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HARRY POTTER AND THE PHILOSOPHER'S STONE (2001) - Daniel Radcliffe, Emma Watson and Rupert Grint Autographed Book - A copy of J.K. Rowling's novel Harry Potter and the Philosopher's Stone autographed by the three principal actors from the film adaptation. The hardback book, from the 29th print run, features cover artwork of Harry in front of the Hogwarts Express at King's Cross Station, with an image of Professor Dumbledore on the reverse. The title page is autographed by Daniel Radcliffe, Emma Watson and Rupert Grint in black and blue ballpoint pen. The book remains in very good condition, with very minor wear to the edges of the dust jacket. Dimensions: 20.5 cm x 14 cm x 2 cm (8" x 5.5" x 0.75") The autographs in this lot have been professionally authenticated by expert Garry King; see notice in the Buyer's Guide.VAT Status: † Δ
MONTBLANC; a Starwalker red gold plated ballpoint pen, overall length 14cm, a Montblanc Alfred Hitchcock limited edition ballpoint pen, overall length 14cm, an Aspinal of London crocodile skin effect brown leather pen pot and a Links of London stainless steel letter opener, length 22cm (in original dust bag) (4).
Collection of pens including a cased Parker 51 set comprising a fountain pen and a ballpoint pen, with leaflet, a boxed Parker pen set comprising a fountain pen and a ballpoint pen, with black textured cases, a Parker fountain pen with 14ct nib, another Parker fountain pen, two Platignum fountain pen, a Watermans fountain pen and eight further pens and a bottle of Parker fountain pen ink
Victorian silver cigarette case, Birmingham 1895, Turner Brothers, of plain curved form with gilt lined interior, 8.5cm long, approximate weight 2.49ozt together with other silver items including a silver cased ballpoint pen, two napkin rings, pill box, George III salt spoon, silver handled button hook and a teaspoon (approximate weight of pill box, two napkin rings and two spoons 1.67ozt)
Collection of medals including a white metal and blue enamelled HRH Princess Christians trained nurses badge, three commemorative medals from the Cassa di Risparmi Italian Savings Bank, a commemorative medal from the Bank of Rome, a commemorative medal from the Grand Duchy of Luxembourg and other medals and a small collection of pens and propelling pencils including two Sheaffer blue cased fountain pens with 14ct nibs, a Parker propelling pencil and ballpoint pen, a Colibri Concorde pen, a Yard O'Led pen and two others
Collection of pens including a cased Parker gold tone cased fountain pen, a cased Parker ballpoint pen and propelling pencil set, a cased Parker ballpoint pen in silver plated case, a Parker jotter ballpoint pen in original packaging, another Parker ballpoint pen and a Parker pen case and five other cased pen sets and a pen box
Waterman - C/F Silver Plated Fountain Pen Set, 18ct White Gold Nib, Ballpoint. The fountain pen has been dip tested & is writing. The ballpoint pen is sold as Untested. The pen has visible tarnishing to the silver-plated casing. The ink filling system has not been tested, the matching ballpoint would benefit from a new refill.
Waterman - Ideal Green Lacquer Fountain Pen Set, 18ct Gold Nib, Ballpoint. The fountain pen has been dip tested & is writing. The ballpoint is sold as Untested. The pen is in good condition with visible ink build up on the nib. The ink filling system has not been tested, the matching ballpoint would benefit from a new refill.
Betjeman (John, 1906-1984). A Lament for Moira McCavendish by "Coras Jompair Eireann”, 1st edition, Lismore: Browne [for the author], [1958], printed on recto of a single sheet of cream wove paper, decorative typographic border, signed by the author in black ink beneath the printed name, ‘(Sean o’betjemean)’, and with two amendments added to the text, the first an asterisk by ‘cabin’ in the first line of the third verse identified as ‘Lismore Castle’ in the lower margin, and addition of ‘h’ to ‘trust’ to read ‘thrust’ in the second line of penultimate verse, all in Betjeman’s hand, light toning, sheet size 251 x 153 mm, tipped in after the second of a sewn gathering of 12 blank leaves, with author’s additional signed presentation inscription in blue ink on the blank page facing the broadside, ‘for John Arlott, from John Betjeman, 1961’, brown buckram with gilt-titled spine, narrow small folio, together with an accompanying Autograph Letter Signed from Betjeman, no date, on letterhead of 43 Cloth Fair, London, E.C.1, with his autograph note in black ballpoint pen, ‘A private rarity full of jokes too intricate to explain. Happy Hampshire days, John B., 1 page, 8voQTY: (2)NOTE:Provenance: From the library of John Arlott.Peterson AA7.One of a small number of copies of a joke poem John Betjeman dedicated to his mistress Elizabeth Cavendish and family in 1958, and which he had printed by Browne on various coloured papers. This cream paper copy was given to John Arlott, who had just moved to Hampshire with his second wife Valerie. It was reprinted in Betjeman's collection of poems High and Low (1966).
Ralph Steadman (1936-), illustrator; Dahl, Roald The Mildenhall Treasure London: Jonathan Cape, 1999. First Steadman edition, first impression, 4to, original boards, dust jacket, inscribed ‘To Ian, love Ralph Steadman, Nov. 99’ and with a full-page original illustration by Ralph Steadman in red ink and black ballpoint pen to the half-title, apparently depicting the recipient Ian Craig, art director for the publication of the book, riding a tractor in the character of protagonist Gordon Butcher. Together with 2 postcards and 2 bookmarks, all with autograph messages from Steadman to Craig, and a pen-and-ink sketch captioned ‘The enigmatic Jamie Throstle - an endangered species’ apparently also by Steadman, laid in; and a copy of Ralph Steadman's little.com (London: Andersen Press, 2000), inscribed by Steadman in red and black ink on the half-title Estate of the late Ian Craig. Ian Craig (1944-2023) was art director at Jonathan Cape from 1973 until 1989, when he moved to HarperCollins, but continued to work for Cape on Ralph Steadman's books at Steadman's personal request.
Alasdair Gray (1934-2019) Original cover design for Something Leather, 1989 single sheet, 25.2 x 36.8cm, card and paper collage, incorporating photocopied elements and an original pen-and-ink outline sketch, Gray's autograph annotations overall in red ballpoint pen, folded along centre.Together with: 2 autograph letters signed from Gray to Ian Craig as art director at Jonathan Cape, 1989, each including an original sketched cover design by Gray (each a single foolscap sheet of Gray's personal stationery, 29.8 x 21cm, written on both sides); a photocopy of the design for the dust jacket flaps, annotated and marked up by Gray in red and black ink, 22 x 21cm; and 1 related item Estate of the late Ian Craig. Something Leather was published by Jonathan Cape in 1989. Ian Craig (1944-2023) was Cape's art director from 1973 to 1989, overseeing the production of the final published works by Roald Dahl and becoming highly valued by artists and authors including Ralph Steadman, who insisted that Craig continue to work on his books (published by Cape) in an independent capacity after Craig's departure for rival publisher HarperCollins. In 1992, while at HarperCollins, Craig was assigned to work with The Tiger Who Came to Tea author Judith Kerr, initiating a celebrated collaboration which lasted until Kerr's death in 2019.
Production archive for the publication of Boy, including original sketches by Dahl 1. Roald Dahl’s original sketches for illustrations in Boy, some 33 in total, all in black ballpoint pen on paper sheets of various dimensions, housed in manila envelope annotated by Craig ‘Dahl’s Drawings & odds + sods’, comprising: i) Group of 14 sketches, each on a separate sheet, mainly 15 x 10cm: Harald Dahl’s fork and carry-case, freight train, dead mouse in gobstopper jar, ‘closed’ sign for Mrs Pratchett’s sweetshop, ‘wanted for murder’ poster, Bestepapa’s pipe (on larger irregularly-cut sheet), Norwegian goat’s head, Norwegian doctor’s Bunsen burner, Dahl’s broken fountain pen, Dahl in his Repton uniform (versions of all these reproduced in Boy respectively at pp. 14, 16, 37, 38, 41, 54, 62, 65, 104, 126), and 5 sketches apparently not published in (teacup, icicle-encrusted toilet bowl, snake, boy touching his toes, and one unidentifiable object resembling a chequerboard on a table); ii) ‘Liquorice bootlaces’, with Dahl’s autograph caption, 17 x 19.5cm, sketch and text traced in black ink by Ian Craig on sheet of tracing paper tipped along top edge and annotated by Craig with index number and page reference (Boy p. 30); iii) ‘The cane’, ‘The cane again’, ‘and again’, 3 sketches on 1 sheet, with Dahl’s autograph captions, 15 x 14.5cm, small tear to top right corner (Boy pp. 45, 109, 130); iv) Dr Dunbar’s bottle of pills, and another bottle (possibly Dr Dunbar’s chloroform), 2 sketches on 1 sheet, 10 x 15cm (Boy p. 91, possibly p. 97); v) Dahl’s St Peter’s toothbrush, 10 x 15cm, with Ian Craig’s revised version below on same sheet (Boy p. 88); vi) Dead mouse in gobstopper jar, 2 versions of the same sketch, each on separate sheet, 13 x 11cm and 12 x 14cm, taped together at corner, one sheet unevenly torn along edges (Boy p. 37); vii) Dahl’s St Peter’s tuck-box, and contents of tuck-box, 2 sketches each on separate sheet, both 15 x 10cm, taped together at left-hand edge (Boy pp. 70 and 71, the contents sketch showing several items not in the published version, e.g. toy soldiers, banana); viii) Dead mouse (chapter headpiece for ‘The Great Mouse Plot’), 2 versions of the same sketch, each on separate sheet, 9 x 8cm and 7 x 13cm, taped together at corner, one sheet unevenly torn along edges (Boy p. 35); ix) Gobstopper, sherbet suckers, liquorice bootlaces, tricycle, 4 sketches, each on separate sheet (various dimensions, approx. 7 x 9.5cm to 11 x 20.5cm), gobstopper and sherbet suckers both with Dahl’s autograph captions, tricycle sketch remaining taped at one corner to A4 sheet of rough ink sketches by Ian Craig (one captioned ‘Mama and Papa admiring the view’ in an imitation of Dahl’s handwriting), the remaining 3 sketches taped together but now detached from Craig’s sheet (adhesive residue visible) (Boy pp. 29 and 24); x) Outhouse and icicle-encrusted toilet bowl, 2 sketches on 1 sheet, 16.5 x 10cm, creased, taped at one corner to A4 sheet containing 7 sketches of Mrs Pratchett and the gobstopper jar by Ian Craig. 2. Ian Craig’s sketches and finished designs for the illustrations in Boy, mainly in black ink, comprising numerous discrete drawings on 28 sheets (nearly all A4, i.e. 29.5 x 21cm), 15 of which containing the final versions of the illustrations before typesetting, being identical to the printed illustrations in the published work and marked up with page numbers and typesetting instructions (reduction, magnification and re-orientation) on sheet of tracing paper tipped to original sheet or on original sheet itself (tracing paper detached in most cases), these comprising the freight train (Boy p. 16), Dahl’s favourite sweets (p. 29), tonsil ticklers and pear drops (p. 32), dead mouse (chapter headpiece for ‘The Great Mouse Plot’, p. 35), dead mouse in gobstopper jar (p. 37), ‘Closed’ sign for Mrs Pratchett’s shop (p. 38, on a small sheet, 8 x 17.5cm only), Mrs Pratchett’s revenge (p. 46), Norwegian toilet (p. 59), Norwegian goats (p. 62), Norwegian doctor’s Bunsen burner (p. 65), Dahl’s tuckbox and contents (pp. 70 and 71, the drawings on one sheet), Dahl’s toothbrush (p. 88), Captain Hardcastle (p. 99), Dahl’s broken fountain pen (p. 104), sports gear (chapter headpiece for ‘Boazers’, p. 128). The remaining 13 sheets with numerous sketches, from rough to fair copies, mostly recognisable versions of the published illustrations in Boy (e.g. sweets, Dahl’s toothbrush, the Bunsen burner, Mrs Pratchett, the toilet at Repton, Dahl in Repton uniform), but including several sketches not published (e.g. Dahl with a bandaged nose). 3. Two typed letters signed from Roald Dahl to Ian Craig, 1984, on the book’s title (‘I must thank you for coming up with the first sensible title for my book. “Boy” is fine. We all like it …’) and enclosing a photograph (‘Here’s the picture of the whole of St. Peter’s which I promised you. Captain Lancaster is the terrifying creature with the glasses and the finger moustache …’). 4. Publisher’s layouts and designs for photographic illustrations, comprising: layout for endpapers (14 pencil sketches from photographs pasted onto A5 sheet of thin paper, with cuttings of photocopied manuscript captions pasted below each image, images numbered and the sheet annotated in blue pencil, together with 3 A4 sheets of tracing paper with manuscript captions only, apparently in imitation of Dahl’s hand, in black ink with annotations in blue pencil, one sheet with section cut away); group of trial page-layouts (4 single A4 sheets each stapled to single A5 sheet, and one ‘booklet’ of 4 A4 sheets stapled together, including photocopies of photographs and Dahl’s childhood letters, and original pencil sketches and copies of the same, annotated in ink and pencil by publisher); annotated paste-ups for the ‘Wanted for Murder’ poster and the Dahl family motorcar illustrations (pp. 41 and 92); approx. 30 sheets of tracing paper marked up with typesetting instructions for photographic illustrations, often with outline sketches of the relevant photographs). 5. Publisher’s paste-ups of Dahl’s childhood letters, comprising photocopies of 25 letters and letter fragments, pasted onto black card mounts, each annotated with typesetting instructions on sheet of tracing tipped to mount (tracing paper detached in several instances). Together with an envelope of photocopied letters and typed extracts annotated by publisher, in envelope annotated by Craig (‘Xeroxes of letters & typed extracts’). 6. Folder of miscellaneous material, including typed memos, editorial checklist, specimen pages, annotated designs for page-layouts (some apparently relating to the US edition), and similar
EDMUND HILLARY "High Adventure", published Hodder & Stoughton 1955, signed to the front blank page in ballpoint pen by Hilary, with dust jacket, together with SIR JOHN HUNT "The Conquest of Everest", published EP Dutton & Company Inc. New York 1954, with dust jacket, bears ownership inscription "G Malcom Brown", together with a letter to Dr G Malcolm Brown from the Scott Polar Research Institute Cambridge England "Dear Malcolm This letter results from Item 2 in the minutes of the last meeting - the candidature of Sir John Hunt. I have corresponded further with the Bishop of Norwich and he still feels that Hunt would make a good member. It has also become clear that Hunt himself would like to join. The feeling as between Cox, Friend and myself, is that we should now invite him to join. Does this have your approval? Yours sincerely Terence (Terence Armstrong) and one volume JOHN F KENNEDY "Why England slept", published Hutchinson & Co. Ltd London, cloth board bound and one volume A A MILNE "When We Were Very Young", published Methuen & Co. Ltd London, 53rd edition 1951, tooled cloth board bound (4 plus letter)

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9601 item(s)/page