sexual desire. These thoughts may have been entirely subliminal or were perhaps conscious explorations of the wish that he may have had for physical intimacy. The present drawing is one of the most striking instances of the translation that Ruskin made between landscape formations of protuberance and cleft and in which the whole is animated by the visible flow of water and the growth of organic nature, and the normally concealed parts of a woman's body. As I have emphasised, it was by no means by chance that he lit upon this specific part of the actual landscape at Chamonix; it was a topographical feature that attracted his fervent attention and at a time when his own unspoken preoccupation must have been much to do with the opportunity for, or conversely the determined abstinence from, sexual experience.E.T. Cook and Alexander Wedderburn included a photogravure plate of the present drawing, and another of the drawing referred to above showing the same topography which is now in Birmingham, in the introductory text of Modern Painters III in their Library Edition of Ruskin's works. A confusion occurred whereby the photogravure of the present drawing was identified as showing the version of the subject which belonged to Sir John Simon, whereas, in the catalogue of Ruskin's drawings which forms part of Volume 38 of the Library Edition, it was the drawing now in Birmingham that was claimed as having belonged to Simon. It can now confidently be stated that it was the present drawing that Simon had in his collection and which was sold after his death in 1904. Professor Stephen Wildman has helpfully pointed out that the Birmingham version of the subject was apparently acquired by the museum through the agency of Arthur Severn.
Lot 128
An unusual walnut pipe rack, Anglo-American, circa 1800-50Designed as an oak tree, with leaves and acorns, centred by a sporron-shaped tobacco pouch and crossed pipes, atop a twenty-four pipe aperture shelf, the lattice carved apron with cusped edge and three eight-petal flowerheads, 69cm wide, 38.5cm high
![CLEMENS V, POPEConstitutiones [with commentary by Johannes Andreae], 60 leaves (including opening and final blanks), 82 line](https://cdn.globalauctionplatform.com/02e0bfb0-e8cb-4739-96ed-afc500e35fb5/2aa5cecc-8f65-41a9-9c1e-afc500ecaf04/468x382.jpg)
Lot 45
CLEMENS V, POPEConstitutiones [with commentary by Johannes Andreae], 60 leaves (including opening and final blanks), 82 lines of commentary around text, gothic type, rubricated with capital initials, paragraph marks etc. supplied in alternate red and blue ink throughout, opening initial 'I' in gold on a ground of blue heightened, manuscript index in a contemporary hand on the opening blank, small traces of worming in vertical margins not affecting text, light damp-staining and softening to fore-margin of approximately 20 leaves at end, contemporary blind-stamped calf over wooden boards, upper and lower sides elaborately stamped with a variety of tools (including roses, gryphon, and vases of flowers) in panels, the upper cover with wording 'Sexti et' in upper margin, central boss and metal corner-pieces to fore-corners, remnants of metal clasps, sprinkled single wormholes, rebacked, worn, upper hinge strengthened with tape [ic00727000; HC 5435*; BMC II 429; Goff C727; GKW 7097], folio (340 x 240mm.), Nuremberg, Anton Koberger, 15 March 1486Footnotes:Collection of decretals compiled during the 1305-14 pontificate of Clemens V, the last official papal addition to the Corpus juris canonici.Provenance: 'Ex bibl. II episc. S. Hippolytum', ink inscription and printed shelf mark label in red and black ink.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1020
AN EXTENSIVE SILVER-PLATED TABLE SERVICE, EARLY 20TH CENTURY, FOR TWELVE PERSONS Sandringham pattern, all contained in a walnut canteen with a hinged cover opening to reveal a fitted interior, over two further fitted drawers, with cast brass handles and escutcheons, above an apron carved with a scallop-shell, raised on cabriole legs, joined by a shelf stretcher with a two-handled tray, terminating in ball and claw feet. Case 83.5cm high, 61cm wide, 46cm deepThe case and the service are in excellent condition and ready to use.
Lot 414
A REGENCY SIMULATED ROSEWOOD AND PARCEL GILT 'WATERFALL' OPEN BOOKCASECIRCA 1815138.5cm high, 70cm wide, 34cm deepCondition Report: Bookcase with the marks, knocks, scratches and abrasions commensurate with age and use. Various old chips and splits - see images. The painted surface with the expected wear, chips, losses and marks. Some evidence of old worm. Cream paint to the shelves and interior is later. Backboards also have a later black wash applied to them. Later tape applied to the edge of the backboards to help secure.No key present, both locks are open. 'Axe-head' handle to the door is likely an old replacement and the catch element to the interior is lacking. Old sections of repair to the front edges of the sides of the lower shelf - see images. All four legs are old replacements. Pleated silk to the door is a later replacement. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 82
A GEORGE I WALNUT BUREAU CABINETCIRCA 1720The upper cabinet section opening to a fitted interior, the fall of the bureau opening to an arrangement of small drawers and pigeon holes 111cm high, 72cm wide, 54cm deepProvenance: The property of the Stanley Clarke family removed from Trematon Castle, Saltash, CornwallCondition Report: Cabinet with the marks, knocks, scratches and abrasions commensurate with age and use. The expected old chips, splits and losses - see images for details. Various old veneer and moulding repairs. The interior of the upper section is lacking shelves, only one adjustable shelf is present. Mirror plate has age but is an old replacement.One key present and operates the lock to the fall. No key is present for the door or drawers but all locks are open. Handles and escutcheons are replacements but suit the piece well. There are old plugged holes visible to drawer fronts where previous fixtures sat. Hinges to the fall and lock plates are also old replacements. Backbaords with strips of later timber applied to them. Feet are old replacements and match the piece extremely well. Some evidence of old worm. Inset fabric surface to the interior of the fall is a later replacement. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 240
Y A REGENCY SATINWOOD AND PURPLE HEART BANDED SIDE CABINETCIRCA 1815Of small proportions 84.5cm high, 88cm wide, 47.5cm deepCondition Report: Old marks, scratches and abrasions, old chips and splits commensurate with age and use. Some small losses. some old repairs. Some minor warping movement to the top causing it to lift from its position. The top has previously been re-secured with a neatly executed dowel/ plug in two positions of the top (one towards the outer edge of each of the shorter sides of the top. See images) . Re-approaching the treatment of the top and the way it is secured (by a skilled restorer) could improve the appearance of the top if required. Some fading, discoloration to the pleated fabric of the door panels. The textile panels to the interior side of the doors also with water staining.The lock appears original and the key is present to operate it. Some old worm damage in areas throughout. (see additional images) Some has been disguised by coloured filler. There are some more noticeable areas of this to areas of the side panels, the feet and to the columns. Treatment by a skilled restorer could improve the appearance of this further. One fixed shelf is present and appears to be original. The rear panels are original. There is a fabric strip glued to the rear panels to close a small gap/ maintain the position of the boards. The slender banding around the keyholes (one being a false keyhole) differs from each other so at least one may be a replacement or addition. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer
Lot 705
Victorian carved mahogany display cabinet, in the Rococo Revival style, circa 1890, having acanthus carved crest of a central shaped bevelled glass mirror, and a cupboard door fronted with carved floral garlands, flanked on either side with a pillar cabinet opening to reveal three velvet covered shelves, an open platform shelf beneath, all raised on acanthus carved cabriole legs with claw and ball feet, width 153cm, height 235cm, depth 39cm
Lot 10
Edwardian mahogany and satinwood lady's bonheur du jour, the brass pierced gallery top above a glazed break front display top with glass shelf above pullout drawer with stationary compartments, three drawers, writing tooled leather slope standing on square tapering legs and spade feet with shaped under tier. 63x51x138cm approx. (B.P. 21% + VAT)Overall in good condition with no significant issues or damage. Leather appears complete with wear at centre. Glass is in good condition - some surface and general wear with use. Additional images added.
Lot 9A
Edwardian mahogany and satinwood lady's bonheur du jour, the brass pierced gallery top above a glazed break front display top with glass shelf above pullout drawer with stationary compartments, three drawers, writing tooled leather slope standing on square tapering legs and spade feet with shaped under tier. 63x51x138cm approx. (B.P. 21% + VAT)
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96580 item(s)/page