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After LS LowryFishing Boatsbears signature, pencil sketch, 6cm x 9.5cm

An 18th Century Welsh oak dresser, the boarded three tier plate rack with moulded cornice over four central drawers flanked by further drawers and cupboard doors on stile supports, 147 cm wide x 54 cm deep x 203.5 cm high, together with letter and hand drawn sketch of the piece from J Wordingham of Tombland Norwich, dated May 8th 1929

FILM & POP MEMORABILIA: A FRAMED GOLD DISC FOR ‘HEY JUDE’, A QUANTITY OF MARLON BRANDO MEMORABILIA AND A FILM POSTER (QTY)The gold disc mounted above a plaque stating its presentation for selling ‘Over One Million Copies’ of the ‘Hey Jude’ single by RIAA Certified Sales Award, frame 44cm high; Cool Hand Luke - U.S one sheet film poster, 1967, art work by James Bama, folded, 69 X 103cm;Together with a kaftan apparently worn personally by Brando and in the 1996 film, The Island of Dr. Moreau; Together with four biro and pencil sketches or doodles, on paper, noted on a separate sheet,  ‘Marlon’s Drawing. For his “retreat’ here tree houses, teepees Lake etc’; copy of Marlon Brando’s reissued of his birth certificate; a pencil sketch reputedly of Marlon Brando’s father, various accompanying typed letters from JoAn Corrales and certificates of authenticity  from RR Auction, USA 

CHARLES RENNIE MACKINTOSH (1868-1928) 'SCALE DRAWING OF PROPOSED MEMORIAL STONE TO LT. COL. OSWALD ARTHUR GERALD FITZGERALD CMG', 1916 pencil and wash on squared paper, showing the front and side elevation of the memorial stone, later framed Dimensions:sheet size 27.5cm x 23.1cm (frame 46.5cm x 41.2cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Literature: www.mackintosh-architecture.gla.ac.uk Note: Lt Col. Oswald Arthur Gerald Fitzgerald (1875–1916) was personal military secretary to Lord Kitchener (1850–1916). Both men died in the sinking of HMS Hampshire off Marwick Head, Orkney, on 5 June 1916. Fitzgerald's body was not buried at Lyness on the island of Hoy, with others recovered from the sea, but was taken instead to Ocklynge Cemetery, Eastbourne, Sussex, where his father was buried. The design shows an upright stone slab 7 feet (2.13 m) high and just over 3 feet (0.91 m) wide at the base, framed at the top and sides by mouldings of a stepped profile. The angular mouldings have similarities with some of the stone carving at Scotland Street School and with later decorative work by Mackintosh, especially the hall fireplace at 78 Derngate, Northampton. The classical victor's laurel wreath and the military badges above and below the inscription speak the familiar language of soldiers' memorials. It is not known how Mackintosh came to make the design, or who commissioned it. Fitzgerald had served for some years with Kitchener in India, and it may have been through Mackintosh's association with Patrick Geddes's Indian town planning work in 1915–16 that the job came his way. The monument ultimately erected over Fitzgerald's grave is very much simpler and in no sense a realisation of Mackintosh's design, although it contains faint echoes of the original drawing offered here and suggests that whoever carved it may have had access to Mackintosh's design. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

CHARLES BEVAN (1815-1891) FOR GILLOW & CO., LANCASTER & LONDON. SIDE CABINET, CIRCA 1866 walnut, inlaid with boxwood, amboyna and fruitwood timbers Dimensions:71cm wide, 107cm high, 40cm deep Provenance:Provenance; Possibly William Harrison (18**-1879), Samlesbury Hall, 1866 Paul Reeves, London 1992 Anissa Helou, Christies South Kensington, 19th May 1999, lot 602 Harris Lindsay, London, until 2000 Private British Collection until 2022 Paul Shutler Note: Literature: Croston, James The History of the Ancient Hall of Samlesbury in Lancashire', 1871 Croston for an engraving of the Great Hall showing a number of pieces of furniture that appear to follow Bevan's designs. Sotheby's, London The Best of British - Design from the 19th and 20th Centuries - Paul Reeves: The Auction, 20th March 2008, lot 81 for a related large cabinet, also potentially from the Harrison commission (£12,000). Coleman B. The Best of British Arts & Crafts, Atglen, PA, 2004, p.69Note: Along with Bruce Talbert, who exhibited a handful of 'medieval' or 'old English' pieces (including the Pericles cabinet now in the Metropolitan Museum, New York) on the Holland & Son stand at the 1867 Paris Exhibition, it is widely accepted that Charles Bevan's 1865 designs for Titus Salt Jr marked a turning point in British taste. This cabinet was one of a pair, which were split up between two friends shopping in London at Harris Lindsay circa 2000. The other cabinet was purchased by the academic collector Peter Rose (recently sold at Christie's London, 30th September 2021, Lot 110, as part of The Peter Rose and Albert Gallichan Collection (£12,000). Stamped 'GILLOW & CO' '2324' the Christie's example has a note in the provenance mentioning Samlesbury Hall in Lancashire. Although originally built in the 14th century, Samlesbury Hall was acquired by the industrialist Joseph Harrison (1805-1880) in 1862 and given to his son William Harrison (18** -1879). William Harrison spent a vast sum of money refurbishing the interiors and furnishing the hall. The Gillow estimate sketch books, held at the Westminster City archives, have records of him ordering numerous pieces of reformed gothic furniture in 1866. The commission includes pieces in Bevan's distinctive style but also in Pugin's.

CHARLES RENNIE MACKINTOSH (1868-1928) DESIGN FOR STENCIL DECORATION FOR 14 KINGSBOROUGH GARDENS, 1901 pencil and watercolour on paper, pencil annotations, later framed Dimensions:sheet size 21.9cm x 29.8cm (frame 40.3cm x 47.5cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Literature: Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.132-133,1901.67 illus. Note: This delicate design for a wall frieze is a study for 14 Kingsborough Gardens in Glasgow, the property of Fra Newbery’s mother-in-law Mrs Rowat. Dating to circa 1901, Billcliffe states that the design of Kingsborough Gardens was notably feminine, with detailed stencilled motifs of stylized flowers decorating the walls. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

CHARLES RENNIE MACKINTOSH (1868-1928) HAREBELLS watercolour, later framed Dimensions:sheet size 27.3cm x 23.4cm (frame 47cm x 37cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: Colour began making a subtle, delicate appearance after a visit to Lindisfarne, Holy Island in 1901. ‘Harebells’ is a decorative and stylised piece, unusually created entirely in watercolour with no traces of the assured and technical pencil lines that one associates with his botanic studies. Nonetheless, each brushstroke is considered and placed with intent above spontaneity. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER, WALBERSWICK', 1915 pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framed Dimensions:sheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: During a ten-month period in 1914-1915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world. By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem. One contemporary source, an article by author Desmond Chapman-Huston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

GLASGOW AND CHARLES RENNIE MACKINTOSH COLLECTION OF TEXT BOOKS, PAMPHLETS AND CATALOGUES (Pamela Robertson ed.), The Chronycle, The letters of Charles Rennie Mackintosh to Margaret Macdonald Mackintosh, Hunterian Art Gallery 2001Raymond O’Donnell, James Salmon, Rutland Press 2003Patrick Nuttgens, Mackintosh and his Contemporaries, John Murray 1988(Pamela Robertson ed.), Doves and Dreams, Lund Humphries 2006Pamela Roberton and Philip Long, Charles Rennie Mackintosh in France, NGS 2005Perilla Kinchin, Miss Cranston, NMS 199Perilla Kinchin, Taking Tea with Mackintosh, Pomegranate 1998Elaine Grogan, Beginnings: Charles Rennie Mackintosh’s Early Sketches, National Library of Ireland 2002(Pamela Robertson ed.), Charles Rennie Mackintosh: Architectural Sketches, Hunterian Art Gallery 1999George Rawson, Fra H. Newberry, Foulis Press 1996(Pamela Robertson ed.), Charles Rennie Mackintosh: The Architectural Papers, Cockade 1990Pamela Robertson, Charles Rennie Mackintosh: Art is the Flower, Pavilion 1995David Stark, Charles Rennie Mackintosh & Co., Stenlake 2004Richard Scott, The Walberswick Enigma, Ipswich Borough Council 1994Roger Billcliffe, Visiting Charles Rennie Mackintosh, Frances Lincoln 2012Charles Rennie Mackintosh Scotland Street School, Glasgow Print Studio 1980Charles Rennie Mackintosh Furniture, Glasgow School of Art 1968Charles Rennie Mackintosh Ironwork and Metalwork, Glasgow School of Art 1968Charles Rennie Mackintosh and the Glasgow School of Art, Glasgow School of Art 1961 R. Mackintosh: The Chelsea Years, (Exhibition catalogue, Hunterian Art Gallery, 1994)David Brett, R. Mackintosh: The Poetics of Workmanship, Reaktion 1992Charles Rennie Mackintosh 1868-1928, (Exhibition Catalogue, Scottish Arts Council, 1968)Gerald and Celia Larner, The Glasgow Style, Astragal Books 1980Ray McKenzie, Sculpture in Glasgow, Foulis Archive Press 1999Perilla and Juliet Kinchin, Glasgow’s Great Exhibitions, White CockadeCharles Rennie Mackintosh, (Exhibition catalogue, Hida Takayama Museum of Art, 1998)(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, Chambers 1998Roger Billcliffe, Charles Rennie Mackintosh: The Complete Furniture Drawings Etc., Lutterworth Press 1980Alan Crawford, Charles Rennie Mackintosh, Thames & Hudson 1995William Buchanan, The Art of the Photographer, J. Craig Annan, NGS 1992(William Buchanan ed.), Mackintosh’s Masterwork: The Glasgow School of Art, A & C Black 2004(Jude Burkhauser ed.), Glasgow Girls, Canongate 1990Harry Taggin et al, Glasgow Revealed, Heritage Books 1998Andor Gomme & David Walker, Architecture of Glasgow, Lund Humphries 1987Janice Helland, The Studios of Frances and Margaret Macdonald, Manchester University Press 1996Robert Macleod, Charles Rennie Mackintosh, Country Life Books 1968Timothy Neat, Part Seen, Part Imagined, Canongate 1994Alistair Moffat, Remembering Charles Rennie Mackintosh, Colin Baxter 1989A. Oakley, The Second City, Blackie & Sons 1967Wendy Kaplan, Charles Rennie Mackintosh, Glasgow Museums 1996The Doctor Thomas Howarth Collection, Christie’s catalogue, 1994Timothy Neat & Gillian McDermott, Closing the Circle, Iynx Publishing 2002Roger Billcliffe, Mackintosh Furniture, Lutterworth Press 1984Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, Routledge & Keegan Hall Ltd. 1952Charles Rennie Mackintosh Making the Glasgow Style, Glasgow Museums catalogue 2018William Eadie, Movements of Modernity, Routledge 1990Robin Crichton, Monsieur Mackintosh, Luath Press 2006John Nisbet, A Sketch Book, Adam & Charles Black 1913Irene Maver, Glasgow, Edinburgh University Press 2000Roger Billcliffe, Mackintosh Watercolours, Carter Nash Cameron 1978Roger Billcliffe, Charles Rennie Mackintosh Textile Designs, Pomegranate 1993Roger Billcliffe, Architectural Sketches and Flower Drawings by Charles Rennie Mackintosh, Academy Editions 1977(Jackie Cooper ed.), Mackintosh Architecture, Academy Editions 1984Pamela Robertson, The Mackintosh House, Hunterian Art GalleryTalwin Morris designer The Book of the Home, 6 Volumes, Gresham Publishing Co. 1900 and a quantity of pamphlets to include:Mackintosh Watercolours RSA exhibition catalogue 1986; The Private Library: Talwin Morris, Blackie and the Glasgow Style; 78 Derngate Guide Book; C.R. Mackintosh Architectural Drawings, Hunterian exhibition catalogue, 1990; Architectural Jottings, edited by Andrew Young; Charles Rennie Mackintosh Scottish Art Review 1968; The Glasgow Style Glasgow Museums exhibition catalogue 1984; The 1933 memorial Exhibition: A reconstruction, The Fine Art Society catalogue 1983; Charles Rennie Mackintosh at the Hunterian Art Gallery 1991; Glasgow Society of Lady Artists in 1882, exhibition catalogue 1982; Helensburgh and the Glasgow School, exhibition catalogue 1972; Mackintosh Flower Drawings, Hunterian Gallery exhibition catalogue 1993; The Hill HouseSold as seen, not subject to return Provenance:Provenance: The Estate of the late Dr James Macaulay

CHARLES RENNIE MACKINTOSH (1868-1928) 'ANEMONIE', 1896 pencil on paper, inscribed ANEMONIE/ FOUND AT LAMLASH ARRAN MAY 1893/ DRAWN MAY 1896, later framed Dimensions:sheet size 25.9cm x 20.2cm (frame 44.8cm x 38cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Exhibited: Edinburgh, Royal Scottish Museum Charles Rennie Mackintosh (1868-1928): Architecture, Design and Painting, 17th August - 8th September 1968, no. 285, titled 'Anemone and Daisy'. Note: Mackintosh began creating flower sketches as far back as his student days in the 1880s. ‘Anemones’ is one such early example. He notes in the cartouche that the plant was found at Lamlash on Arran in 1893, presumably pressed, and then sketched three years later in 1896. These trips and the company he kept (recorded by the inclusion of his friend’s initials in many cases) were clearly important to him. The sketches represent a journal of sorts, and it perhaps speaks to a sensitivity (as well as his great precision) that he chose to depict a re-discovered flower from a past excursion. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

§ GERALD LAING (1936-2011) THE MESSENGER, 1991 bronze, edition of 10, raised on a Corian plinthDimensions:Figure 140m high, including plinth, 221cm highNote: Literature: Gerald Laing: Catalogue Raisonne, geraldlaing.orgNote: The artist's note on this sculpture reads "The Messenger is a sketch for the uppermost figure on the Axis Mundi group [cat. number 550]. The pose is based on that of Mercury by the Renaissance sculptor Giambologna, who in turn based his famous image on others, now lost, from Greek antiquity. This pose has been used by many artists through the ages, particularly in sculpture, and appears most recently on the cap badge of the Royal Corps of Signals. My figure is, unusually for this pose, female, and in the full-scale version, winged, as befits a Wise Virgin in her Apotheosis."

CHARLES RENNIE MACKINTOSH (1868-1928) PLANT STUDIES pencil and watercolour, later framed Dimensions:sheet size 39cm x 35cm (57cm x 50.3cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: ‘Plant Studies’, offers a tantalising insight into Mackintosh's design process. Here he considers a cluster of appealingly shaped leaves. In the bottom right we see he has constructed a grid, sketching within it a floral form: pinned for dissection by his designer’s eye which seeks to discover his subject’s recurring natural shapes to extrapolate into pattern. This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

CHARLES RENNIE MACKINTOSH (1868-1928) PATTERN DESIGN pencil on tracing paper, later framed Dimensions:sheet size 15.1cm x 14.4cm (frame 34.2cm x 32cm) Provenance:Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933 and by descent to his son, James Meldrum Given to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984 Note: Note: This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.

Low (Rev. George). Fauna Orcadensis: or, The Natural History of the Quadrupeds, Birds, Reptiles, and Fishes, of Orkney and Shetland. By the Rev. George Low, Minister of Birsa and Haray. From a Manuscript in the possession of Wm. Elford Leach, 1st edition, Edinburgh: printed by George Ramsay and Company, for Archibald Constable and Company..., 1813, half-title, modern antique-style quarter calf gilt over marbled boards, morocco labels to spine, 4toQTY: (1)NOTE:Wood, p. 442 'The author was introduced to Thomas Pennant by Sir Joseph Banks, and this sketch of the Natural History of the Orkney Islands was at first designed for Pennant's information. He did for Orkney what Gilbert White did for Selborne.'George Low (1746-1795) was a tutor in Stromness, and later ordained minister of Birsay and Harray in Orkney in 1774. When Sir Joseph Banks and Daniel Solander arrived at Orkney on their return from the last and ill-fated voyage of Captain Cook, Low was asked to accompany them on their excursions around the Orkney and Shetland Islands. Banks introduced him to Thomas Pennant, and it was with Pennant's assistance that Low was able to classify the fauna of the islands. Low died in 1795 and the work was eventually edited and published by William Elford Leach, who provides a note on the circumstances regarding the work's publication.

Saxby (Henry L.). The Birds of Shetland with observations on their habits of migration and occasional appearance edited by his brother, Stephen H. Saxby, 1st edition, Edinburgh: Maclachlan & Stewart, 1874, 8 tinted lithograph plates, original olive green cloth gilt, a little rubbed, together withPeel (C. V. A.). Wild Sport in the Outer Hebrides, 1st edition, London: F. E. Robinson & Co., 1901, numerous illustrations mostly after photographs, top edge gilt, original gilt-decorated maroon cloth, lightly rubbed, plusStoughton Holbourn (Ian B.). The Isle of Foula, a series of articles on Britain's loneliest Isle, 1st edition, Lerwick: Johnson & Greig, 1938, monochrome plates after photographs, original blue cloth gilt, in very good condition, and others on the ornithology and topography of the Scottish Islands, including Malcolm Ferguson, Rambles in Skye, with sketch of a trip to St Kilda, 1885, Norman Heathcote, St. Kilda 1900, John De Vere Loder, Colonsay and Oransay in the Isles of Argyll, their history fauna and topography, 1935, (with dust wrapper), George Seaton, St. Kilda Past and Present, 1878, Malcolm Stewart, Ronay, a description of the Islands of North Rona and Sula Sgeir, 1933, [Thomas S. Muir], Saint Kilda: A Fragment of Travel, [Edinburgh: R. & R. Clark, 1858], a proof copy with manuscript revisions in ink, bound in contemporary red-half morocco, J. M. Cambell, Notes on the natural History of the Bell Rock, 1904, Rev. R. Lawson, Ailsa Craig: Its History and Natural History, 1888, John Morell McWilliam, The Birds of the Island Bute, 1927, David Lansborough, Excursions to Arran Ailsa Craig, and The Two Cumbraes, Edinburgh, 1851 & Arran: Its Topography , Natural History and Antiquities, with Memoir of Rev. D. Lansborough, R. Drossan, 1875, John Morrell McWilliam, The BIrds of the Firth of Clyde, 1936 (with dust wrapper), Douglas G. Hunter, Bird Notes in Angus and in the Far North, 1934, and William Eagle Clake, On the Birds of the South Orkney Islands [extracated from The Ibis, January 1906], mostly origianl cloth, all mianly 8voQTY: (20)

* Rowlandson (Thomas 1756 - 1827). Doncaster Fair or the Industrious Yorkshirebites, circa 1800, etched caricature with contemporary hand-colouring, some staining and spotting, margins strengthened with tape on the verso, 245 x 335 mm, together with Peace and Plenty, Thos. Tegg, May 8th 1814, etched caricature with contemporary hand-colouring, slight mount staining, thread margins, 330 x 235 mm, with [Mrs Clark's Farewell to her Audience - A Tailpiece] Thos. Tegg, April 1st 1809, etched caricature with contemporary hand-colouring, proof before title, large margins, two long closed marginal repaired tears, one affecting the printed image, 245 x 350 mm, with Progress of Gallantry or Stolen Kisses Sweetest, Thos Tegg, circa 1814, hand-coloured etched caricature, trimmed to image, stained, 330 x 230 mm, plus Miseries of Travelling, R. Ackermann, Feby. 15th 1807, hand-coloured etched caricature, thread margins, laid on later card, 260 x 360 mm, and Market Place at Cambridge, 1801, etched view with contemporary hand-colouring, some spotting, 175 x 250 mm, mounted, with another two caricatures after Rowlandson similar, together with Cruikshank (George). [Blue Devils, 1835], etched caricature with contemporary hand-colouring, trimmed to the image with loss, laid on later linen, 180 x 235 mm, mounted, plus Vol. 1 of My Sketch Book, December 1st, 1832, decorative title, frayed with slight loss, 36 uncoloured etched caricatures, one with a repaired closed tear, slight spotting throughout, contemporary half calf, boards detached, rubbed and worn, oblong 8vo, and Darly (Matthias). A Connoiseur Admiring a Dark Night Piece, Nov. 12th 1771, hand-coloured engraving, trimmed and laid on near-contemporary stiff paper, 155 x 100 mmQTY: (11)

Thorburn (Archibald). Game Birds and Wild-Fowl of Great Britain and Ireland, 1st edition, Longmans, Green and Co, 1923, 30 colour plates (with tissue-guards), occasional light spotting, modern red half morocco gilt, folio, together with: British Birds, 4 volumes, 1st edition, London: Longmans, Green and Co., 1915-16, 80 colour plates (with tissue-guards), occasional spotting, original red cloth gilt, a few marks to covers, spines lightly faded, 4to, withA Naturalist's Sketch Book, 1st edition, London: Longmans, Green, and Co, 1919, 60 plates (24 in colour), occasional light spotting, original red cloth gilt, rubbed, 4toQTY: (6)

Sudan. Fowler (John, surveyor), Sketch of the Country between Ambukol and Shendy, Taken from the Survey of Mr John Fowler C. E. to which is added Descriptive Notes of the Route, Intelligence Branch, War Office, May 1884, lithographic linear map, printed in red and black on linen, some staining, old folds, 680 x 1000 mm, together with Wyld (James). Map of the Nile District between Assouan & Khartoom (sic), Foster Groom & Co. 1896, colour lithographic map, sectionalised and laid on linen, inset maps of the Red Sea and the environs of Suakim, some splits along old folds, with slight loss, 880 x 600 mm, contemporary cloth boards with publisher's label to the upper siding, some staining and slight wear to the extremitiesQTY: (2)NOTE:In the lower right corner of the map is a printed note. The Information given in red on this map is quite correct and is obtained from the studies of the Soudan Railway Survey of 1872 of which I was second in charge. W. Whitworth Sept. 10th 1884. There is a later state of this map (held by the National Library of Australia), with an addition to the title which states Revised from Sketches and Information furnished by Officers during the Campaign of 1884 - 1885. This would coincide with the siege of Khartoum and the death of General Gordon. Gordon arrived at Khartoum on 18 February 1884 and the siege took place between the 13 March 1884 and the 26 January 1885. The Mahdists hearing news of an approaching British relief column, stormed the garrison slaughtering the defenders to the last man, as well as 4,000 of the town's male inhabitants. Many of the surviving women and children were enslaved by the victorious Mahdists. Advance elements of the relief expedition arrived within sight of Khartoum two days after it fell. After discovering that they were too late, the surviving British and Egyptian troops withdrew. It is therefore possible that this map - designed for portability - was used by British officers in the relief column.

Wright (Daniel). History of Nepal, Translated from the Parbatiya by Munshi Shew Shunker Singh and Pandit Shri Gunanand: with an Introductory Sketch of the Country and People of Nepal, 1st edition, Cambridge: University Press, 1877, 15 (of 16) tinted lithographic plates, some plates misbound and lacking plate 6 (‘The Five Buddhas…’), lacks half-title, publisher’s catalogue at rear, very faint library stamp to title, scattered minor spotting, modern utilitarian green half leather gilt over cloth, large 8voQTY: (1)

Woods (Henry). Description of the Fossil Skull of an Ox, discovered, in May 1838, at Melksham, Wilts; with a geological sketch of the River Avon, in the bed of which it was found, London: William Edwards (successor to Scatchard & Letterman), Ackermann & Co., 1839, folding engraved frontispiece with light offsetting, errata slip and advertisement leaf present, ownership label of J. Jeffery to upper pastedown, modern dark green half morocco retaining near contemporary marbled boards, slim 4toQTY: (1)

Im Thurn (Everard F.). Birds of Marlborough, being a contribution to the ornithology of the district, 1st edition, Marlborough: Perkins, "Times" Office; and Lucy, Bookseller, London: Simkin, Marshall, & Co., 1870, some neat marginal annotations in ink, one or two news cuttings tipped-in, original blind-stamped green cloth gilt, lightly rubbed, together withBarrett-Hamilton (G. E. H.). Harrow Birds (Harrow School Scientific Society's Memoirs, 1891), Harrow: Sold for the Society by J. C. Willbee, 1892, 50pp., printed bookplates of Basil Harley to front pastedown, contemporary dark blue cloth, plusAlridge (W.). A Gossip on the Wild Birds of Norwood and Crystle Palace District, 1st edition, Norwood: Burdett and Co., 1885, 4pp publishers adverts at front, and 3pp publishers adverts at rear, wood-engraved illustrations, bookplate fo the British Ornithologists Union to front pastedown, original brown cloth gilt, very lightly rubbed, and Ullyett (Henry). Rambles of a Naturalist round Folkestone, with occasional papers on the fauna and flora of the district to which are added lists of plants, lepidoptera, birds, and land and freshwater shells, 1st edition, Folkestone: J. English, Steam Printer, 1880, [6],157pp., contemporary gift inscription to front endpaper 'L Hawkins Esqre from M. H. 21/10/80', original green cloth, upper cover decorated and lettered in black, very lightly rubbed, plus other similar regional ornithological guides, including J. C. melvill, The Flora of Harrow, 1864, Flora of Marlborough; with notices of the birds, and a sketch of the geological beaches of the neighbourhood, 1863, The Letters of Rusticus on the Natural History of Godalming. Extracted from the Magazine of Natural History, the Entomological Magazine, and the Entomologist, 1849 (re-cased with original spine laid down, Walter Prentis, Notes on the Birds of Rainham including the district in Chatham and Sittingbourne, 1894, J. A. Owen, Within an Hour of London Town, Among Wild Birds and their Haunts, 2nd edition, 1892, M. P. Price, Notes on the Vertebrate Forna of Harrow, 1904, H. K. Swann, The Birds of London, 1893, T. H. Harrisson, Birds of the Harrow District, 1931, Jeffery G. Harrison, Handbook of Birds of the Malvern District, 1941, and James Edmund Harting, The Birds of Middlesex, 1866, authors presentation inscription inscribed to half-title (re-bound in later quarter calf), other volumes in original cloth, all 8vo QTY: (14)

* Galsworthy (Frank, 1863-1959). At Santa Barbara, California, 1928, watercolour on thick paper, signed, titled and dated in pencil to lower left, exhibition number sticker '52' to lower left of glass, corresponds with an exhibition held at Walker's Galleries, London on the 11th - 24th June 1931, for the same work, sheet size 28.3 x 38.7 cm, framed and glazed (45 x 53.5 cm), with flyer for exhibition, plus Flowers in a Vase, July 1936, watercolour and gouache on canvas, signed, dated, with 'Piora, Lago Ritom, Suisse' to lower right, mount aperture 50 x 36 cm, framed and glazed (71 x 58 cm), together with 8 other watercolours comprising: Primula 'Mrs Porter', 1935, Camellia Japonica, 1936, The Old Nurseries, Tunbridge Wells, 1922, an oriental sketch, 1912, The Wallace Monument, Stirling, 1919, Warwick Castle, 1921, wrought iron ornamental gates, 1921 and a large vase of flowers, 1924, all signed and dated, various sizes from 28 x 38 cm to 87 x 66 cm, and related ephemera including a 1931 exhibition pamplet, 11 photographs (his studio, gardens and home), etc., a folio QTY: (10 and a folio)

* Sketchbook. An Album of Sketches containing various topography, 1830, approximately 40 pages (each containing two) black ink sketches with titles on vibrant coloured paper, including: Winchelsea Castle, Amberley Castle, Cowdray House, Logan Stone near Drewsteignton, Stonehenge, The Devils Bridge, etc., inscription to front preliminary 'Six Hundred and Seventy Two Drawings from Different Authors Anno Domini 1830', (sketches all by same hand), covers are detached, spine lacking, together withJames Bull's Sketch Book, 1852, containing approximately 29 pages, each with numerous vignettes in pencil, subjects include: animals, bridges, buildings, ships, churches and shipwrecks, etc., and a numbered skeleton loosely inserted into scrapbook, bound in vellum with ink handwritten title to front cover 'James Bull's Sketch Book 1852', some minor soiling, 32.2 x 20.3 cm, and one scrapbook containing cuttings QTY: (3)

Plaw (John). Sketches for Country Houses, Villas, and Rural Dwellings; Calculated for persons of moderate income, and for comfortable retirement. Also some designs for Cottages, which may be constructed of the simplest materials; with plans and general estimates, 1st edition, London: J.Taylor, 1800, 42 aquatint plates & plans printed in sepia, tissue guards, 2 leaf folding publisher's book list bound-in at rear, occasional scattered spotting, edges untrimmed, additional plate from another similar work tipped onto front free endpaper, and with a pen and ink sketch entitled 'Elevation towards the Park of the entrance Lodge for Laxton Hall by ... H. & A. Repton 1806', drawn on wove paper with old folds (18.5 x 22.8 cm), contemporary marbled boards, upper board detached and lacking spine, slim 4to (Abbey Life 49), together with:[Disney, John]. Memoirs of Thomas Brand-Hollis, Esq., F. R. S. and S. A., London: Printed by T. Gillet, 1808, engraved portrait frontispiece, engraved vignette to title and 9 plates (one double-page), some worming to foremargins, occasional spotting and few other marks, edges untrimmed, original boards, modern paper label to upper board, spine worn with loss, cover scuffed and marked, slim 4to QTY: (2)

Attributed / manner of Pierre Puvis de Chavannes (French, 1824-1898), oil on paper sketch of classical figures in a garden, 22.5 x 37cm

A LOWRY STYLE SKETCH, FRAMED PLUS THREE LOWRY BOOKS

Pencil sketch, mare and foal. 29x41cm approx. Framed and glazed. (B.P. 21% + VAT)

DORIS BLAIR - OIL ON CANVAS - STUDY 36X31CM & ACCOMPANIED BY PRE PAINTING SKETCH

HENRY SCOTT TUKE (BRITISH, 1858-1929)Laigueglia, Liguria signed 'HS Tuke' (lower right) and inscribed 'Laigueglia' (lower left) watercolour on paper 13.5 x 21cm Provenance Gifted by the artist to his sister, Maria Tuke, thence by descent to her great niece; Sale, Bonhams, Oxford, 16th November 2011, part lot 116, where purchased by the present owner Footnote The present work is a preliminary sketch for R431, B.D. Price, The Registers of Henry Scott Tuke, Royal Cornwall Polytechnic Society, 2nd Edition 1983.

ALBRECHT DURER (GERMAN, 1471-1528)The Betrothal of the Virgin, from The Life of the Virgin (B.82) woodcut 29 x 20.5cmCondition ReportVertical crease, lower left, tear and loss to the lower right corner, horizontal creasing off the left border one third of the way up from the bottom.  Later sketch to verso by another hand.  Under glass and held in a modern frame in fair condition.

GEORGE CHINNERY (BRITISH, 1774-1852)A gentleman reading a paper by a table pen and ink sketch 11 x 16.5cm

After Thomas Bush Hardy, Victorian oil painting, signed and dated 1890, inscribed on the reverse 'On the beach at Scarborough' with signature John H Oswold 1874 a sketch from a picture titled 'Scarborough', framed, overall size 42cm x 66cm.

British Topography: Dugdale, T: Curiosities of Great Britain. England and Wales Delineated, in Two volumes. No date, c1860. PP: 1586, + 291 Plates, including 2 panoramas. 3/4 leather, VG; Stanfield’s Coast Scenery A Series of Views in the British Channel, 1836, complete with 40 engravings. Cont. half leather, rubbed; armorial bookplate & stamp to head of the printed title page; Stockdale, FWL: A Concise Historical and Topographical Sketch of Hastings, Winchelsea and Rye. Powell, no date (1817). PP: (vi) including Subscribers' list, 48, plus a Frontis, 18 plates & numerous vignettes. Cont. full leather & later spine. Small gilt bookplate of "Thomas Grenville" to front pastedown. (4)From the Paul Bentley collection of maps and atlases.Condition ReportDear Mr Smith,No plate of Thomas Granville and not on the plate list?RegardsFrank

VICTORIA: An anecdotal memoir. J Bennett, 1839, 5th. Edn. Extra Illustrated copy, with 18 plates, including an original pencil sketch by Princess Victoria, facing page 19. Cont. full morocco with gilt decoration, gilt inner dentelles & aeg. VGFrom the Paul Bentley collection of maps and atlases.

MARK TWAIN: 1- Johnson, Merle (compiler): A Bibliography of Mark Twain, Harper & Brothers, NY, 1910. Signed, limited edition #293 of 500, THIS WITH an original sketch and inscription by Merle Johnson "For the Bibliographer of Leland (Joseph Jackson) from the Bibliographer of Twain, Aug, 1927, Merle Johnson"; Plus a loosely inserted letter from the rare books dealer to Johnson; 2- 1601" or Conversation at the Social Fireside As it Was in the Time of the Tudors. The Black Cat Press, Chicago, 1936, Limited edition of 300 copies. VG+/Fine. (2)

Irene Handl (British, 1901-1987)Sketch of Irene's sister, LianeInk and Watercolour on card24 x 24 cm, (Tondo)

''BALLET'' REX WHISTLER PENCIL SKETCH 22CM X 37CM WITHOUT FRAME

English School, 19th/20th century - two small drawings on paper: 'Somebody's Love', pencil sketch of a woman wearing a hat, signed 'Tim' and titled in pencil below, 13.5 x 7.5 cm, glazed in painted wooden frame; together with a garland of flowers, pencil with watercolour added, glazed in maple frame with gilt slip (2)

Seven prints and paintings, to include: Julian Leathart (British, 20th Century) - Bridge over the River, watercolour sketch on paper, signed in pencil below, 21 x 26.5 cm, unframed; Brian Lemesle Adams (1923-2011) - 'La Scuola Vecchia dell Misericordia', watercolour on paper, signed below with Sally Hunter Fine Art label inscribed 'purchased by the Earl of Buchan, July 1986' verso, 17 x 25 cm; C. Russell - Town by the river, signed etching; another rural scene etching indistinctly signed below; an oval wall mirror with painted frame, 49 x 40 cm; together with two maritime themed print and one other (8)

A collection of paintings, drawings, photographs and prints to include: a framed photograph of the No. 2 Company Canadian Dental Corps, England Sept 1943; L O Adams (20th century) - Haystack, oil on canvas board, signed lower left; Jean-François Janinet after Le Clerc - Two head studies in profile, crayon engraving on laid paper; Early 20th century etching of a the profile of a horses head in high detail, initialled R.D. and signed in pencil indistinctly below; together with a red chalk sketch of a dog, inscribed 'watermark J. Rules 1804' in pencil verso, 20 x 16.5 cm, all framed; together with a quantity of 19th-20th century watercolours, sketches and others, to include: a wooden panel with Islamic script, 25 x 47 cm; F. Baseley - sketch of a boy, 1891; largest size: 48 x 63.5 cm

Robert Lenkiewicz pen sketch-Titled Two people on a Bench and signed, very faded. With an additional sketch of nudes verso within frame. 45cm x 40cm inclusive of frame.The pen sketch overall is very faded.

PHIL MAY (1864-1903) 'HI BILLIE! ARE YOU MOVIN?', a sketch depicting a female figure talking to a young boy holding a chair, signed and dated (18)95 lower right, titled and signed to the mount, ink on paper, approximate size 23cm x 18cm, Condition Report: two dirty marks beside the girl's dress (Provenance: The Arnold Fellows Collection)

DAVID MURRAY SMITH (BRITISH 1865-1952) 'LANDSCAPE WITH COTTAGE', signed bottom right, a charcoal sketch on paper, approximate size 17cm x 25, mounted, framed and glazed, Condition Report: small spots of foxing (Provenance: The Arnold Fellows Collection)

CIRCLE OF WILLIAM MARK FISHER (1841-1923) A SKETCH OF A RIVER LANDSCAPE, no visible signature, charcoal heightened with colour, approximate size 35cm x 52cm, Condition Report: splash marks to lower left corner dirty marks to the mount, frame marked (provenance: The Arnold Fellows Collection)

WILLIAM DRING (1904-1990) PORTRAIT SKETCH, a sketch of a male figure with a moustache and wearing glasses, signed and dated 1929, charcoal on paper, approximate size 10cm x 8cm, Condition Report: light spots of foxing to the sketch, dirty marks to the mount (artist resale rights apply) (PROVENANCE: The Arnold Fellows Collection)

CIRCLE OF WILLIAM PITTS (1790-1840) 'RUTH AND BOAZ', a sketch depicting the Biblical figures, unsigned, pencil, pen and ink on paper, approximate size 17cm x 11cm, Condition Report: small tear to lower right edge, light staining (Provenance: The Arnold Fellows Collection)

GEORGE MORELAND (1762/3-1804) 'RETURN FROM MARKET', a sketch depicting male and female figures returning from market with their donkey and dog, signed bottom left, pencil on paper, approximate size 33cm x 40cm, Condition Report: although some spots of foxing are visible, most of the visible marks appear to be to the underside of the glass, foxing to the mount, some frame damage (provenance - The Arnold Fellows collection)

HENRY LAMB (1883-1960) 'TWO BRETON PEASANT WOMEN', a study of two female figures, signed and dated 1911 bottom left, dedicated to Charles Aitken bottom right, watercolour on paper, approximate size 20.5cm x 16cm, Condition Report: colours faded, dirty mark to the middle of the sketch, dirty marks to mount, frame marked (provenance - The Arnold Fellows collection)

ATTRIBUTED TO JAMES KERR LAWSON (1862-1939) A SKETCH OF A MALE FIGURE, depicting a head and shoulders profile portrait of a male figure, unsigned, attribution verso in pencil by Abbot and Holder dated 18.6.59 together with J. Vassall Adams stamp, pencil on paper, approximate size 37cm x 26cm (paper is larger but has been folded to the size stated), Condition Report: fold mark to right edge, dirty marks to the paper, 4mm tear to top edge(Provenance: The Arnold Fellows Collection)

JOHN LAPORTE ( 1761-1839) A LOOSE SKETCH DEPICTING A DINGHY WITH CHURCH BEYOND, signed bottom left, ink wash on paper, approximate size 18.5cm x 27cm including margins, Condition Report: dirty marks to the paper (Provenance: The Arnold Fellows Collection)

Lionel Edwards. A selection, includes; My Irish Sketch Book (1938); The Devon and Somerset Staghounds (1936); A Leicestershire Sketch Book (1935); etc. (7)

DAILY SKETCH, World Cup Souvenir Cards, nos. 25 Charlton & 26 Stepney (both Manchester united), EX, 2

C.Beysiegel (20th Century, German), a pencil sketch, 'Ruine Ehrenfels', signed to the lower left, with a handwritten letter verso, framed, mounted, and under glass, 14.5cm x 19.5cm, & 24cm x 31cm overall, together with two coloured engravings of scenes within German cities, including Augsburg, both framed and under glass

Harold Riley DL, DLitt, FRCS, DFA, ATC (1934-2023) and Laurence Stephen Lowry RBA, RA (1887-1976) Crowther Street Stockport Signed by Harold Riley and L S Lowry, with an oil sketch of a young man to the reverse, oil on canvas, 49cm by 39cmProvenance: A gift from the artist to the vendor's father Thence by descent Harold Riley and Lowry often embarked on joint ventures together over their thirty-year friendship, having first met in 1945 when the former presented Riley with an award for first prize at a Salford Grammar School art exhibition. However, these were usually works on paper, thus making this fully finished oil painting a rarity.This scene depicts Crowther Street in Stockport, a landmark re visited by Lowry throughout his lifetime.Tennant’s Modern & Contemporary Art sale in March 2023 saw the sale of a pencil drawing by Lowry titled “The Stepped Street”, this was a depiction of Crowther Street and sold for £70,000 hammer. (see image).Shortly after leaving Art School in 1928, Lowry sought to record locally threatened architectural gems such as Crowther Street, which was later partially demolished leaving only the right-hand portion. This also indulged his love of steps as subject matter.Though somewhat changed since the artist’s day and with far fewer people than in Riley’s view, the cobbled street is still recognisable to this day.

Reginald William Gammon (1894-1997) watercolour sketch. Unloading a laden horse and cart in a rural landscape,bears details verso 38.6 x 56cm from the Peter Coates collection.

Thomas Barclay Hennell (1903-1945), ink sketch. Depicting the English Rural country side pictures, Hedge laying, two figures laying a hedge, bears artist etc. verso 27.7 x 38 cm

Three aviation prints and a pencil sketch, the largest a print after John Pettitt 'Tribute to 617 Squadron Past and Present' signed by Leonard Cheshire and others (most signatures faded), 53 by 69cm, mounted, glazed and framed, 72 by 87cm.(4)

A framed and glazed watercolour and an ink sketch. H.48.5 W.33.5 cm (largest)

Jasmine Thomson‘Faces of the City’Acrylic paint on a hollow fibreglass statueMeasures: 229 x 50 x 209cmApprox weight: 57kg This artwork showcases and celebrates the diverse communities within Bristol. It also features some key landmarks and imagery at the heart of Bristol, like the harbour on a sunny day and the Bristol balloon fiesta. I want it to show those coming into the city that Bristol is made up of people from so many different backgrounds and cultures, all of who contribute to our story and rich history. Faces of the City was located outside of Desklodge House for the Unicorn trail before returning to auction in pristine condition and finished in anti-graffiti varnish. Jasmine is a Bristol based illustrator, mural artist, and designer. Her practise embodies using traditional art methods (illustration) that tells stories of people and places. Amongst her recent work are murals for Royal Shakespeare Company and Pervasive Media Studio. She works regularly as a live sketch artist and visual journalist, and represents corporate organisations live sketching conferences, and designing Infographics for reports and books. She is an experienced political cartoonist for magazines, conveying a political, cultural or social stance in a way that is smart, sensitive and engaging. She is also a regular workshop facilitator and works with both children and adults, and is currently a board member for creative enterprise Rising Arts Agency. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site

Rackham (Arthur).- Shakespeare (William) A Midsummer-Night's Dream, third impression, original sketch of Bottom with an imp signed by Arthur Rackham to half-title, dated 20/6/13, presentation inscription above in a different hand "Cedric Glover, with very good wish. G.E.S.", 40 tipped-in colour plates by Arthur Rackham, captioned tissue guards, bookplate of Cedric Howard Glover (offset), a few plates with light creasing to edges, endpapers lightly foxed and toned, lower hinge cracked, original pictorial cloth, gilt, spine toned and a little frayed at head with short tear, light rubbing to extremities, 4to, 1912.