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Collection of various vintage books, poetry and others to include: The Song of Hlawatha, Reading without Tears, and Christopher Robin, Story Book By A.A. Milne, London. Please see images for other titles.

The Mirror of Literature, Amusement and Instruction, Volume 12, 1828. Published by J. Limbird, London, London. The Mirror is a weekly journal. The issues in this volume run from Saturday July 5th, 1828, to Saturday December 27th, 1828. These weekly issues have some fine engravings mainly consisting of buildings in Britain at the time. It also includes Davy's improved Safety Lamp, Scientific Reflections, Poetry and comments on happenings of the day and Social, Philosophical Reflections. A fine volume. 5½ x8½ in publishers' red quarter leather boards, decorated and titled in gilt with marbled end papers. Now very RARE volume of popular journalism. Single vendor book auction. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

"Untitled" - ABDUR RAHMAN CHUGHTAI (1894-1975), Water Colour Wash.Rendered in soft, dreamlike hues, the scene depicts two veiled women in a tranquil garden — one seated, the other gracefully offering a bowl. The composition is framed by a slender tree with stylized leaves and vines. The figures' elongated forms and serene expressions speak to introspection and quiet ritual. Signed in Urdu at the lower left.Abdur Rahman Chughtai (1894–1975) was one of South Asia’s most revered modern artists, often hailed as the first significant modern Muslim painter of Pakistan. Born in Lahore during the British Raj, he was classically trained in the Mughal miniature painting tradition and later attended the Mayo School of Arts (now the National College of Arts). Chughtai developed a highly individualistic style that blended elements of Mughal, Persian, and Islamic art with Art Nouveau and modernist sensibilities, creating poetic and romantic imagery that became instantly recognizable.Chughtai's accomplishments spanned visual art, printmaking, and book illustration. He produced over 2,000 paintings, illustrated classic texts such as the Diwan of Ghalib and Mirza Ghalib’s Urdu poetry, and published his own illustrated books, including Muraqqa-i-Chughtai (1928), which brought him international acclaim. His work was exhibited widely across Europe, the United States, and Asia, making him a cultural ambassador for the subcontinent.Following the independence of Pakistan, he was chosen to design official state imagery, including postage stamps and currency, and his work played a key role in shaping the visual identity of the new nation. In recognition of his contributions, Chughtai received numerous honors, including the Hilal-i-Imtiaz, one of Pakistan’s highest civilian awards. Today, the Chughtai Museum in Lahore houses his legacy, preserving his lyrical vision that celebrated Islamic heritage, romanticism, and the aesthetics of the East through a uniquely modern lens.Approximately 75 x 55cmProvenance: Private collection from a distinguished USA collector.

SIX BOXES OF BOOKS & MAGAZINES containing approximately 110 miscellaneous book titles in hardback and paperback formats subjects mostly include classic fiction and poetry, magazines include Picture Post, Antique Dealer and Collectors Guide, New Man & Woman, En Route, Mechanix Illustrated and a box of sheet music

W F Mylius, [Charles and Mary Lamb]: The First Book of Poetry For the Use of Schools Intended as Reading Lessons For the Younger Classes. L, Printed for M J Godwin, at the Juvenile Library, 1811, first edition, 'A Birth-Day Thought' is signed M L, changed to C L in later editions. With two engraved plates. PP: xii, 176. Later full calf with gilt lettering to spine. Pencil notes to the front pastedown & first blank endpaper about the editions of the book. Occasional small tear, without loss, and the odd small stain.

A small quantity of books including Viz The Jesters Shoes, The last Lion Winston Spencer Churchill, The Faber Book of War Poetry etc

Neuseeland - - Ferdinand von Hochstetter. Neu-Seeland. Mit 2 gefalt., grenzkolor. Karten u. 6 kolor. Taf. im Stahlstich v. A. Meermann nach Photos u. Zeich. (u.a. des Verf.), 9 xylograph. Taf. sowie 89 Textholzstichen. Stuttgart, Cotta, 1863. XX (Front. mitgezählt), 555 (1, Errata) S. Gr.-8°. OLwd. mit Rgoldtit., goldgepr., illustr. DVignette, ornament. D. u. Rblindpräg., sowie dreiseitig marmor. Schnitt. Erste Ausgabe von Hochstetters grundlegender und reich illustrierter wissenschaftlicher Erschließung Neuseelands. - Henze, D. Enzyklopädie der Entdecker und Erforscher der Erde, Bd. II, S. 590ff. - Hochstetter nahm als Physiker und Geologe an der Weltumseglung der "Novara" (1857-60) teil, in deren Rahmen fast das ganze Jahr 1859 über auch Neuseeland erforscht wurde. Das Buch liefert "nicht nur eine Beschreibung seiner (Hochstetters) Reisen, sondern ... behandelte er die geologisch-geographischen Verhältnisse, die Naturausstattung, die Geschichte und die Urbewohner, deren Traditionen und Mythen, Prosa und Poesie." (Henze, S. 593) - Die fein gestochenen, kräftig kolorierten Tafeln mit Ansichten, die Textholzstiche mit geologischen Formationen, der Darstellung von Indigenen u. ethnologischen Exponaten. - Exemplar mitunter stärker stockfleckig, sonst sauber, im insbesondere gut erhaltenen, prächtigen Einband. New Zealand. - With 2 folding and partly partly coloured maps, 6 coloured steel engravings by A. Meermann after photos and drawings (by the author a.o.), 9 wood-engraved plates, as well as 89 wood-engraved text illustrations. - First edition of Hochstetter's fundamental and richly illustrated scientific exploration of New Zealand. - As a physicist and geologist, Hochstetter took part in the circumnavigation of the Austrian 'Novara' (1857-60), during which New Zealand was explored for most of 1859. The book provides 'not only a description of his (Hochstetter's) voyages, but ... he dealt with the geological-geographical conditions, the natural features, the history and the original inhabitants, their traditions and myths, prose and poetry.' (Henze, p. 593) - The finely engraved, richly coloured plates with views, wood engravings with geological formations, the depiction of indigenous and ethnological exhibits. - Copy foxed througout, otherwise clean, in a particularly well-preserved, splendid binding.

Pressendrucke - - Charles Baudelaire. Flors del Mal. Traducció Rossend Llates. Mit 19 ganzseitigen Illustrationen, illustriertem Titelblatt, 3 Vignetten (davon 1 wiederholt) u. dekorative Seitenrahmung unter Einschluss von figürlichen u. floralen Elementen, alles in Lithographie, tails getönt, nach Tuschfederzeichnungen von Xavier Güell. Barcelona, Llibreria Catalònia (Antoni Lòpez Llausás), 1926. 28 nn. Bll. 4°. OBr. mit roter DVign. u. rot-schwarzem Titeldruck. Erste katalanische Ausgabe von Baudelaires "Fleurs du Mal". - Palau 24.95639. - Die sinnlich-düsteren Illustrationen von Xavier Guell im Stil des Art déco als kongeniale Ergänzung von Baudelaires Lyrik des Verdrusses und der Dekadenz. - Umschlag mit leichtem Lichtrand, stellenweise finger- und schmutzfleckig, der Rücken teils eingrissen und mit minimalen Fehlstellen an den Enden, innen sauberes Exemplar dieses Meisterwerks der katalanischen Art déco-Buchillustration. First Catalan edition of Baudelaire's 'Fleurs du Mal'. - Palau 24.95639. - The sensual, dark illustrations by Xavier Güell in Art Deco-style are a congenial complement to Baudelaire's poetry of exasperation and decadence. - Cover with slight shelf-wear, stained in places, spine partially with small tears and with minimal faults at the ends, internally clean copy of this masterpiece of Catalan Art Deco book illustration.

Wallace (Edgar (Richard Horatio), writer, 1875-1932) 7 Autograph Letters signed and 1 Typed Letter signed "Dick", one to Tom & Lissy & the rest to his friend Julia Hirst in Dewsbury, together 18pp., 8vo & 4to, Simon's Town, South Africa, Bulawayo, Rhodesia & Lewisham, London, 2nd October 1896 - 17th July 1900 & n.d., about his feelings for Julia, "I had tears in my eyes when I left Dewsbury Station... I was very much gone on Julia", events in the South Africa War, "Cecil Rhodes is still the hero of the hour", as a war correspondent, "Beyond the daily interchange of shells there is nothing very startling on Modder River just now", in South Africa with Kitchener and General Carrington in Rhodesia, condolences on the death of her Aunt Clara, reporting that he has been ill, his dislike of Christianised Hindoos, his return to England and his visit to Julia at Dewsbury, and reviews of his book of poetry, "There were two reviews of my book in Saturday's papers: one was very nice ('The Daily News') but the other ('The Daily Graphic') was rather nasty"; and a small quantity of related telegrams, photographs etc., a few tears along folds, browned, v.s., v.d. (sm. qty). *** Wallace met the Hirst family when he visited his adopted family's friends who ran a confectioners in Dewsbury, Yorkshire.

Mnemonic.- Mr. Crooks system of Mneumonic Hieroglyphics, manuscript, 9pp., within a commonplace book of poetry, c.90pp., occasional spotting or light staining, lightly browned, contemporary red straight-grain morocco, spine ends and corners little worn, rubbed, [c.1815]; and another vol. of 19th century manuscript poetry, small 4to (2) 

POETRY INTEREST: 2 Titles: THE POETICAL WORKS OF LORD BYRON, Edinburgh, William P nimmo, 1864. Bound in red leather blocked in gilt, with gilt title panels pasted to sectional spine divided by raised bands; SIR ARTHUR QUILLER-COUCH [Ed]: THE OXFORD BOOK OF ENGLISH VERSE 1250-1918, Oxford, Clarendon Press, New Edition. Bound in contemporary blue linen with blue leather spines with gilt stamped title (2)

POETRY: 7 Titles: T S ELIOT: MURDER IN THE CATHEDRAL, London, Faber and Faber, 1963; FELICIA LAMPORT AND EDWARD GOREY [Illus]: CULTURAL SLAG, London, Victor Gollancz, 1966; NUMBERS - NINETY-TWO POEMS FROM SEVENOAKS SCHOOL 1957-1959, 1959; GEOFFREY SUMMERFIELD (Ed): VOICES - AN ANTHOLOGY OF POERTY AND PICTURE, THE FIRST BOOK, London, Penguin, 1968; W B YEATS: RUNNING TO PARADISE, London, Macmillan, 1967; G WILSON KNIGHT: GOLD-DUST WITH OTHER POETRY, London, Routledge and Kegan Paul, 1968; WALTER DE LA MARE: PEACOCK PIE, London, Constable and Company,1924 (7)

Vinyl / Box Set - 2 The White Stripes limited edition box sets to include: Icky Thump X (Third Man Records ‎– TMR 498 / TMR 499 / TMR 500, US 2017 10th anniversary limited edition 4 LP set, black, white, white with red splatter, red with black splatter vinyl, with photo book, pin set, and one of nine 8" x 10" screen printed posters by Rob Jones) EX+ (in original Third Man Records mailer) and Aside From That And Besides This: The White Stripes Greatest Hits (Triple LP on Third Man Records – TMR-700, white, red and white with red and black splatter vinyl set with an envelope of prints by Rob Jones, and a set of White Stripes Magnetic Fridge poetry, in Third Man Records mailer) EX+

[MANUSCRIPT ALBUM - EPISTOLARY ROMANCE]ROBELET, CAROLINE JOSEPHINE; and L.V. ALLAIRE; illustrated by HLELENA ROBELET. [Manuscript album of love letters, titled] Oeuvres Choisis de Videtur et Caroline. [Probably Saint-Omer, France]: 1847. Oblong album, dark green leather-backed black bubble-patterned paper over boards, gilt-stamp to upper board, spine gilt tooled, all edges gilt. 5 1/8 x 8 1/4 inches (13 x 20.75 cm); [120] pp. of manuscript text on album leaves, with a later [2] pp. manuscript text signed Henry Frottier explaining the contents of the album inserted at the beginning, and with a [4] pp. manuscript text titled "L'Abbaye Saint-Bertin. Fragment" laid in; with 28 miniature watercolor illustrations in text, one of which is unfinished, including the watercolor title page heightened in gilt, all by Helena Robelet. Some rubbing and wear to boards and spine, front hinge a bit weak and starting but holding soundly, pale spotting to contents; the laid-in bifolium with some creasing and short edge tears. A fascinating French illustrated manuscript album containing a series of letters between Caroline Robelet and L.V. Allaire, a pair of nineteenth-century lovesick paramours. Their correspondence, written in alexandrine verse, calls to mind earlier epistolary romances, such as the letters of Abelard and Heloise. While the circumstances surrounding the album are curious and the authenticity of the letters as a bona fide non-literary correspondence is unverifiable, Oeuvres Choisis de Videtur et Caroline remains a lovely example of French romantic poetry, made all the more charming by its finely rendered watercolor illustrations.According to the introductory text by Henry Frottier, the grand-nephew-in-law of Caroline, the letters were originally written around 1837, ten years before they were carefully transcribed into this album. Caroline, an extremely beautiful twenty-six-year-old, nicknamed "La Perle de St. Omer," was oftentimes sick throughout her life. L. V. Allaire, who uses the pseudonym Videtur in the letters, was a young doctor. While the exact nature of their relationship is unknown, they may have met as doctor and patient before beginning their epistolary relationship. Whatever the case, their love letters, and the accompanying illustrations, abound with medical metaphors and allusions - Videtur, the self-styled "Medecin Morale," refers to his first letter as a "Cataplasme," or poultice. Caroline, in turn, often refers to her suffering and pains, and she employs a clever double-entendre when calling Videtur "the healer of my affections." The still-life illustrations, skillfully executed by Caroline's sister Helena, include items such as a mortar and pestle, anti-splenetic pills, deworming liquor, a skull, a jarred specimen fetus, and many medical books. There are also multiple portraits of Caroline and Videtur, as well as smaller allegorical vignettes. One particularly charming and fanciful illustration shows a book open to its title page. On closer examination, we see that it is the imagined 100th edition of Oeuvres Choisis de Videtur et Caroline, published a century later in 1947.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

THAYER, ERNEST Casey at the Bat. Illustrations by Dan Sayre Groesbeck. Chicago: A.C. McClurg, 1912. First separate edition in boards, and the first edition to be illustrated. Original pictorial green paper boards, ho used in a custom clamshell box. 6 3/4 x 5 1/8 inches (17.25 x 13 cm); 20 ff.; 13 full-page line cuts by Groesbeck, printed in orange and black, one opposite each stanza, with an additional illustration in the corner of each page of text. by Groesbeck. Trifling wear to head and foot of spine.First separate edition in boards—and the first edition to be illustrated—of this classic of American popular poetry. It initially appeared in an 1888 issue of the San Francisco Examiner, and was popularized by the stage performances of actor DeWolfe Hopper. It first appeared in book form in 1895, in a collection of verse published by the Bandar Log Press, and in 1901 in pamphlet form. This present edition is the first separate hardbound edition and is the first to be fully illustrated.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

[LITERATURE - ESTELLE DOHENY]A group of four nineteenth-century volumes, comprising children's fiction, illustrated travel, and poetry, from the library of Estelle Doheny, including BURNETT, FRANCES HODGSON. Little Lord Fauntleroy. New York: Charles Scribner's Sons, 1886. First edition, first issue. Publisher's pictorial slate blue boards, in a custom brown morocco-backed slipcase and chemise. 8 1/4 x 6 inches (21 x 15.5 cm); xi, [1], 209, [1], with illustrations by Reginald B. Birch, and 14 pp. of ads at rear. Rubbing and wear to binding mostly at extremities, hinges cracked, front free endpaper worn with two edge tears and remnants of an old linen adhesive, related press cuttings laid in, with the leather bookplate of Estelle Doheny to front pastedown; together with, H. D. INGLIS. Rambles in the Footsteps of Don Quixote. London: Whittaker and Co, 1837. First edition. Brown morocco gilt, top edge gilt, original spine pasted down to rear endpaper, the binding signed by Riviere & Son. [2], xii, 203 pp., with illustrations by George Cruikshank, 2 pp. ads at rear. Light rubbing and wear at extremities, title page mildly toned, light offsetting from plates, with leather bookplate of Estelle Doheny; CHARLES LAMB. The Adventures of Ulysses. London: J. M. Godwin at the City Juvenile Library, 1819. Black calf over spine and corners, marbled paper boards, all edges marbled. Some wear to calf, front hinge cracked, rear hinge starting, engraved additional title page spotted, a few pale spots elsewhere in the text, with the leather bookplate of Estelle Doheny; and W. F. MYLIUS [pseudonym for CHARLES and MARY LAMB].The First Book of Poetry. For the Use of Schools... London: J. M. Godwin at the City Juvenile Library, 1811. Contemporary speckled calf, gilt ruled. Engraved frontispiece and one engraved plate. Wear, front joint and hinge cracked, rear hinge cracked, small losses along the spine, occasional pale spots, bookplate of Estelle Doheny. No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

[MANUSCRIPT ALBUM - ST. LOUIS WORLD'S FAIR]ANDERSON, GILES R. Some scraps of rhyme for my dear Valentine. To Alice W. from Giles R. Anderson. February 14th, 1907. Original oblong album of leather-backed patterned paper boards, with a hand-lettered and painted heart-shaped birch wood overlay to the upper cover. 10 1/2 x 13 inches (26.5 x 33 cm); Contents include manuscript poetry, a variety of cuttings, ephemera, and photographic material. The narrative poem describes a delayed honeymoon trip to the 1904 St. Louis World's Fair. 26 leaves, with manuscript verse written in ink, and a variety of cuttings, original photographs, printed illustrations, many in color, and various other pieces of ephemera pasted to the album leaves. Some wear to the boards and spine at corners, edges, and spine ends, a small loss to the surface of the patterned paper, and a vertical crack along the front edge of the upper board, the contents are generally in excellent condition, with expected occasional offsetting and a few very short edge tears, the binding is sound and all pasted-in parts are present. This handmade album is both a charming Valentine's Day gift from a devoted husband to his wife, as well as an extraordinary memento of a honeymoon trip to the 1904 St. Louis Worlds Fair. The album includes a long narrative poem, written in rhyming stanzas, that tells the story of their wedding, what they saw at the World's Fair, and the circumstances behind the poem and scrap book's creation. The poem is carefully handwritten into a scrapbook of documentary evidence from their trip, including original photographs of and by the couple, various cuttings and prints from newspapers and pamphlets, and other related ephemera like admissions tickets, postcards, samples of the silk fabrics that Alice used to sew her husband's ties, a printed Valentine's Day card (as if the book wasn't enough), and more.As Giles apologetically explains to his wife in rhyme, he wanted to compose the poem as a Christmas gift but was unable to finish it soon enough: 'Tis true I really did intend, / you should have this by Christmas time, / But as I had no time to spend, / Now we'll call it your Valentine."No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

Blank leaves.- Volume of blank leaves, c. 45 blank leaves, 2ff. at beginning hand-coloured frontispiece "A Plan of Balderton Estate" and Contents f. and the rest all blank, original morocco-backed boards, spine rubbed, 8vo, 1783; Ditchett (Samuel Day) Commonplace book of poetry and prose, manuscript, c. 345pp. excluding blanks, slightly browned, original half morocco, extensively rubbed, upper joint splitting, sm. 4to, [c. 1850]; and 8 other manuscripts, v.s., v.d. (10).

Smart (Christopher) The Poems..., 2 vol., portrait frontispiece (lightly offset), vol. 2 with 4pp. advertisements at end, armorial bookplate of John Keate DD., occasional light browning or faint spotting, attractive contemporary tree calf, spines gilt and with red and black morocco labels, vol. 2 one label sympathetically renewed, some wear to joints and extremities, joints cracked but holding, Reading, Printed and Sold by Smart and Cowslade, 1791 § [Edwards (Thomas)] The Canons of Criticism, and Glossary, Being a Supplement to Mr. Warburton's Edition of Shakespear, sixth edition with additions, additional printed title with advertisement leaf bound after, engraved armorial bookplate of James Leigh of Adlestrop, book-label of J.O. Edwards, some spotting and light browning, front free endpaper loose, contemporary calf, lacking spine label, some wear to spine ends and corners, rubbed, upper joint split but holding, for C. Bathurst, 1758; and others 18th century, poetry or literary related, including Davies' 3 vol. Dramatic Micellanies: Consiting of Critical Observations on Several Plays of Shakespeare, 8vo (11)

JOHN THOMAS SETON (BRITISH 1738 - 1806) PORTRAIT OF MR AND MRS JOSEPH CHAMPION, WITH AN ELEPHANT IN THE LANDSCAPE BEYOND Oil on canvas 88 x 69cm (34½ x 27 in.) Painted in Calcutta, circa 1780. Provenance: The Collection of William Drummond of Hawthornden, near Edinburgh The Collection of Roger Warner Burford, acquired by the present owner in 1977 Literature: M. Archer, India and British Portraiture 1770-1825, p.108-109, ill. plate 63 John Thomas Seton (circa 1735 - circa 1806) was a Scottish painter who travelled to India in 1776. Prior to this, Seton was taught in London by Francis Hayman, where he also studied at the St Martin's Academy. In his twenties, Seton went on the Grand Tour to Italy, travelling to Rome where he helped to buy paintings for Lord Bute's collection. On his return, he settled in Edinburgh where he painted the portraits of Scotland's high society figures of the day. It is unclear what the exact motivations were for Seton to go to India, but the Scottish community in India was substantial, and in her book, Mildred Butler suggests Seton may have believed he was going to a home from home. At this time Tilly Kettle, was achieving notable success in India. Between 1761 and 1772, Seton exhibited at the Society of Artists, which means he was almost certainly familiar with Tilly Kettle's portrait of the Nawab of Arcot and his sons, which was exhibited in 1771. Bearing this in mind, a move to the continent must have seemed a promising gamble for an struggling artist working in Britain such as Seton. Leave was granted to Seton in November 1775, and by August 1776, Seton had arrived in Calcutta, about five months after Kettle had left. Seton's reputation grew quickly, and in 1780, he was commissioned to paint the present lot; a wedding portrait of Joseph Champion and his wife, Ann Forbes. The pair are depicted sitting on a bench, which opens on to the Indian landscape, where an elephant can be seen with his rider in the background to the left. The wedding took place on 12 May, and both Mr and Mrs Champion are depicted holding palm-leaf fans to combat the hot weather. The portrait must have pleased the Champions as three years later Joseph commissioned to further, half-length, portraits of himself and his wife (these were sold at Christie's, 17 March 1978). Champion was a company servant who had been posted to India in 1778. A year later he was made Paymaster to the Cavalry Brigade, and the following year, in 1780, he and Ann were married. Champion showed a keen interest in Persian literature, publishing three books on the subject; Poems Imitated from the Persian; The Poems of Ferdosi, and Essays Characteristic of Persian Poetry. These works were all published in India, and demonstrate Champion's enthusiasm for and knowledge of Persian poets and poetry, in contrast to works of Classical Greek, Roman and English poets which were often the focus of the Western world. An anonymous reviewer in The Monthly Review, August 1790, described Champion as the 'Persian Homer'. (New Catalogue, pp.329-31). In 1784, Champion became a member of the Asiatic Society of Bengal. He also wrote his own poetry; in 1786 he published a compilation entitled Poems addressed to Mrs Champion, by her affectionate husband, dedicated to his wife, who was described as 'the most handsomest woman that ever left Europe of India' ('Obituary of Considerable Persons; with Biographical Anecdotes', The Gentleman's Magazine 61, June, 1792, p.576). Ann died in October 1791, at the age of twenty eight, and this seems to have induced Joseph to suffer a mental breakdown. In 1792, after sailing back to England, the Calcutta directors of the company wrote to the Court of Directors asking for a subsistence allowance for him during the 'suspension...of his mental facilities' and no loss of rank should he return to his duties (Fort William XI, p. 470). Champion appears not to have returned to India, and according to pension books at the India Office Library in London, the firm continued to pay an allowance to his guardians until his death, which is believed to have been around 1813. Condition Report: The canvas has been lined. Some very light surface dirt. Light craquelure throughout. There is some evidence of very light paint loss scattered throughout, including to the sitters' faces, however this is barely noticeable and is the paint surface now appears to be stable. Some small patches of overpaint are visible in a raking light, including to the tree area above the elephant. Inspection under UV light reveals scattered retouching throughout, as well as a heavy varnish. Country of origin: IndiaCondition Report Disclaimer

Hughes (Ted) and Lloyd (R.J., illustrator). Proofs for What is the Truth? A Farmyard Fable for the Young. A collection of proofs and original artwork by Lloyd for the pair's collaboration on the children's poetry book. Including original art by Lloyd, prints mounted on card and copies of prints, majority signed by Lloyd in pencil, some with size/page number annotations.A unique collection of pre-publication material for one of the several collaborative works by Hughes and Lloyd.

Woolf (Leonard, & James Strachey, editors). Virginia Woolf & Lytton Strachey, Letters, edited by Leonard Woolf & James Strachey, 1st edition, London: Hogarth Press, 1956, original orange-brown cloth, spine lettered in gilt, in printed dustwrapper with design to upper cover by Vanessa Bell, a little rubbed and some marks, fraying to edges with minor loss to extremities, together with Wilde (Oscar). Intentions, The Decay of Lying, Pen, Pencil and Poison, The Critic as Artist, The Truth of Masks, [2nd edition], London: Osgood & McIlvaine, 1894, 258pp., colophon leaf at end reads 'printed by Gilbert and Rivington, Ld.', light spotting to endpapers, pencil signature of H. A. Mason, Exeter 1956, to front endpaper, original green cloth gilt, rubbed and somewhat soiled with spine dulled, plus other modern literature in first editions, including Robert Lowry, Casualty, 1st edition, New York: New Directions, 1946, original cloth in dustwrapper, George Orwell, The Road to Wigan Pier, 1st edition, Left Book Club, 1937, rubbed, William Empson, Poems, 1st edition, Chatto & Windus, 1935 (with some ink and pencil annotations by H. A. Mason to text), original black cloth in frayed dustwrapper, somewhat worn on spine with a little loss, Allen Ginsberg, Planet News, Fifth Printing, City Lights Books, 1982, Michael Thorpe, The Poetry of Edmund Blunden,1971, Witter Bynner, Journey with Genius, Recollections and Reflections concerning the D. H. Lawrences, 1953, plus an issue of Delta magazine, no. 32, spring 1964, all 8voQTY: (9)

A soft cover poetry book, Rubáiyát of Omar Khayyám inscribed with handwritten dedication dated 1922. Includes some printed illustrated plates

This antique 19th-century edition of The Complete Poetical Works of Percy Bysshe Shelley, Volume III, was published by Reeves and Turner, London. Edited with notes and a memoir by William Michael Rossetti, this volume contains a collection of Shelley's celebrated poetry, revised with textual contributions from notable scholars. Bound in half-leather with marbled boards, the book features raised bands and gilt lettering on the spine, exuding a classic and distinguished aesthetic. The volume includes fine engravings, such as an illustration of "Shelley's Tomb," adding to its historical significance. An excellent addition to any antiquarian book collection or literary libraryIssued: 19th century Dimensions: 5.25"L x 1.25"W x 7.75"HCondition: Age related wear.

Poetry of Korean War book, and 3 ties: Korean veterans, RNLI and a regimental tie.

JAN IZYDOR SZTAUDYNGER (1904-1970) | DEDICATION ON THE TITLE PAGE OF THE BOOK DOM MOJ (POLAND / POLISH) | 1927 | profession: Poet | country: Poland | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Handwritten dedication dedicated to Jaroslav Michl. The item offered is the original title page only, not the entire book. | Lot information | Handwritten dedication by Polish poet, playwright, and satirist Jan Izydor Sztaudynger, addressed to Jaroslav Michl.The inscription contains a personal dedication in Polish:"Przyjacielowi Polski Jaroslawowi Michlowi z braterskim pozdrowieniem. Jan Sztaudynger. Myslenice 26/IX 1927."Translation in English:"To the friend of Poland, Jaroslav Michl, with brotherly greetings. Jan Sztaudynger. Myslenice, September 26, 1927."Below, the printed title of the book:"Dom moj" ("My Home")Jan Izydor Sztaudynger was a prominent figure in 20th-century Polish literature, best known for his epigrams and humorous poetry. This dedication is a rare testament to his personal correspondence and connections with Czech friends.

Catalogue des livres de feu M. le duc de la Vallière, 3 vol. (vol.3 in 2 parts), engraved portrait of La Vallière by Charles-Nicolas Cochin, fils, 5 engraved plates, of which 4 folding, priced throughout in a contemporary hand, letter from Abbé Desaunays (Royal librarian) to Abbé Rive (librarian to La Vallière) and the latter’s response copied in a contemporary hand on final 13 ruled and paginated pp., occasional spotting, more frequent to vol. 3, contemporary calf with arms of Guillaume Pavée de Vendeuvre, richly gilt spines in compartments and with red morocco labels, a couple of joints starting to split at head, vol. 1 spine head worn, [Brunet II, 554, 'rédigé avec beaucoup de soin'; Peignot pp.128-129; Pollard & Ehrman 297; Taylor, Book Catalogue, p.248], small 4to, Paris, Guillaume de Bure the Elder, 1783. *** Rare set of one of the most important catalogues of the 18th century. 'The manuscripts constitute an amazing collection of early French poetry and romances' (Taylor). Louis César de la Baume Le Blanc, duc de la Vallière (1708-1780) was a soldier, courtier, and historian of dance and theatre. His vast collection of books and manuscripts was assembled with the help of his librarian Jean-Joseph Rive (1730-1791), bibliographer and revolutionary leader. The sale of 5668 lots took place in December, 1783, and realised 464,677 livres, 8 sols. The rest of the Duke’s library was sold in 1788, for which a second catalogue (6 vol.) was produced. 

The Beatles - Books, CDs, Memorabillia; 2 Original 60s Beatles Plates (possibly Washington pottery Hanley), 'Let's Go down The Cavern' - Spencer Leigh book 1984 with charts by Pete Frame, John Lennon's 2 Poetry Books hard back one 1st Edition etc.

Dowson (Ernest) "a L'Aven" autograph manuscript poem signed by Dowson and inscribed "for Mrs. Griswold", two four-line stanzas in purple ink dated 1 Octo. 1896, bound with numerous pencil sketches by largely unidentified Victorian artists, spotting to endpapers, label of Miller & Co. to front pastedown, original buckram, lettered in gilt, contents a little shaken, preserved in folding chemise and custom morocco-backed slip-case, oblong 12mo, 1896.*** A pre-publication manuscript copy of Dowson's poem "To the River Aven". Manuscript poetry by Dowson is rare, we can trace only a handful of examples at auction. The poem would later be published but with the title in English and with the date of composition given as 25th January, 1898. The copy from the Bradley Martin collection (without book label, provenance supplied by book seller's description).

Douglas (Lord Alfred) Perkin Warbeck and some other poems, first edition, signed presentation inscription from the author to Fletcher Littledale dated "Venice March 1898" on half-title, title printed in red and black, browning to endpapers, bookplate of Littledale with book labels of Herbert Boyce Satcher and J.O. Edwards to front pastedown, original vellum-backed cloth, spine browned, light wear to corner tips, t.e.g., others uncut, preserved in custom morocco-backed drop-back box, 8vo, Chiswick Press, 1897.*** Douglas' rare second book of poetry, we can trace no other copy at auction. The present copy was inscribed by Douglas in the period immediately after the months he spent living with Wilde in Naples.

Symons (Arthur) Autograph manuscript signed of the essay "The Art of Translation in Prose and Poetry," 16pp. on 14 leaves, numerous revisions, signed and dated at end, with calligraphic title page in red and black, bound with a typescript of the same (neatly underlined throughout with initials and poetic quotations executed in red in a calligraphic hand), crushed brown half morocco by Sangorski & Sutcliffe, spine a little rubbed and sunned, 4to, 1904.*** A working draft of this essay by Symons, possibly originally intended for his 1904 book of essays Studies in Prose and Verse. Symons discusses numerous writers including Edward Fitzgerald, Dante Gabriel Rossetti, Goethe, Gauthier and Pope.

Symons (Arthur) Autograph and typed manuscript signed of the essay "Baudelaire and his Letters", 30pp., comprising 3 pages of typescript and 27 pages of manuscript on 26 leaves, with 16 pages on verso containing a seemingly abandoned work of fiction and 6 pages of poetry, numerous corrections and deletions, first 3 leaves with hole to upper corner, some light marking and creasing to extremities, unbound, with initialled ?proof sheets of the published article, preserved folding chemise with bookplate of John Quinn and morocco-backed slip-case, 4to, [1919].*** An excellent manuscript by Symons on one of the key writers of the Decadent Movement, whose writing he helped to introduce to the British and American public. Symons' book Charles Baudelaire: A Study was published the year after this essay. This manuscript also includes a portion of rejected and unpublished work by Symons on the reverse.

Manuscript Travel Journal late 18th Century, partially filled travel journal in limp calf bound notebook, 8vo, the first page dated 'Oct 1773' and recounting a journey to 'the Continent' in five leaves in a neat hand, the author notes his departure from Selby and travelling on the 'Hannah Sloop' for Hull where the ship stayed whilst the weather improved for the onward journey. The author explores Hull and then embarks on his further journey "I found myself exceedingly sick ... I could scarcely walk" to the Texel and then Amsterdam where in the harbour he spot "porpoises (a kind of whale)". he explores Amsterdam, focussing on mainly on architectural descriptions. A further passage sees the author leaving Frankfurt to Mainz and describing the Rhine valley. Many of the remaining pages of the book are filled with excerpts of books and poems in what appears to be another hand; together with two further volumes of excerpts and poetry including from the Brontës and lyrics from contemporary songs (3)

Harrison, (John L.) [Captain,18th Century] Manuscript Miscellany books of letters and poems, [London, circa 1771-75], small 4to, one volume in contemporary vellum, the other marbled paper boards and leather spine, approximately 80 text pages (not including blanks), some leaves excised (stubs remaining)Pencilled note to paste-down states “MSS book of Capt. J. L. Harrison. London”The two books show the ambitions of its author to be a wit and a poet and captures friendships built through letters and exchange of verse. Among the extracts from published works and occasional jokes, Captain Harrison of Bishop’s Hall in Bethnal Green, has copied letters sent and received, the majority of which are in verse form. Several names occur in the manuscript, but one appears multiple times, a “Mr A-m M-t”. In a prefatory note to a poem he sends to A. M., he writes: “I beg you’ll point out the faults it contains of which I’m conscious there are many and communicate them and your opinion of the whole to me” (ff. 25). Harrison records verse he receives in return, with both men using the medium of poetry to foster their friendship and affirm each other’s work. In a series of letters to and from “A M—t”, he asks his friend to help settle “A controversy [which] arose between two young lady’s and myself: I held that in the marriage state the man is the better half, they that the woman is which we left to be undecided…” A.M. does not fully agree, so Harrison replies, “I wonder sir you should give the preference to the Lady’s for I think the man is certainly the better half for he has the care of his business the getting of money to support his family and sundry other things I might mention” and marshals quotations from Virgil, Ovid, William Shenstone, Elizabeth Rowe, and John Milton. A.M. responds with allegory which tells of a man (aptly named “John”) who fails to understand the meaning of things: On discovering a leather purse he thinks: “Leather says he can serve some end / Old shoes perhaps may patch and mend […] Regardless of the luck thus gain’d / Concerned him not what it contain’d” Harrison pens a “jocular” verse regarding women (including the line “As he the Master she should Mistress be”), then after a confused defence of his position, protests that it “was A jocular Piece of raillery and as such I apprehended it would have been taken”. He concludes his apologetic letter, “This sir I hope will Atone for the misapprehensions of my former. I conclude With saying I entertain the most sincere and unfeign’st respect for them [women] and all those that defend them And remain your sincere Friend.” (ff. 17-18). On the next page we see Harrison’s “jocular” verse in action again in a rebuke to an unresponsive servant (we are given only their initials “C. B”) whose door he has been “thumping” to no avail: “But all my labour’s been in vain / And you have laid reclin’d till eight / Beneath your drowsy sluggish weight […]”. When not attempting to assert the superiority of men or berating servants, he shares an “Acrostic to Miss E.H on having the toothache”, and there are several letters and verse to his sister, which he signs “your ever loving Brother”. There are also a handful of pages detailing accounts relating to millinery.

Books - Heron Books, a collection of sixteen works by various authors, including Frederick Forsyth, John Le Carre, Ian Fleming, Jack Higgins, etc; another Heron Books collection of twenty four works, various authors, including Mary Shelley, Anthony Trollope, George Eliot, Charles Dickens, Emily Bronte, etc; The Companion Book Club collection; others, Shakespeare, Poetry, etc, qty

Titles including: Poems of Sidney Lanier (1906) New York: Charles Scribner's Sons. Leather-bound edition edited by his wife, featuring a memorial by William Hayes Ward. Includes a frontispiece portrait with a facsimile signature; Good-Bye, Jim by James Whitcomb Riley (1913) New York: Grosset & Dunlap. Illustrated by Howard Chandler Christy, with decorations by Bertha Stuart. A classic poetry collection with military themes; On My Way to Where by Dory Previn (1971) New York: The McCall Publishing Company. Hardcover edition with dust jacket, featuring the autobiographical writings of the acclaimed lyricist and poet. The dimensions of the collection measures: 8.5"H.Issued: 1906-1971Dimensions: See DescriptionCondition: Age related wear. Fair book condition. Wear to spine and dust jacket.

Jowonder I walk in this leathery underworld finding it as dark as inside a Kiss. Tick-tock., 2024 Acrylic and felt-pen on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist and poet often categorized as surrealist. Education First Class BA Honours: Fine Art Kingston University Post Graduate studies: Central Saint Martin's School of Art Solo Exhibitions 2024 Surrealist Poems About Clocks, book of illustrations and poetry 2012 JoWonder and the Psychic Tea Leaves, a site-specific 45-minute performance, with prints from bacteria, St. John's Church Bethnal Green 2007 Video installation Flatlanders, Guildford Cathedral Group Exhibitions 2024 Dear Christine, Arts Council of Great Britain, Touring 2023 L'Age D'ore, Barcelona contemporary surrealism - Through A Glass Darkly, London, UK Selected for The London Biennale, and for L'Age D'ore surrealist paintings, London, UK 2022 Curated and exhibited on the theme of: Schrödinger's Cat, sponsorship Institute of Physics at the Bookery Gallery, London, UK Awards 2019 Cartazini Biennial Award Statement about AOAP Submitted Artwork By imposing our own meaning onto the absurdity of time, we can circumvent the anguish created by it. In a state of suspended time, we are more free to invent. These works that do not make a division between words and text are also designed to go beyond the clock, loosen its mind-screw and take a leap out of my recent poetry publication, Surrealist Poems About Clocks. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.    

* Morrell (Ottoline, 1873-1938). A large needlework panel embroidered by Lady Ottoline Morrell, circa 1915/16, densely worked all over in bright polychrome silk threads using mainly long and short stitch and french knots, with a profusion of large flowers and leaves, including sunflowers, carnations, tulips, daffodils, and roses, a few loose threads, on a beige cotton ground with machine-stitched centre join, ground perishing in places and expertly consolidated with stitching by The Royal School of Needlework in 2009 (mainly to lower left-hand edge - latter also sustaining a few minor losses to embroidery), brass rings on linen tabs for hanging to top corners, approximately 195 x 173 cm (77 x 68 ins)QTY: (1)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); her daughter Julian Vinogradoff (née Morrell, 1906-1989); thence by descent.An extraordinarily vibrant coverlet, worked by Lady Ottoline Morrell whilst living at Garsington Manor, Oxfordshire, during the First World War, and later hung on the walls of Julian's home, Broughton Grange, near Banbury, Oxfordshire. Philip and Ottoline Morrell moved into the beautiful old manor house of Garsington in 1915, and held court there for over a decade to a coterie of avant-garde painters, writers and philosophers who became known as the Bloomsbury Group. Amongst the numerous visitors - many of them long-staying house guests - were D.H. Lawrence, Virginia Woolf, Duncan Grant, Mark Gertler, Vanesa Bell, T.S. Eliot, Aldous Huxley, Dora Carrington, and E.M. Forster. Reacting against the conventional mores of the Victorians, the Garsington set embraced pacifism, feminism and sexual freedom, Ottoline writing in her diary in 1915 'conventionality is deadness'.In many ways, this needlework is an embodiment of those impulses. It decries the usual rules of form and colour found in Victorian and Edwardian embroidery: the pattern appears to take shape on the fabric anamorphously; a wide, almost clashing, colour palette is used; and startlingly unexpected hues appear, so that, for example, daffodils are depicted in shades of blue and purple, and carnations are multi-coloured.Like the coverlet Ottoline was flamboyant, unexpected, and colourful in all aspects of her life. She favoured brightly coloured clothes in highly original designs which differed both from the fashions of the day and the more bohemian styles worn by some. The interior of the home she made at Garsington was described as a 'fluttering parrot-house of greens, reds and yellows', which was filled with Persian carpets, Chinese boxes and cabinets, beautiful porcelain, silk hangings, lacquered screens, and ornate mirrors: 'the walls were painted a rich Venetian red and iridescent sea green: colours chosen from the palette at Bolsover Castle - an estate within the family that Ottoline had visited as a child' (Miranda Seymour, Ottoline Morrell: Life on a Grand Scale, 1992, p.35). Perhaps the aspect of Ottoline's life most mirrored in the embroidery - for obvious reasons - is the garden she created at Garsington. Although a formal Italiante garden, it was dense with colour, as she herself described: 'I felt so happy watching the flowers - the brown ringed sunflowers, the red hot pokers, the phlox and montbretia, the zinnias and marigolds all crowded together in luxurious company.'While stylistically this panel is all one might expect from the needle of a woman such as Lady Ottoline, the manner of its creation is also symbolic of the life she led. Juliette Huxley, wife of Julian, described how she and her sister-in-law Maria, wife of Aldous Huxley, contributed to the sewing of the coverlet, whilst being read to by Bertrand Russell, with whom Ottoline was having an affair: 'Ottoline sat in the armchair under the wide-shaded lamp, smoking cigarettes and sucking peppermints at the same time, with some handwork she was engaged on. It could have been crocheting one of the many-coloured counterpanes, or embroidering the coverlet she describes in her book; Bertie in the corner, reading aloud the Causerie du Lundi, by Sainte-Beuve, in his faultless accent, vividly, absorbingly; Maria and I .. contributing to that coverlet of exploding flowers, for which Ottoline had an array of exquisite silks to choose from, all designed from an Italian fragment ...'.Ottoline's own words about the making of the bedcover corroborate this scene of intellectual and spiritual conviviality: "I sat in my special chair under the lamp with a piece of embroidery and all my coloured silks spread out around me. Maria, when at home, sitting at my feet and she would be allowed to embroider a flower in one corner of the vast bedspread on which I was at work, Juliette at another corner. How much is woven in that coverlet! How intense the feelings as we worked at it. What interesting and vital ideas were blended with the silks and woven into the pattern of gay flowers. Some flowers must be bright with poetry, some dark and smudged with war; others vivid and bizarre with thoughts of life; and a lovely rose will always speak of the fragile beauty of love and friendship, and a sunflower was like one that grew in the garden with thoughts of Blake's 'weary of time'. Maria's flowers are red and sensual. Juliette's gay and multi-coloured, but perhaps rather too pretty." (Juliette Huxley Leaves of the Tulip Tree, John Murray, 1986, p.46)In 1916 Lady Ottoline wrote of Garsington Manor: ‘The house has all the magic thrill to me, even tho’ I have lived within its walls and it has become absolutely familiar to me, pressed so near that we almost seem one. I have interpenetrated the house - vivified it - filled it with flaring orange - and reds and greens - filled it with myself - my thoughts - actions.' (Lady Ottoline Papers, Univeristy of Maryland, USA)

Goldsmith, Oliver, A History of the Earth and Animated NatureGoldsmith, Oliver, A History of the Earth and Animated Nature, published 1879, 6 vols. including supplement, illustrated binding with gilt lion fighting serpent, with many coloured plates,Oliver Goldsmith (1730-1774) was an Anglo-Irish writer, poet, and physician, known for his versatility and contributions to English literature. His best-known works include "The Vicar of Wakefield," a novel cherished for its humor and humanity, and "She Stoops to Conquer," a play that remains a staple of the comic stage. Goldsmith's writing often reflected his curiosity about the natural world and human behavior, making him an influential figure in the 18th century's literary and intellectual circles. Though he is more commonly remembered for his fiction and poetry, his work on natural history, "A History of the Earth and Animated Nature," reveals his broad-ranging interests and his effort to educate readers on the wonders of the natural world. His style combines scientific curiosity with accessible prose, making complex subjects engaging for a wide audience."A History of the Earth and Animated Nature" is Oliver Goldsmith's ambitious exploration of natural history, originally published in 1774 and here presented in an 1879 edition. This extensive work provides readers with an overview of geology, geography, and the diversity of animal life, from microscopic organisms to large mammals and birds. Although Goldsmith was not a trained scientist, his keen observations and poetic descriptions captivated readers and made complex topics approachable. The book is illustrated with engravings that complement his descriptions, offering a visual glimpse into the 18th-century understanding of nature.

This elegant Lladro porcelain figurine, titled Poetry of Love (01015442), features a young couple seated on an intricately designed bench with a lamb at their feet. The boy is reading a book while the girl listens attentively, evoking a serene and romantic atmosphere. Crafted in a rare matte finish, this piece highlights Lladro's skill in capturing delicate expressions and fine details in soft pastel tones. The figurine bears the Lladro backstamp on the base.Dimensions: 8.5"HCountry of Origin: SpainCondition: Age related wear.

Scotland & Bibliography. Sibbald (James), Chronicle of Scottish Poetry; from the Thirteenth Century, to the Union of the Crowns: To which is added a Glossary, four volume set, first edition thus, Edinburgh: Printed for J. Sibbald, et al, 1802, volume I with Prospectus of the First Complete Edition of the Works of William Dunbar, 3pp, and a 5pp review of Sibbald's Scottish Poetry bound-in, contemporary calf, some wear, 8vo in 4s; Ancient Scottish Poems. Published from the MS. of George Bannatyne, MDLXVIII, first edition, Edinburgh: Printed by A. Murray and J. Cochran, 1770, half-title, contemporary calf, the upper-cover detached and with a repaired gutter at ffep, the rest rubbed and worn, 12mo; Bannatyne (George) & Ritchie (William Tod, editor), The Bannatyne Manuscript, four volume set, mixed editions, Edinburgh & London: Scottish Text Society, 1928-1933, original gilt-lettered roan over green cloth, top edges gilt, others uncut, loosely-inserted envelope of errata slips, 8vo; idem., another copy of volume I, 1934, original wrappers, uncut, 8vo; Laing's and Carew Hazlitt's Early Popular Poetry of Scotland and the Northern Border, two volume set, 1895, half-titles, frontispieces, original publisher's cloth, uncut, William Tod Ritchie's copies, 8vo; Henderson's Scottish Vernacular Literature, second edition, 1900, original cloth, top edge gilt, others uncut, William Tod Ritchie's copy, 8vo; Henley's Burns, 1898, original wrappers, 8vo; Carter (John) & Pollard (Graham), An Enquiry into the Nature of Certain Nineteenth Century Pamphlets, association copy, first edition, London: Constable & Co Ltd, 1934, original cloth only, 8vo; & Hanson's Government and the Press, 1695-1763, first edition, Oxford University Press, 1936, original dustjacket, some chips, cloth boards, 4to, (16)  Provenance: 1st: 1) Joseph Haslewood (1769-1833), antiquarian and bibliophile, founding member of the Roxburghe Club (member no. 11); his gilt-embossed armorial bookplate to volumes I & III-IV only; 2) William Tod Ritchie, Scottish bibliographer; his early 20th c ownership inscriptions. 2nd: 1) J. Wilson, Professor of Phrenology, early-mid 19th c macabre bookplate; 2) George Graham, 19th c book label. 8th: Sir Frederic George Kenyon GBE, KCB, TD, FBA, FSA (1863-1952), President of The British Academy (1917-1921), Director and Principal Librarian of The British Museum (1909-30), and Roxburghe Club member no. 187; loosely-inserted typed copy of a letter excusing himself from a Roxburghe Club meeting at Lord Aldenham's house (to whom the letter is addressed) and proceeding to refute Carter's & Pollard's accusations of forgery against Thomas James Wise, book collector and fellow Roxburghe member.

Poetry.- Provincial imprint.- [Hoole (Barbara)] A Season at Harrogate...From Benjamin Blunderhead, Esquire, to his Mother, in Derbyshire..., bookplate of William F. Taylor, lightly browned, uncut in original boards, some loss to backstrip and most of printed spine label, soiled and worn, Knaresbrough, G. Wilson, 1812 § Ross (James) Wild Warblings, engraved frontispiece and one plate, presentation inscription "Anna Fullerton from the Author" to front free endpaper, inscription again to verso of frontispiece but trimmed with loss to some letters, front free endpaper working loose at foot, some spotting, contemporary calf, some wear to spine and extremities, upper joint split but holding, Rotherham, T. Crookes, 1817, first editions, book-label of J.O. Edwards; and others, 19th century poetry, including Thomas Trotter's Sea Weeds (Newcastle, 1829), other imprints including Liverpool, Maryport, Northampton, Sheffield, Oldham, Falmouth &c, 8vo (14) 

India.- Broughton (Thomas Duer, translator) Selections from the Popular Poetry of the Hindoos, title with ink inscription "Presented by ?C. E. Myer, Esq." to head, few instances of ink passage-marking, few tiny marginal nicks or tears, lightly browned throughout, ex-library copy with ink-stamps to title and few other ff. and ink reference to title, upper hinge cracked, later cloth, repair to spine head, wear to spine ends and corners, Whittingham & Rowland, for John Martin, 1814 § [Vetch (George Anderson)] "A Bengal Officer". Songs of the Exile, ink ownership inscription "Miss Isabella Crawford 1820" to half-title, couple contemporary ink corrections, scattered light foxing, mainly to margins, later wrappers, sunned, Edinburgh, for David Brown, 1820, first editions, book-label of J.O. Edwards, 8vo (2) *** The first mentioned scarce, with a Notes section at the end explaining the meaning of culturally specific references in the poetry. 

Poetry.- [?Muir (George)] 'Author of Field Sports'. Hamilton Wedding (The): A Humourous Poem on the Marriage of Lady Susan. Clydesdale Club Coursing..., half-title, woodcut frontispiece, title vignette and head- and tail-pieces, some light browning and foxing, later cloth, loss to much of backstrip and label, Lanark, George Roberton, 1833 § Adventures (The) of a One Pound Note; A Poem. Written by Myself, some light marginal dust-soiling, modern boards, T. Booth, 1819 § Big Wigs Outwitted (The)!! The Extraordinary Trial of Miss Mary Ann Ticklewig; or, Truth No Libel, leather bookplate of Edward Hailstone (offset), bookplate of E. Donald Smart, later ownership inscription of B. Bradford to front free endpaper, some light spotting, 19th century morocco-backed marbled boards, spine faded and little chipped at foot, rubbed, John Fairburn, [1818], first editions, book-label of J.O. Edwards; and others, 19th century poetry, comic or satirical, 8vo & 12mo (9)  *** The second mentioned a scarce skit in verse on the trial of Mary Tocker for libel at Launceston (Cornwall). 

Scottish poetry.- [Ainslie (Hew)] A Pilgrimage to the Land of Burns; Containing Anecdotes of the Bard..., half-title, woodcut frontispiece and 2 plates, errata slip tipped-in at end, later newspaper clipping tipped onto pastedown, pp.16-17 with old tape residue to gutter, light offsetting and some very light browning, small stain to rear free endpaper, uncut in ?original boards, rebacked in later cloth, light sunning to spine, boards rubbed with some wear to extremities, Deptford, Printed for the Author, by W. Brown, 1822 § Fowler (William M.) The Spirit of the Isle, and Other Poems, presentation inscription "To Lieut. Chas. Gray Royal Marines, This Copy of...is presented by his sincere friend The Author. 10 Jany. 1818" to half-title, armorial bookplate of Colinton House Library, some spotting, browning to endpapers, hinges cracked, uncut in original boards, printed spine label with some loss, small loss to spine ends, rather worn, Edinburgh, Michael Anderson, 1817, first editions, book-label of J.O. Edwards; and others, 19th century poetry of Scottish imprint or interest, several by James Hogg, 8vo (16)

Anacreon. Anakreontos Teiou melē [graece] Anacreontis Teii odae luce et latinitate nunc primum donatae, text in Greek and Latin, woodcut printer's device to title, printer's name scored through with ink twice on title, some browning, modern vellum-backed boards, [Adams A1001; Renouard 115; Schreiber 139], small 4to, Paris, Henri Estienne and Guillaume Morel, 1554.*** Editio princeps. The first book published by Henri Estienne the younger, and using all three sizes of the "grecs du roi" type. The work is probably actually by imitators of Anacreon and consists of the Greek text followed by Latin translation. "The Anacreontea became the most influential 'ancient' Greek poetic text during the Renaissance, and Estienne's edito princeps virtually caused a poetic revolution, not only in France, but also in Italy and Germany..." (Schreiber p.129). It also includes early printing of Sappho's poetry.  

Poetry.- Holloway (William) The Country Pastor; or Rural Philanthropist: A Poem, first edition, half-title, engraved frontispiece, 2 advertisement leaves at end, book-label of J.O. Edwards, contemporary pencil ownership inscription to pastedown and couple letters in ink, frontispiece lightly offset, spotting, lightly browned throughout, uncut in original boards, rebacked, surface soiling, rubbed, for Gale and Curtis, 1812 § Sheridan (Richard Brinsley) Clio's Protest; or, "The Picture" Varnished. With Other Poems, couple very short marginal tears, some light browning and soiling, ex-library copy with ink-stamp to title and few other ff. and label to rear free endpaper, modern marbled wrappers, for Joseph Arnould, 1819; and others, 19th century poetry, including a first edition copy of Samuel Rogers' Human Life in original boards, 4to & 8vo (c.20) *** Sheridan's Clio's Protest was first published as part of his 'The Rival Beauties, A Poetical Contest' [1772].

Women poets.- Parsons (Letitia) Verses, Hymns and Poems, on Various Subjects; Composed under a long Series of Affliction and Deprivation of Sight, [part 1 only], book-label of J.O. Edwards to verso of title, title with small loss to upper blank corner and few very small holes affecting few letters, some light spotting and staining, lightly browned throughout, modern wrappers, Tonbrige, T. Dakens, 1815 § Opie (Amelia) Lays for the Dead, first edition, lithographed frontispiece, book-label of J.O. Edwards, contemporary ink gift inscription to front free endpaper, Contents leaves with some omitted names supplied in contemporary ink manuscript, some light browning and spotting, later green morocco, spine and extremities slightly darkened, some faint spotting to lower cover, rubbing to joints and extremities, t.e.g., Longman, Rees, Orme &c, 1834; and others, 19th century poetry by women, one by Mary Russell Mitford with A.L.s. from the author laid down, 8vo (17) *** The first mentioned the first part only, with a second part numbering 42pp. printed by T. Dakens in the same year. Letitia Parsons (1744-1806) was about thirty when she underwent a conversion experience. In the last twenty years of her life she suffered from poor health and went blind in her last years. The two parts of her Verses appear to have been first published in 1806 and 1808.

Ireland.- Poetry.- Drummond (William Hamilton) The Giants' Causeway, A Poem, folding and single-page engraved map frontispieces, 6 engraved plates, of which 3 folding, the occasional small marginal defect, some soiling and spotting, offsetting, uncut in original boards, rebacked, rubbed and worn, Belfast, Joseph Smyth, 1811 § Lutton (Anne) Poems on Moral and Religious Subjects, bookplate of J.K. Bathurst, half-title with pencil note to verso, occasional spotting, some light soiling, gutter cracked at points, hinges cracked but holding, uncut in original cloth-backed boards, printed paper label to spine (rubbed with loss to all but few letters), worn, joints split at foot with backstrip starting to peel away, Dublin, J.O. Bonsall & Co., 1829, first editions, book-label of J.O. Edwards; and 3 others poetry, including John Leslie's Killarney (Dublin, 1772) bound with another, 8vo & 4to (5) *** Anne Lutton (1791-1881) author of the second mentioned was a Methodist preacher, who was born and lived in Moira, Ireland before moving to Bristol. She was noted for her religious teaching, linguistic skills and musical ability.

Poetry.- Shee (Martin Archer) The Commemoration of Reynolds, in Two Parts...and Other Poems, presentation inscription "To Samuel Rogers Esq. from The Author" to half-title, the odd spot, light spotting and browning to endpapers, uncut in original boards, rebacked, modern printed paper spine label, subtle repairs to corners, wear to cover extremities, for J. Murray, 1814 § Dyer (George) Poetics: or, A Series of Poems, and Disquisitions on Poetry, 2 vol., vol. 2 with half-title and 3pp. List of the Author's Publications at end, presentation inscription "From the Author to Mr. Jefferey" to head of both titles, bookplates of Simon & Judith Adams Nowell-Smith, ownership inscription of Signet Library to pastedowns, occasional light spotting, some light browning, uncut and mostly unopened in original boards, printed paper spine labels, wear to extremities, rubbed, vol. 1 upper cover working loose, for J. Johnson & Co., 1812, first editions, book-label of J.O. Edwards; and others, 19th century poetry, 8vo & 12mo (c.25)

Scottish poetry.- [Miller (Hugh)] Poems, Written in the Leisure Hours of a Journeyman Mason, spotting to first few ff. and occasionally elsewhere, some light browning, uncut and partly unopened in original boards, lacking majority of backstrip, extremities worn, upper joint split but holding, Inverness, R. Carruthers, 1829 § Davidson (Robert) Poems, ink ownership inscription "Robert Davidson, Morebattle 1846" to front free endpaper, very occasional ink passage-marking, browned with spotting and staining throughout, contemporary morocco, some wear to corners, rubbed, Jedburgh, Printed for the Author, by W. Easton, 1825 § M'Rae (John) Original Poems and Songs, 16pp. list of subscribers at end, few leaves rather roughly opened, occasional spotting, some light staining, light browning, uncut in original boards, some loss to backstrip, rubbed and worn, Inverness, Fraser, Bruce & Co., 1816, first editions, half-titles, book-label of J.O. Edwards; and others, 19th century Scottish poetry, some in original boards, imprints including Aberdeen, Cupar, Perth, Leith, Ayr &c, 8vo (12) 

LANG (ANDREW), THE YELLOW FAIRY BOOK, 1894; THE GREEN FAIRY BOOK, 1892; THE BLUE FAIRY BOOK, 5th edition, 1892; THE RED FAIRY BOOK, 3rd edition, 1891; THE TRUE STORY BOOK, 1893; THE BLUE POETRY BOOK, 1891, all with black and white illustrations and gilt coloured leather pictorial bindings, five stamped for Morrell, six stamped for Bickers & Son, all printed by Longmans, Green & Co, (6) Condition Report: Yellow Fairy and Green Fairy appear to be first editions, they do not list any other edition.Yellow Fairy: Leather in good condition, only very slight rubbing. Shadows on patterned end papers from leather. Some foxing to front end papers and half title, lesser to the page block. Internally generally good. This book is NOT stamped for Morrell. No publishers adverts at the end of the book.Green Fairy: Leather generally on good condition. Slight mark to top right corner of front board, minor dent to long edge back board with a very slight two-tone appearance and very slight blemish to the tip of the top left corner of the back board. Shadows on patterned end papers from leather. Internally generally good.There is a list of books by Lang on the back of the half title. There are no adverts at the end of the book after page 366.Blue Fairy: Spine with some fading. Back board with a couple of slight marks and rubbing / curl to the bottom left corner. Shadows on patterned end papers from leather. Front end papers through to preface with some light foxing. Back-end papers and last page also with some very minor foxing. Internally generally good. Odd foxing to page block.Red Fairy: Leather to the bottom right corner of front board with some minor marks. Minor rubbing to edges. Foxing to front end papers and half title. Some foxing to end papers at the back. Shadows on patterned end papers from leather. Odd foxing to page block. Internally generally good.Blue Poetry: Minor rubbing to the edges of the leather and spine with some fading. Shadows on patterned end papers from leather. Minor foxing to front and back end papers. Internally generally good.True Story Book: A couple of slight blemishes to the leather on the back board. Shadows on patterned end papers from leather. Foxing to the front which decorates and stops and introduction. Foxing to back end papers. Internally with odd foxing but generally good.There are no tissue guards any of the books and there are no publishers adverts at the end of any book. Extra Images uploaded.Description updated 18/02/2025 + 24/02/2025

IONA - A SET OF FOUR SCOTTISH PROVINCIAL 'NUNNERY PATTERN' PICKLE FORKS ALEXANDER RITCHIE/ IONA CELTIC ARTS, BIRMINGHAM 1937 The stem set with a mask and abstract lozenge detail, with bud finial and three prongs; together with a pair of two-pronged pickle forks, stamped IONA, Gilmour & Watson (of Glasgow), Birmingham, the terminal set with a long boat (6) 15cm, 11.2cm long, 92g (combined) Born in Tobermory on Mull, Alexander Ritchie had his roots firmly in the Scottish islands, surrounded by the sea. Originally training as a marine engineer, the first twenty years of his adult life took him across the world with the British India Steam Shipping Company. Even at this time, it is recounted that Ritchie was a keen woodworker and took inspiration from his marine environment.It would be fair to assume that the Celtic wares produced in Iona at the turn of the 20th century were made to capitalise on the passing tourist trade, but the legacy Alexander Ritchie and his wife Euphemia Catherine Ritchie left is far beyond that of tourist souvenirs.  A Creative PartnershipBoth makers were at the heart of the Arts & Crafts movement in Scotland. They were influenced by the Glasgow School of Art and at the forefront of the Celtic Revival movement. This melting pot and the history and art of Iona, combined with the skill of these two individuals created a legacy unique to this Scottish Island.It was not until he was in his 40s in the mid-1890s that he decided to take a break and enrol at the Glasgow School of Art. It was at the School that he met his future wife Euphemia Catherine Thomson. Both were immersed in the Glasgow Style, with contemporaries such as Jessie M. King, Charles Rennie Mackintosh and Francis Newbery.An Island of InfluenceCatherine and Alec moved to Iona shortly after they married in Glasgow. Their home at Shuna Cottage welcomed all those who visited the island. The Scottish Colourist Francis Campbell Boileau Cadell was a frequent visitor to their home and took inspiration from the island for some of his most seminal works. Ritchie was immersed in all artistic aspects; their shop Iona Celtic Art offered jewellery and other metalwork, leather tooling and embroidery, along with engraving and enamelling learnt at Glasgow. The earliest examples are in wood, a medium in which Ritchie felt most confident in the early days.Contemporary images of the shop show delight for the eyes in all corners; mirrors with zoomorphic corners, Celtic crosses hanging from all four walls, galleon ship pendants and penannular brooches covering door frames. As their business grew, the requirement to outsource is seen with the range of punches and hallmarks on the reverse of their wares. Various Assay centres such as Glasgow, Birmingham, and Chester appear on jewellery, and this reflects the popular enthusiasm for the Arts and Crafts movement.The Celtic RevivalThe Celtic Revival helped re-invigorate the Celtic identity, looking to the early Medieval Celtic culture in art, music, poetry and literature. In Ireland, the Book of Kells and the Tara brooch were key objects for this identity. Similarly in Scotland items of National significance such as the Hunterston brooch, housed within the National Museums Scotland collection, helped to illuminate the past and inspire artists and craftsmen who had been subjected to the mass industrialisation of the Victorian era.For the Ritchies, the Celtic Revival was more than a dissemination of history. Along with individuals such as Lady Victoria Campbell, the daughter of the 8th Duke of Argyll, they also sought to encourage Celtic Christianity. Alexander or Alec, as he was known, was made custodian of Iona Abbey in 1900.Later LifeThe Ritchie’s were part of a larger artistic community with an interest in Celtic art. John McGilvray, also of Iona, had for example been selling silver items from at least 1887 and was regarded as a local rival, but it is the skill of the Ritchie’s work and their understanding of Celtic culture that has created a particular appreciation for their works of art 100 years later. Individuals such as Robert Allison continued to produce their designs 50 years later in the mid-20th century, and their legacy is still apparent in Iona as the Iona Heritage Centre houses a permanent display of their work.Alexander Ritchie died in 1941, two days after his wife Euphemia. They were both buried together on the same day in the nearby Reilig Odhrain, the burial grounds of the Kings. These forks take inspiration from archaeological excavations at the Iona nunnery in 1922 and 1923. 

Ann KELLEY (XX-XXI) Bitossi Birds, St Ives (2024) Acrylic on canvas, signed and titled verso, 102cm x 81cm, 107cm x 87cm framed. Creative polymath Ann is known for her artwork depicting often colourful Cornish views, as well as her writing and poetry, being an award-winning author, books including 'Runners', 'Last Days In Eden' and 'The Bower Bird' which was Costa Children's Book of The Year.

RABINDRANATH TAGORE First Edition Year - 1936 10 x 7.5 x 1.5 inches Published by Visva Bharti Grathan Bivgh Calcutta; Shantiniketan Press; Calcutta. Gifted to painter Gopal Ghose & wife in the 22 Boishakh; 1344 (5th May 1937). A Bengali poetry book consisting of a collection of 21 poems by poet Rabindranath Tagore also known as the Bard of Bengal.

T.S. Eliot [Four Quartets], 4 volumes, all published London, Faber & Faber, comprising 'East Coker', 1940, 1st Faber edition, 'The Dry Salvages', 1941, 1st edition, 'Little Gidding', 1942, 1st edition, 'Burnt Norton', 1941, 2nd impression, all original printed wraps (Little Gidding stitched wraps, others stapled), together with Helen Gardner: 'The Composition of Four Quartets', L, Faber, 1978, 1st edition, orig. cloth gilt, dust wrapper; plus Rainer Maria Rilke, 2 titles: 'Poems', The Hogarth Press, 1934, 1st edition, orig. cloth, 'The Book of Hours', Hogarth Press, 1961, 1st edition thus, orig. cloth gilt, d/w; Rupert Brooke, 2 titles: '1914 Five Sonnets', L, Sidgwick & Jackson, 1915, 1st separate edition, 'The Old Vicarage Grantchester', L, Sidgwick & Jackson, 1916, 1st edition, each orig. stitched printed wraps; Oliver Elton: 'Sixteen Poems', Liverpool, Privately Printed at the Lyceum Press, [1922], 1st edition, orig. stitched printed wraps; plus two Hogarth Letters/Hogarth Essays series booklets, two Faber Ariel Poems, seven assorted Faber Criterion Miscellany series numbers 1929-1935, one a second impression, the others all first impressions, all original wraps, plus 4 others similar poetry etc (25)

Personalia – A 19th century lady’s scrap book, entries dated between 1824 and 1870, 8vo, 70pp, 111 sides used, grey endpapers, bound quarter red Morocco over patterned black boards, pictorial bkplt. Eliz. Bevington./1824, elegantly scrivened entries, mainly copies from prominent authors, especially poetry, including Dr. Aikin, E. Waring, Alexander Selkirk, Cowper, Tom Moore, Catherine Galpin,, Henry Neele, Coleridge, Hood, interspersed with ten mainly gouache plates all delightfully executed, several of ethnic interest, also about 11 vignettes, mainly in monochrome, some topographical, along with a full transcription of the contents typed in A4 sheets, a carte-de-visite photograph (?of the compiler) by Soley of Gloucester, with a small made-up envelope containing a lock of hair of Carolie Beattie dated 12th March 1867 (4)

A Victorian mahogany book slide, with arched end supports embellished with applied brass decoration, 36cm wide, together with a set of twelve works of poetry printed by Lawrence and Bullen London, The Muses Library, to include Henry Vaughan, William Drummond Howard, etc.

° ° Love’s Album - an early 19th century manuscript book of poetry and prose, in the hands of various contributors, the title leaf with a watercolour vignette of a country house, beneath verse, 278 pages in black ink, principally extracts from writings of 18th/early 19th century poets and historians; an address of Tilston Hall [Cheshire] noted, interleaved with 21 engraved portraits of European royalty and nobility, 8vo, half calf, [c.1820-30].

° ° Poetry Book "Bustan" by Saadi Sirazi, 19th century copy, c.1846, Persian manuscript on paper, of black nastaliq, main text arranged in two columns, headings in red, reminding words in black, 143p, 16 gouache illustrations, contemporary calf binding, inscribed on the flyleaf by Edward Muller, 58th Queen's Regiment, Lahore 1st March 1846 and subsequent. 247 x 140 mm