We found 2079 price guide item(s) matching your search

John Ruskin (1819-1900), a signed letter, addressed to Mrs Collins, Paris 21st September 80, encouraging her in her writing: 'tell me what your new children's book is to be about, and write it as you would like to write it - not consulting the Christian Knowledge people's notions more than you choose to' and offering sympathy in her troubles: 'I have not forgotten you, although more often as I remembered, -- the thought of your difficulties and their cruel causes, make me still helplessly silent. Indeed I don't, and never have thought, that our wills can conquer anything, and I am the last to tell any delicate woman she ought to live hardly - many things I may have said against common idlers and useless luxury, -- but nothing [?] of severe in expectation from people who are in hundreds of cases, already living an anchorites life, compared to mine', adding that her letters deeply touch and interest him and that he will assuredly 'keep you at present from feeling yourself in servitude for the sake of fifteen pounds', in a postscript, he offers to send a cheque for £20, with further instalments of money, although he is not sure that she would like that kind of help often ('...But there are times for it...), anda letter addressed to Mr Ruskin, from J R Lowell, 22nd Nov 1859, expressing his delight that Ruskin should admire his work: 'My dear Mr Ruskin,/ to have made one man happy in a lifetime is worth living for, & you have made me happy and proud too in writing to Norton that you counted me among your friends. That you may take for granted, but I must go farther & say, among your debtors as well. My proportion of a debt which I share with all who speak or read the English tongue may be small as far as it concerns you, but to me it is great & lifelong. We all quarrel with you sometimes, but what good could we get from a man who prophesied smooth things? & I am sure that I am not assuming too much when I say that in giving you my hearty thanks for what you have done, I am only doing what all the men whose opinion you would care for in America would gladly do if they had the same pretext for it that I have. I offer you my hand with all my heart, & I pay you my fealty also as to the man who has done for Art what Wordsworth wished to do for Poetry', and asking him if he could contribute an article to the Atlantic Monthly, ending in the persona and feigned hand of Hosea Biglow: 'i go in for the A buv like all git eout/ Hosea Biglow' (2)

[Royalty] A group of letters to Angela Huth (novelist, journalist and author of best-seller Land Girls 1995, she formed a close friendship with Princess Margaret during the 1960s) including handwritten note from H.R.H. Princess Margaret addressed to Angie wishing to keep “6 things all irresistible I am sending back Tony’s failure (her husband Lord Snowdon) & if you could take that amount off the dressing gown ticket I’ve marked with his name & send him the bill Christmas will be in June! A million thanks & lots of love” signed Margaret – on Kensington Palace headed paper, a handwritten letter (dd.1972) from Tony (Antony Armstrong-Jones, 1st Earl of Snowdon and husband of Princess Margaret from 1960-1978) offering to do some more photographs of her for her new book “..and what about some of the last lot (some of which weren’t used) – I was younger then!”, another letter signed Tony on Clarence House headed paper thanking her for the lovely wedding present and that they were having “enormous fun moving into their new house”, typed letter signed by Mountbatten of Burma (Louis, Admiral of the Fleet) dated April 1971 on Broadlands headed paper that he is delighted Angela enjoyed her visit to Classiebawn Castle and that if she writes any articles about her visit for the Evening Standard or any American magazine, that he should very much like to see copies, handwritten letter dated 1972 from Bernard Levin (journalist & author) commenting on her play that is was a worthy successor to Nowhere Girl, printed card dated 1951 a junior Bronze Medal award to Angela Huth on The Art of Speaking Verse from the Poetry Society and visiting card with warm wishes from Mrs. Cunliffe-Fraser. Together with three letters (likely limited in number and printed in facsimile from a master copy) to members of the royal household on Buckingham Palace headed paper from Elizabeth II, Princess Anne and Prince Edward giving thanks for gifts received, and two letters from Dame Anna Neagle (actress and singer Dame Florence Wilcox 1904-1986) regretting her inability to help with the opening ceremony of a fete due to other commitments including a trip to Canada performing her play, and a signed notecard from John Osborne (playwright and actor 1929-1994) dated 1973  (13)

Corn Trade.- Fitz-Geffry (Charles) The Curse of Corne-horders: with the Blessing of seasonable Selling. In three Sermons, on Pro. II. 26. Begun at the general Sessions for the County of Cornwall, held at Bodmyn, and continued at Fowy, first edition, variant of edition with Edward Dight in imprint, title with large woodcut of a vermin-infested grain silo being set alight, woodcut initials and typographical head-pieces, occasional light foxing but generally a good, clean copy, engraved Cunliffe bookplate to rear pastedown, nineteenth century half calf, a little rubbed and faded, [Goldsmiths' 624; Kress S. 619; STC 10938], small 4to, By I[ohn] B[eale] for Michael Sparke, 1631. *** A detailed portrait of the chaotic and apparently uncontrolled corn trade in early 17th century England, which is generally condemned by the author. He refers to the "Lucksters or badgers of corne", the "greedy Farmer" and "covenous Merchant", all of whom are guilty. Charles Fitz-Geffry (Geffrie or Geoffrey), 1576-1638, an Elizabethan poet and clergyman, was born in Cornwall, the son of a Protestant parson. In 1603 he was presented with the living of St Dominick's at Hatton in Cornwall. He seems to have settled down there while publishing several of his sermons together with a final book of poetry.

TWELVE OTTOMAN AND PERSIAN LEATHER MANUSCRIPT BINDINGS WITH GILT, TOOLED AND EMBOSSED DESIGNS Ottoman Turkey and Provinces, and Iran, 17th to 19th centuryA rare and impressive group of twelve Ottoman and Persian morocco and calf leather bindings, each cover richly decorated and occasionally painted in polychromes, featuring tooled, stamped and embossed geometric and arabesque motifs, some with intricate floral patterns, central medallions and corner-pieces, most with characteristic envelope flaps, several incorporating marbled endpapers, a traditional hallmark of Ottoman bookbinding, the vibrant crimson and deep ochre tones highlighting the luxury materials and the refined skills of Islamic master bookbinders.The largest 33.3cm x 24cm, the smallest 21cm x 15cm Ottoman bookbinding developed as a distinct art form from the 15th century, blending Persian and Islamic influences with unique Turkish styles. Craftsmen employed complex techniques, including gilding, burnishing, delicate tooling, and sometimes lacquering, to create covers that were both protective and highly decorative. The use of envelope flaps is a distinctive feature of Islamic bookbinding, serving to protect the manuscript edges. Bindings such as these would have been commissioned for Qur’ans, poetry, and scholarly works, underscoring the owner’s wealth and cultural refinement. The survival of a matched group in such variety and quality is unusual, illustrating the evolution and breadth of the Islamic decorative arts of the book in the 17th, 18th and 19th centuries. The largest 33.3cm x 24cm, the smallest 21cm x 15cm Qty: 12

SEAMUS HEANEY, THREE SIGNED BOOKS, ALONG WITH TWO FURTHER BOOKS comprising The Spirit Level, with dust jacket, The blackbird's Nest, an Anthology of Poetry from Queen's University Belfast, with dust jacket and Helen Vendler, with dust jacket, all signed and dated by the author, along with a signed copy of Over Nine Waves, a Book of Irish Legends by Marie Heaney and a copy of District and Circle by Seamus Heaney, unsigned the books published by Faber and Faber limited and others Qty: 5

Lang (Andrew, editor). The Red Fairy Book, 66/113 copies, 1890; The Green Fairy Book, 112/150, 1892; The Yellow Fairy Book, 6/140 copies, 1894; The True Story Book, 44/150, 1893; The Blue Poetry Book, 95/150, 1891, London: Longmans, Green, and Co. and New York, 1890-1894, black and white illustrations throughout, all uncut and untrimmed (except The Blue Poetry Book), two with Edward S. de Stein bookplate to front pastedown, original quarter Japanese vellum, rubbed with some marks, spines toned (The Red Fairy Book with partially detached spine), 4to, together with 10 further books edited by Andrew Lang, comprising: The Red Book of Animal Stories, 1899; The Book of Romance, 1902; The True Story Book, 1893; The Red True Story Book, 1895; The All Sorts of Stories Book, 1911; The Crimson Fairy Book, 1903, (lower board faded and detached); The Orange Fairy Book, 1906; The Red Fairy Book, 1890, (upper cover detached); The Yellow Fairy Book, 1894, (upper cover detached); and The Book of Saints and Heroes, 1912, (upper board faded), each with George Francis Lindsay bookplate to front pastedown, each with original covers and spine bound into rear, Sangorski & Sutcliffe bound for Brentano's black ink stamp to all free front endpaper versos, all uniformly bound, in green calf gilt, some rubbing to extremities, gilt decorated spines with brown morocco labels, faded and rubbed, 8voQTY: (15)

This antique illustrated book, Poetry of Flowers, features a stunning embossed and gilt-decorated cover with intricate floral and lyre motifs, making it a visually striking collectible. The ornate Victorian-style binding showcases elaborate black and gold detailing, while the spine retains its gold-lettered title. Measuring 5"L x 1.5"W x 7.5"H, this volume is a fine example of 19th-century decorative bookmaking, appealing to collectors of antique literature, botanical poetry, and fine bookbinding.Issued: 1881Dimensions: See DescriptionCondition: Age related wear.

Finlay, Ian Hamilton (1925-2006) 10 letters and a signed postcard, 1973-1974 20th March 1973, Stonypath, a letter thanking Catherine Czerkawska for her kind letter regarding his book and revealing the “True Fate of some of the people in the book…”, typed letter signed;9th January 1974, Stonypath, discussing various topics, including Orkney and George Mackay Brown, 2 pages, typed letter signed;3rd March 1974, Stonypath, discussing various things including: “We have raised the level of our (home-made) loch, and I am building, with great labour, a little island…The swans are partly to keep down the weed, (which gives the fish shelter), and partly to introduce a more obvious element of neo-classicism…”, 3 pages, typed letter signed;18th April 1974, discussing one of his books “which has a Fox in it” and one or two disputes with authority, 4 pages, typed letter signed;and others, similar, discussing his feelings about poetry, his time in the army, collaborations, “a frightful visit from 2 people who had come from Canada”, the Crown v Fulcrum case, and a signed copy of letters regarding a dispute with the Arts Council (13)

Carroll (Lewis). Doublets A Word-Puzzle, 2nd edition, London: Macmillan and Co., 1880, some slight marginal toning, original cloth in dust jacket, blind stamp to cover, boards and spine rubbed and heavily marked, 8vo, together with; Kipling (Rudyard), The Second Jungle Book, Reprint, London:Macmillan and Co., Limited, 1897, front gutter slightly split, some occasional light foxing, original gilt decorated blue cloth, spine lightly rubbed to head and foot, all edges gilt, 8vo, plus The Years Between, limited edition, London: Methuen and Co. Ltd., 1919, ink inscription to front endpaper, endpapers toned, original velum backed boards, covers marked, damp staining to lower of rear board, paper label to spine slightly chipped, 8vo, and other 19th and 20th century poetry and literature including publications by faber and faber and Oxford, some original cloth some in dust jackets and original wrappers, 4to/8vo, GQTY: (6 shelves )

BROD MAX: (1884-1968) Austro-Hungarian author, composer and journalist, best remembered as the friend, literary executor and biographer of Franz Kafka. A good A.L.S., Max Brod, two pages, 8vo, Hayarden Street, Tel-Aviv, 21st July (1954), to [Eugen] Brehm, in German. Brod commences his letter stating ´I really enjoyed your poems – I also saw some beautiful verses by you in the magazine ‘Zwischen den Kriegen’ [Between the Wars]. I have no doubt that you have a significant talent for poetry´ and continues to list four titles which he particularly likes, further remarking ´ It is very difficult to publish good poetry at the moment. I myself have a book of poetry that has grown to between 70 and 100 poems over several decades. And I don't dare send it in. It's in a drawer. If you allow me, I will try to publish one or two of your poems either here in one of the four or five weekly magazines published in German or elsewhere. But please don't expect quick results´. VGEugen Brehm was a German writer and active member of German anti-militarist and Socialist movements from 1926. He was taken into ´protective custody´ in March 1933 for anti-militarist activities in Berlin, but escaped to Czechoslovakia two years later. He contributed under the pen-name Max Herb to Czech, Swiss and German anti-Nazi papers and periodicals, and in 1939 settled in Great Britain.

DUFY RAOUL: (1877-1953) French Fauvist painter. A.L.S., Raoul Dufy, four pages, 8vo, Paris, n.d. ('Jeudi'; 5th October 1917), to Jean Emile Laboureur, in French. Dufy states that his despatch must have surprised his correspondent and continues to explain a delay in the printing of an almanac, which is to be so late that Poiret wishes to abandon the idea for the present year, further writing of other work, 'Je viens de terminer les gravures des Elegies Martiales et nous vous enverrons un exemplaire aussitot paru. Je vois avec plaisir que vous avez beaucoup travaille et je suis sur que vous avez amasse de quoi travailler longtemps. Avez vous fait de la peinture? Je me seus une furieuse envie de m'y remettre….' (Translation: 'I have just finished the engravings of the Elegies Martiales and we will send you a copy as soon as it appears. I see with pleasure that you have worked a lot and I am sure that you have amassed enough to work for a long time. Did you paint? I feel a furious desire to get back to it…..') and also making reference to Roger Allard, 'Vous apprendrez que notre ami Allard vient de se blesser assez grievement. Je viens de recevoir une lettre de lui est raide et immobile sur un lit d'hopital, il souffre blessures a la jambe gauche a la main droite, a la levre et brulures sur le corps. Il faut attendre des precisions et esperer que ces blessures ne seront que legeres' (Translation: 'You will learn that our friend Allard has just been seriously injured. I have just received a letter from him, he is stiff and motionless on a hospital bed, he suffered injuries to his left leg, right hand, lip and burns on his body. We have to wait for details and hope that these injuries will only be slight'). Accompanied by the original envelope hand addressed by Dufy. A couple of very light, extremely minor stains to the upper right edge of the first page, not affecting the text. VG Jean Emile Laboureur (1877-1943) French painter, designer, engraver, watercolourist, lithographer and illustrator. Roger Allard (1885-1961) French writer, art critic and translator whose book of poetry, Les Elegies Martiales (1917), was illustrated with woodblock prints by Dufy, and whose work L'Appartement des jeunes filles (1919) was the first book which Laboureur provided illustrations for.

VIGNY ALFRED DE: (1797-1863) French Poet, Playwright and Novelist. A good content A.L.S., `Alfred de Vigny´, three pages, 4to, n.p., 7th November 1826, to Adolphe de Saint Valry, in French. Vigny refers to his meeting with Walter Scott, making interesting comments about him and explaining what were his first impressions, and starts his letter praising his correspondent´s poems, referring to Lafontaine and Perrault and stating `Vous ne voulez donc pas revenir? Je suis las de vous attendre, je ne tiens pas au désir qui tonne en moi de vous exprimer le plaisir que m’ont fait vos deux poèmes, et puisque je ne puis vous le dire, je vous écris qu’ils sont pleins d’une grâce naïve qui n’appartient qu’à vous dans la famille des poètes ; votre abandon n’est jamais négligence et c’est de quoi je m’étonnerais si j’en avais le temps, mais en vous disant, la poésie m’emporte et j’oublie mes projets de faire des remarques, toutes les fois que je reprends votre livre trop petit mais précurseur, j’espère de quelque autre et vous qu´on passerait doucement sa vie à s’entendre conter si bien de si jolies choses! vous me faites rêver de Lafontaine et de Perrault, et je me mêle à vos jolis petits enfans l’un sur l’autre penchés, mais je suis fort tenter de les embrasser et point du tout de m’endormir. Il ne fallut pas moins que vous et Madame Tatsu pour me tirer de toutes mes tristesses…venez donc me voir bientôt…´ (Translation: "So you don't want to come back? I'm tired of waiting for you, I don't care for the desire that thunders within me to express to you the pleasure that your two poems gave me, and since I can't tell you, I write to you that they are full of a naive grace that belongs only to you in the family of poets; your abandonment is never negligence and that's what would surprise me if I had the time, but in telling you, poetry carries me away and I forget my plans to make remarks, every time I take up your book, too small but precursory, I hope for some other and you that one would spend one's life sweetly hearing such beautiful things told to oneself! You make me dream of Lafontaine and Perrault, and I mingle with your pretty little children leaning over each other, but I am very tempted to kiss them and not at all to fall asleep. It took no less than you and Madame Tatsu to pull me out of all my sadness...so come to see me soon...") Further referring to the poor health of his wife and how difficult time they are having, and to a postscriptum Vigny interestingly states `J’ai passé hier quelque temps avec Sir Walter Scott. L’oncle de ma femme son compatriote me l’a fait connaître. Je vous dirai tout ce que j’ai observé dans cet illustre vieillard, l’écrire serait trop long ; je l’ai trouvé affectueux et modeste, presque timide ; mais souffrant, mais affligé mais trop âgé, ce que je n’attendais pas. Cela m’a fait peine´ (Translation: "I spent some time yesterday with Sir Walter Scott. My wife's uncle, his compatriot, introduced me to him. I will tell you everything I observed in this illustrious old man; to write it would take too long; I found him affectionate and modest, almost timid; but suffering, but afflicted, but too old, which I did not expect. It made me sad.") A letter of excellent association. With addressee in Vigny´s hand to the back page, bearing remnants of a former red wax seal. A Bath blind embossed seal to the upper left front page corner. Small overall minor staining and creasing, with a small tear to the right fold edge, otherwise GWalter Scott (1771-1832) Scottish historical novelist, poet, playwright & historian.It was on November 7th 1826, that Walter Scott left Paris after receiving the day before, from its author, a signed copy of Alfred de Vigny's Cinq-Mars. Vigny was accompanied by the uncle of Lydia, the young Englishwoman he had married in 1825. Vigny was not yet fluent in English, nor Scott in French.

WW2 British Information Booklets covering mainly Air Force related subjects: Bomber Command, One of our Aircraft is Missing, The Battle of Britain, Target Germany, Coastal Command, Fleet Air Arm, Over to You, Man Power, Fire Over London, Roof Over Britain, Croydon Courageous, Gen x 3, along with book "Air Force Poetry". (17)

Cornish artists interest: a book of poetry by William H. Davies inscribed to the sculptor and painter Phyllis 'Pog' Ygelsias - aka 'Golly', the book 'The Song of Life and Other Poems', 1st ed, pub. London: A. C. Fifield, 1920, inscribed to the ffep "To "Golly", with kind regards from the author. 1920", plus a monochrome photograph of the 1920 Dame Laura Knight painting 'W.H. Davies & the Gollywog in Cornwall'. (2)

JEAN HUGO (FRENCH 1894-1984) ⊕ Works from the Estate of Alexander Iolas by Jean Hugo and Niki de Saint Phalle (lots 68-74) Introduction Born in Alexandria, Egypt, Alexander Iolas (1908-1987) was a renowned art dealer, gallerist and collector whose influence made a seismic impact on the New York art scene and internationally between the 1950s and 1980s. Iolas defied family expectations to follow his father into the cotton trade, instead he travelled widely throughout Europe and trained as a ballet dancer before starting to deal in art. Arriving in New York in 1935, he became manager of Hugo Gallery on East 55th Street founded by Elizabeth Arden, Robert Rothschild and Maria dei Principi Ruspoli Hugo in 1945. The gallery gained a reputation for Surrealist art after Iolas staged a pivotal exhibition of new work by Max Ernst, Dorothea Tanning and René Magritte in 1947. Five years later Iolas mounted the landmark show of the yet undiscovered Andy Warhol, staging his artistic debut Fifteen Drawings Based on the Writings of Truman Capote in 1952 and propelling the young American artist to stardom. Iolas and Warhol subsequently worked closely together, with Iolas credited for commissioning one of Warhol’s final print epics The Last Supper of 1986. Iolas also introduced the work of Ed Ruscha to the gallery, shepherding his reputation and market. In 1955, in partnership with Brooks Jackson, Iolas established his own independent gallery franchise across Paris, Milan, Rome, Geneva, Madrid and Athens. Famous for his bombastic claims and often amusing opinions (once dismissing Balthus and Cy Twombly as terrible painters in the same breath), his eye was informed by intuition, his theatrical nature inextricably linked to his professional undertakings. Speaking to art historian Maurice Rheims in 1965, Iolas stated: 'I don’t consider a gallery as a commercial occupation. It’s purely artistic… it’s a show in which the audience members are the dancers, and the scenery is made by the painter. Jean Hugo (lots 68 & 69) The small format gouaches by Jean Hugo (lots 68 & 69) are typical of the artist's colourful and playful style. Great-grandson of the Romantic novelist and politician Victor Hugo (1802-1885), Hugo was raised in a lively artistic environment, and began drawing and writing poetry from an early age. His artistic career spans the twentieth century, from his early sketches of the First World War to the creative fervour of his years in Paris. Part of an extensive artistic circle, he counted Picasso, Cecil Beaton (see lot 54) and Jean Cocteau among his friends. Niki de Saint Phalle (lots 70-74) Executed between 1968 and 1970 the following five lots capture the artist's Saint Phalle's idiosyncratic style in which she combines vibrant colours with a youthful spirit. Teeming with characters, quotations and annotations, the works shed light on the artist's personal state of mind, which later informed her illustrated book AIDS: You Can’t Catch It Holding Hands of 1986, an important work that delivers life-saving healthcare information about the transmission of HIV through colourful cartoons in an attempt to destigmatise the disease. Self-taught, in her early years Saint Phalle's work was dominated by feminist rage and destruction, but she gradually moved on to a period typified by the celebration of womanhood through sculptures of female bodies, often immense, in fibreglass and polyester resin. Her work reached its zenith in such monumental outdoor projects such as Dragon for the son of Roger Nellens, at Knokke-le-Zoute created in the early 1970s in collaboration with her long term creative and romantic partner Jean Tinguely (1925-1991), and The Tarot Garden, a sculpture garden in Pescia Fiorentina, Tuscany featuring twenty-two monumental figures inspired by Guadi's Parc Güell in Barcelona, that opened in 1998. JEAN HUGO (FRENCH 1894-1894) THE GAS TOWER; HARVEST TIME; WORKING LANDSCAPE (I-III) (i) signed Jean Hugo lower right; numbered no. 71 on the reverse (ii) signed Jean Hugo lower left (iii) signed Jean Hugo lower right each gouache and pen and ink on paper (i) 6 x 9cm; 2 1/4 x 3 1/2in (ii) 5.5 x 9cm; 2 1/4 x 3 1/2in (iii) 5.5 x 9cm; 2 1/4 x 3 1/2in 48 x 26cm; 19 x 10 1/4in (framed as one) (3) Property from the Estate of Alexander Iolas Each paper is attached to board with tape along all four edges from the reverse. There is some minor discolouration to the upper and lower edges of the paper (i); and minor discolouration to the sky area (ii), both visible in the image. There is also a very minor hair accretion, visible under very close inspection (ii). There are no apparent condition issues with (iii). Otherwise this work is in very good original condition. The work is framed under glass.

AN EXTREMELY RARE IZNIK POTTERY TILE FROM THE CINILI HAMAM OTTOMAN TURKEY, CIRCA 1540 of hexagonal form, underglaze, the main field decorated in white against a dark blue background, with details picked out in turquoise, the primary element of the design is an asymmetrical prunus tree in blossom, growing from a bunch of fleshy saz leaves at the base, from this base also sprout two other stems in the saz style, the right one with a large rosette as well as buds and leaves, and the left stem ending in a distinctive three-petalled tulip decorated with dark blue dots and turquoise teardrop shapes, at the top right is a Chinese-inspired cloud motif, and the borders are of turquoise with a repeat pattern of rosettes in two different sizes 28.3cm diameter max.Provenance: Baron Leon van der Elst (Belgian, 1865-1933).Count Frederick van der Steen de Jehay (Belgian, 1858-1916).Henriette de Jourda de Vaux (Belgian, 1865-1946).Marie-Noelle Kelly (Belgian, 1901-1999); thence by descent. Each of the following three Iznik tiles (lots 43-45) are accompanied by handwritten notes dated to 1905. The note reads in French translates to:‘Three pieces of pottery from mosques that were given to me by the mother of the young Marcel van der Elst, and that came from the collection of his grandfather. Constantinople 14 June 1905.’Two of the notes are written in the hand of Count Frederick van der Steen de Jehay (1858-1916), the recipient of the Iznik tiles, who served as a distinguished politician and diplomat. Most notably, he was posted as special envoy to Istanbul from 1897-1905. The end of his appointment coincides with the year these tiles came into his possession, suggesting that they may have been given to him to mark the end of his tenure.After his tenure in Istanbul, he was made Chief of Cabinet of the Belgian Ministery of Foreign Affairs. His wife, Henriette (1873-1957) was lady-in-waiting to Queen Elisabeth, wife of King Albert I of Belgium. Frederick and Henriette bore no children, and the tiles would have been inherited by her sister, Jeanne Snoy (1878-1955) who married Count Charles de Jourda de Vaux (1865-1946). It is through this line that the tiles were inherited by the late Sir Bernard Kelly’s wife, Marie-Noelle Kelly, niece of Jeanne Snoy, and have remained in the family since.The grandfather of Marcel van der Elst is named as M. v. d Elst within a note written in a different hand (see fig. 1a). The name is likely to refer to Leon Baron van der Elst (1865-1933), a highly distinguished diplomat, negotiator, and was most notable for being the foreign affairs advisor to King Leopold II of Belgium from 1906 to 1918. In an historical biographical account, (see www.ars-moriendi.be), Baron van der Elst put Count ven der Steen de Jehay forward as chief ‘ad interim’ of the King’s cabinet from 1916 up until his death, highlighting the esteem the Baron held for the Count.Although there are no further provenance details for the other two tiles, the prior history of the piece from the Çinili Hamam, lot 43, is known. An anonymous document addressed to Sultan Abdülhamid II states that a French antiques dealer, Ludovic Lupti, had stripped the hamam of its tiles around 1874 and subsequently taken them to France, paying pennies for each of them. From Paris he sold them to museums and collections across the continent for the princely sum of 24 francs each. This appears to have been the sole point of dispersal for all the tiles from this group, which can now be found in major collections in France, the UK, and Türkiye (see Özbay and Şengozer, Barbarossa’s Cinili Hamam: A Masterpiece by Sinan, 2023, pp. 52, 266).Note:  This tile is one of only three complete tiles bearing this pattern. The example in the Victoria & Albert Museum was made by cutting two damaged tiles and fitting the remaining parts together (see Atasoy and Raby, Iznik: The pottery of Ottoman Turkey, 1989, fig. 501). The third of these tiles is in the Ömer Koç Collection, Istanbul (see H. Bilgi 2015, no.15). Although the overall design of each is the same, suggesting the use of stencils, there are subtle alterations in details of colour and patterning between the three. During the conservation of the Çinili Hamas which took place from 2010-23, fragments of tiles were found under and above the wall plaster, including several pieces of the same design as this tile (see Özbay and Şengozer,  Barbarossa’s Cinili Hamam: A Masterpiece by Sinan, 2023, figs. 4.6e and 4.7 pattern 20). Exactly where this tile design was placed within the hamam is unclear, it is certain that both the men’s and women’s sections were decorated in this fashion, and hexagonal tiles appear to have been used side-by-side to create uninterrupted walls of a single design (opp, cit, pp. 192-7). The basic design of the tile was clearly popular among the potters of Iznik and their clients. With a pattern spread over two tiles rather than one and with mossy green added to the palette, a contemporary tile panel in the David Collection employs the same elegant prunus along with the non-natural serrated leaves and tulips at the base, and both may have been inspired by the arts of the book (see Atasoy and Raby 1989, figs. 229-30, pp. 134-5). A blue-ground dish in the British Museum, made half a century later, uses a slightly simplified version of the same design (see J. Carswell, 1988, fig. 56 pp. 80-1).The Çinili Hamam’s patron was none other than the great kapudan-i derya (Admiral) Hayreddin Pasha, better known in the West as Barbarossa. He was one of the most important characters of the reign of Süleyman the Magnificent, leading Ottoman naval forces across the Mediterranean from around 1510 until his death in 1546. That his hamam was constructed in the prestigious Zeyrek district of Istanbul was a testament to his importance, with the endowment deed of 1534 stating that the Sultan himself had reserved access to the nearby aqueduct’s water for the Hamam’s use (see opp. cit, pp. 78-9). As a key figure at the Ottoman court, Barbarossa was given access to both Sinan, the greatest architect of the time, as well as the Nakkaşhane (imperial painters’ workshop) which provided designs for the tiles. The baths were adjacent to the mansions of palace dignitaries as well as easily accessible from nearby main roads, making it an easy source of money to be provided to Barbarossa’s charitable foundations elsewhere in the city (ibid, pp. 181-4). Sinan himself was a pioneer in including tiles within the overall architectural scheme of buildings, as seen in the Çinili Hamam, and may even have been in charge of the Iznik ceramic industry in this period [Necipoğlu 1990, pp. 154-5].Originally named after its patron or his titles as Admiral, the name by which the hamam is now known derives from the extensive tilework (‘Çinili’ means ‘tiled’), which distinguished it from other baths of the period which lacked extensive tile decoration. Such was the impression made by the tiles that one of the leading Ottoman poets of the day praised them on the occasion of the Hamam’s opening, suggesting that they had overcome even the ‘beautiful ones of China’. Although it was considered one of the preeminent baths of Istanbul during the 16th and 17th century, the Çinili Hamam was damaged by fires during the 18th century and finally destroyed by fire in 1833, passing through multiple hands thereafter (see opp. cit,  2023, pp. 82-91). After an extensive process of restoration, the hamam has now reopened, along with a small museum including both archaeological finds and the tile fragments found under the plaster. In its new state, it truly reflects the sentiment of the poetry found on some of the surviving tiles:“The area of the bath is like Paradise/Although its foundations are made of clay and bricks” (see opp. cit, p. 43]. 

Hans (Jean) Arp 1886 Straßburg - 1966 Basel Initiale pour un éditeur. 1960. Collage aus farbigem Karton. Verso auf einem Etikett handschriftlich signiert sowie typografisch datiert, betitelt und mit den Technikangaben bezeichnet. Unikat. 40 x 36 cm (15,7 x 14,1 in). [KA]. Weitere Werke aus der Sammlung Max Niedermayer, Limes-Verlag Wiesbaden, kommen im Evening Sale am 6. Juni und im Day Sale am 7. Juni sowie in unseren weiteren Auktionen im Laufe des Jahres zum Aufruf. • Hans Arps Collagen sind poetische Manifestationen der freien Assoziation. • Titelbild des Buches 'Briefe an einen Verleger' (1965), erschienen zu Ehren des Limes-Verlegers Max Niedermayer. • Bald organisch, bald konstruktiv geprägt, reflektiert Arps Formensprache die unerschöpfliche Vielfalt natürlicher Strukturen. • Hervorragende Provenienz: Die Collage wird 1965 vom Künstler selbst Max Niedermayer zu dessen 60. Geburtstag überreicht. • Collagen von Hans Arp befinden sich in den Sammlungen bedeutender Museen wie dem Museum of Modern Art, New York, dem Solomon R. Guggenheim Museum, New York, und dem San Francisco Museum of Modern Art. Wir danken der Stiftung Hans Arp und Sophie Taeuber-Arp für die freundliche Auskunft. PROVENIENZ: Sammlung Dr. Max Niedermayer, Wiesbaden (1965 direkt vom Künstler als Geschenk erhalten, anlässlich seines 60. Geburtstags). Nachlass Dr. Max Niedermayer, Wiesbaden (seit 1968, durch Erbschaft vom Vorgenannten). Privatsammlung Rheinland-Pfalz (seit 1979, vom Vorgenannten erworben). Seither in Familienbesitz. LITERATUR: Marguerite Valerie Schlüter, Briefe an einen Verleger. Max Niedermayer zum 60. Geburtstag, Wiesbaden 1965 (mit Abbildung auf dem Umschlag). 'Die Collage ist Poesie mit plastischen Mitteln.' (Hans Arp, zit. nach: arpmuseum.org, 2024) Aufrufzeit: 07.06.2025 - ca. 17.46 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONHans (Jean) Arp 1886 Straßburg - 1966 Basel Initiale pour un éditeur. 1960. Collage of color cardboard. Signed, dated, titled, and inscribed with the technique on a label on the reverse. Unique object. 40 x 36 cm (15.7 x 14.1 in). [KA]. More works from the Max Niedermayer Collection, Limes-Verlag Wiesbaden, will be offered in the Evening Sale on June 6 and in the Day Sale on June 7, as well as in other auctions throughout the year. • Hans Arp's collages are poetic manifestations of free association. • On the cover of the book 'Briefe an einen Verleger' (Letters to a Publisher, 1965), published in honor of Limes publisher Max Niedermayer. • At times organic, at times constructive, Arp's formal language reflects the inexhaustible diversity of natural structures. • Outstanding provenance: the artist gave the collage to Max Niedermayer on his 60th birthday in 1965. • Collages by Hans Arp can be found in the collections of major museums such as the Museum of Modern Art, New York, the Solomon R. Guggenheim Museum, New York, and the San Francisco Museum of Modern Art. We are grateful to the Hans Arp and Sophie Taeuber-Arp Foundation for their kind support. PROVENANCE: Dr. Max Niedermayer Collection, Wiesbaden (gifted directly by the artist in 1965 on the occasion of his 60th birthday). Dr. Max Niedermayer Estate, Wiesbaden (since 1968, inherited from the above). Private collection, Rhineland-Palatinate (since 1979, acquired from the above). In family ownership ever since. LITERATURE: Marguerite Valerie Schlüter, Briefe an einen Verleger. Max Niedermayer zum 60. Geburtstag, Wiesbaden 1965 (illustrated on the cover). 'Collage is poetry with graphic means.' (Hans Arp, quoted from: arpmuseum.org, 2024) Called up: June 7, 2025 - ca. 17.46 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

A collection of 18th century and later ephemera, to include six George II and III Acts of Parliament, including establishing the First National Lottery; book of poetry etc

CATSJake Bell’s Annotated Production Book and Script from Cats. An early production book with dates and notes relating to both the first Broadway production and the first National tour of Cats in 1983. The production book an old blue cloth covered three ring binder with a label to the upper cover reading "CATS NEW YORK COMPANY/PRODUCTION BOOK JAKE'S COPY," this without a general title leaf but opening with the Contact Sheet for the show dated 10 October 1983 (listing producers Cameron Mackintosh, David Geffen, The Shubert Organization), the Broadway cast list and contract assignments, prop list, the "Magic Sheet" breaking down each role, this all preceding the script (about 58 pages with hand-annotation), at the end is the contact list for the first national Cats tour, dated November 1983. Some wear and soiling from use. The script is brad-bound and the black cover is lettered in gold, the title page is dated October 1982 from the Winter Garden Theatre (this the month the musical opened on Broadway). 52 pages. A fine and clean copy, without annotation. Cats was a remarkably innovative show when it first opened on Broadway in October 1982. Perhaps the first Broadway musical to do so, the show broke down the proscenium, offering some seats on stage around the revolving stage for an immersive viewing experience. The technical requirements of the show demanded renovations to the theaters in both London and New York, and when the costs of John Napier's costumes are added in, Cats was the most expensive show to open on Broadway to that date, but it was profitable quickly. In 1997, Cats overtook A Chorus Line as the longest running show in Broadway history, a record until 2006 when surpassed by another Andrew Lloyd Webber musical produced by Cameron Mackintosh and technically managed by Jake Bell: The Phantom of the Opera. Cats remains the fifth-longest show in Broadway history. A national tour of Cats opened in 1983, running through 1987, and this book relates to both the first Broadway and first national tour of Cats. Technical Production Manager Jake Bell's memories of Cats:Created by Andrew Lloyd Webber, Cats was first produced in London by Cameron Mackintosh, directed by Trevor Nunn, choreographed by Gillian Lynne, and designed by John Napier. It opened on Broadway in 1982 at the Winter Garden Theatre. Based on T.S. Eliot’s poetry collection Old Possum’s Book of Practical Cats, at the time Cats was conceptually groundbreaking in that, unlike traditional musical,s it was not about human characters - it was about cats - and the story was told entirely through music, dance, and poetry, with no spoken dialogue.The set was an oversized junkyard, designed to make the human actors appear cat-sized. Key set pieces included a giant sneaker, the trunk of a broken-down car (often used as a cat slide), an enormous Heinz Baked Beans can, and a large tire—creating an immersive, whimsical playground for the feline characters. Audience interaction was another defining element. Select tickets were sold for onstage seating, allowing some audience members to be a direct part of the performance. The onstage seating allowed these guests to experience their own immersive "theater in the round." During intermission, other audience members were invited onstage to explore the set and interact with Old Deuteronomy, who remained seated on the oversized junkyard tire.Cats was arguably the introduction of the "mega-musical" to the world, delivering an unprecedented visual and theatrical spectacle that stunned audiences, particularly those in middle America, who had never seen anything like it before.Beyond Broadway, Jake worked on four national tours of Cats. Unlike the Broadway production, where the theater was physically renovated to accommodate the show, the touring companies had to adapt to each venue. The team pre-surveyed theaters across the country, modifying the set to fit within different proscenium sizes while covering existing architecture to create a seamless illusion. The orchestra pit was concealed, and the set decoration pieces were mounted on a frame customized to each specific theater. As on Broadway, the orchestra itself was positioned offstage.Cats was one of the first Broadway productions to fully embrace wireless microphone technology. Every principal character wore a wireless microphone, which was discreetly embedded into their wigs—an innovation at the time. The hydraulic lift for the giant tire, which carried Grizabella to the "Heaviside Layer," was the single most expensive item in the production budget. However, just as crucial to the show’s identity were its elaborate makeup and costuming. A Makeup Bible was created for all Cats productions worldwide. Each actor’s makeup design, paired with a handmade wig (crafted from yak hair), was carefully documented with a photograph and matched to John Napier’s original sketches. Napier, who designed not only the scenery and props but also the costumes, hair, and makeup, ensured that this signature look remained consistent across all productions.Cats was the first show to completely rethink the layout of an entire theater, from the audience seating to the back wall of the stage. The Winter Garden Theatre was permanently remodeled to accommodate the production. Seats were removed, the orchestra pit was eliminated, and the proscenium arch was taken down. The orchestra itself was relocated offstage, positioned upstage left in the wings. The immersive junkyard set extended out into the audience, enveloping theatergoers in the world of the show. This was particularly exciting for children, who felt as if they were truly inside a cat's domain. Even the dry ice used to mask the hydraulic lift as it raised Grizabella floated into the front rows, further blending the stage with the audience. The cast frequently entered from the rear and sides of the house, reinforcing the illusion that the entire theater was part of their world.When the Broadway production of Cats closed in 2000 after 18 years and 7,485 performances, the stage and house crews had to restore the Winter Garden Theatre to its original state. The removed seats were reinstalled, the orchestra pit was rebuilt, and the proscenium was reconstructed to prepare the venue for future productions. 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

CATSA stage-used newspaper and much promotional material from Cats. Includes a stage-used fabric newspaper used as part of the "junk yard" scenery and made of scrim material, about 30 x 36 inches with irregular edges; the printed large-format Cats Chorus Book, 1982, being a reproduction of the manuscript of the score, 13 x 11 inches, this likely for cast use, tears and small losses, the spine tape repaired, stain to first leaf; a Cats Now & Forever plastic tray, 18 x 11 inches; a large format program; a rehearsal photograph; a felt Cats bag with marbles; two Cats watches in cases; the Playbill from show 6,138 when Cats overtook A Chorus Line as the longest running show in Broadway history; the Playbill from Cats last performance on September 10th, 2000; and a Playbill from a Chicago performance; a luggage tag; a signed show poster from the last performance of Cats in September 2000, framed, 22 x 14 inches; a poster from an early tour; an assembled cast photograph, framed; and handwritten note from choreographer Gillian Lynne dated 2006.Technical Production Manager Jake Bell's memories of Cats:Created by Andrew Lloyd Webber, Cats was first produced in London by Cameron Mackintosh, directed by Trevor Nunn, choreographed by Gillian Lynne, and designed by John Napier. It opened on Broadway in 1982 at the Winter Garden Theatre. Based on T.S. Eliot’s poetry collection Old Possum’s Book of Practical Cats, at the time Cats was conceptually groundbreaking in that, unlike traditional musical,s it was not about human characters - it was about cats - and the story was told entirely through music, dance, and poetry, with no spoken dialogue.The set was an oversized junkyard, designed to make the human actors appear cat-sized. Key set pieces included a giant sneaker, the trunk of a broken-down car (often used as a cat slide), an enormous Heinz Baked Beans can, and a large tire—creating an immersive, whimsical playground for the feline characters. Audience interaction was another defining element. Select tickets were sold for onstage seating, allowing some audience members to be a direct part of the performance. The onstage seating allowed these guests to experience their own immersive "theater in the round." During intermission, other audience members were invited onstage to explore the set and interact with Old Deuteronomy, who remained seated on the oversized junkyard tire.Cats was arguably the introduction of the "mega-musical" to the world, delivering an unprecedented visual and theatrical spectacle that stunned audiences, particularly those in middle America, who had never seen anything like it before.Beyond Broadway, Jake worked on four national tours of Cats. Unlike the Broadway production, where the theater was physically renovated to accommodate the show, the touring companies had to adapt to each venue. The team pre-surveyed theaters across the country, modifying the set to fit within different proscenium sizes while covering existing architecture to create a seamless illusion. The orchestra pit was concealed, and the set decoration pieces were mounted on a frame customized to each specific theater. As on Broadway, the orchestra itself was positioned offstage.Cats was one of the first Broadway productions to fully embrace wireless microphone technology. Every principal character wore a wireless microphone, which was discreetly embedded into their wigs—an innovation at the time. The hydraulic lift for the giant tire, which carried Grizabella to the "Heaviside Layer," was the single most expensive item in the production budget. However, just as crucial to the show’s identity were its elaborate makeup and costuming. A Makeup Bible was created for all Cats productions worldwide. Each actor’s makeup design, paired with a handmade wig (crafted from yak hair), was carefully documented with a photograph and matched to John Napier’s original sketches. Napier, who designed not only the scenery and props but also the costumes, hair, and makeup, ensured that this signature look remained consistent across all productions.Cats was the first show to completely rethink the layout of an entire theater, from the audience seating to the back wall of the stage. The Winter Garden Theatre was permanently remodeled to accommodate the production. Seats were removed, the orchestra pit was eliminated, and the proscenium arch was taken down. The orchestra itself was relocated offstage, positioned upstage left in the wings. The immersive junkyard set extended out into the audience, enveloping theatergoers in the world of the show. This was particularly exciting for children, who felt as if they were truly inside a cat's domain. Even the dry ice used to mask the hydraulic lift as it raised Grizabella floated into the front rows, further blending the stage with the audience. The cast frequently entered from the rear and sides of the house, reinforcing the illusion that the entire theater was part of their world.When the Broadway production of Cats closed in 2000 after 18 years and 7,485 performances, the stage and house crews had to restore the Winter Garden Theatre to its original state. The removed seats were reinstalled, the orchestra pit was rebuilt, and the proscenium was reconstructed to prepare the venue for future productions. 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

Christie (Agatha) The Road of Dreams, first edition, scattered foxing, original cloth-backed boards, mottled fading to covers and spine, slight bumping to spine tips and corners, endpapers renewed, dust-jacket price at 5s., spine a little browned, small patch of discolouration ?resulting from the removal of a label, spine ends and corners a little chipping, slight creasing and fraying to upper edge, faint marking to panels, light rubbing to extremities, a very good example, [Cooper & Pike pp.82-9], 8vo, Geoffrey Bles, [1925].*** Christie's first book of poetry, and indeed one of her earliest works in any genre. It was printed at her own expense with sadly negligible sales. Rare in the dust-jacket. 

BOOK, POETRY. BLUNDEN, E. (ed.), 'The Poems of Wilfred Owen', 1st thus, 1931. Chatto and Windus. Purple cloth; no jacket; not inscribed; reasonably well-bound. A good copy.

Book, POETRY, Compton MACKENZIE. This a p/b 1st, 1907 (as M. Compton Mackenzie), dedicated and signed by the author and dated 'Aug. 1910'. The book (or cover) is delicate but has been housed reverentially in a custom-made cloth two-part box with leather and gilt-blocked spine. Very attractive.

BOOK, POETRY. YEATS, W.B., 'The Tower', 1st ed. Macmillan, 1928. In VG condition with its striking green and gold design. There are a few small terracotta-coloured marks (emulsion?) to the front board which may be removeable. NOT ex-lib. Neat initialled gift inscr. Otherwise VG.

BOOK, POETRY. Henry REED, 'A Map of Verona', Jonathan Cape, 2nd imp. June 1946. A very nice copy in an excellent jacket for year. Signed and dedicated thus: 'For Betty with love from Henry Feb. 1949'. Contains 'Lessons of the War' and other well-known poems such as 'Chard Whitlow', the Eliot parody.

Children's illustrated. Three 19th century instructive illustrated works, illustrated with colour plates. Comprising c1880 The Instructive Picture Book of Animal and Vegetable Life, second edition, No. 4, London: Edward Stanford, many leaves loose & edgeworn, colour plates of zoological interest; Little Lays for Little Learners composed by Dr. Edward Rimbault, poetry of James Bruton, ed. William Dickinson, London: Chas. Sheard, binding near failed; and an 1882 similar work in German on nature publ. J. F. Schreiber, pictorial boards, binding failed with boards loose & with contents edgeworn. Poor condition, plates generally smart & bright. Folio. (3)

NOBRE, António.- Só.- Paris: Léon Vanier, 1892.- [8], 157, [3] p.; 23 cm.- E., First edition of one of the most emblematic books of 19th century Portuguese poetry, whose print run was limited to 230 copies, printed on linen paper. António Nobre (1867-1900), an ultra-romantic decadent poet, born in Porto, was also influenced by French symbolism, of which he was one of the precursors in Portugal. The only book of poetry published during the short life of the author who would die of tuberculosis at the age of 32. Copy only trimmed at the head, with erased signature on page 157. Otherwise, very clean, preserving both paperback covers with flaps, with light handling and some browning. Recent binding, entirely brown morocco, with “art nouveau” blind ornamental border on the covers and original amateur spine, with two pairs of raised bands at the foot and head and a diamond-shaped label with the title.

El Lissitzky - Wladimir Majakowski. Dlia golosa. (russisch: Für die Stimme / Zum Vorlesen). Konstruktor knigi: El Lissitzky. Berlin, Lutze & Vogt für den Staatsverlag der RFSFR 1923. Mit illustriertem Titel, Typographiken und Illustrationen in Rot und Schwarz. Orangefarbene Originalbroschur mit Vorderdeckelillustration in Rot und Schwarz.Erste Ausgabe eines der wichtigsten Bücher des Konstruktivismus: »Majakowskis Gedichtband [...] wurde das einflußreichste Buch der typographischen Illustration des Konstruktivismus. Moholy-Nagy, van Doesburg, Teige und viele andere haben es gewürdigt und wurden von ihm in ihrer eigenen buchkünstlerischen Arbeit bestärkt und angeregt.« (Lothar Lang, S. 114). - »Furthermore, since Mayakovsky's volume of poetry was meant for recitation, Lissitsky's invention of a thumb-tab index for ease in finding each poem epitomizes the notion of the book as functional object« (Rowell and Wye, Seite 54). - »Der Ruhm Lissitzkys als Begründer einer neuen typografischen Kunst festigte sich endgültig nach Erscheinen des Majakowskischen Gedichtbandes „Zum Vorlesen" [...] Das Buch auszustatten wurde Lissitzky von Majakowski selbst vorgeschlagen. Der Dichter nahm dreizehn seiner bekanntesten und am häufigsten von der Bühne zitierten Gedichte hinein. [...] im Unterschied zur traditionellen Buchgrafik, die auf einer illusionistischen Illustrierung des Textes basiert, sind Lissitzky der Wortdynamik adäquate grafische Konstruktionen gelungen, die das ›Vorlesen‹ der Majakowskischen Verse lediglich ›begleiten‹. Das Buch des großen revolutionären Poeten wurde von einem echten Poeten der neuen Typografie ausgestattet. [...] In einem Interview, 1924 veröffentlicht, gab Majakowski der Arbeit Lissitzkys eine hervorragende Bewertung: ›Das im Berliner Verlag der RSFSR erschienene Buch ›Zum Vorlesen‹ (Gestaltung durch den Künstler Lissitzky) ist in technischer Hinsicht ausnahmslose Vollendung grafischer Kunst.‹« (N. Chardchiew, zitiert nach Lissitzky-Küppers, S. 385ff.). - Sehr schönes Exemplar.18,8 : 13,3 cm. 61, [3 leere] Seiten, 1 illustriertes Titelblatt. - Umschlag und eine Blattkante minimal angestaubt.From Manet to Hockney 68. - Johnson Artists' Books in the Modern Era 41. - Bowlt/Hernard 91. - Hellyer 305. - Rowell/Wye 478. - Dokumentations-Bibliothek VI, 679. - Lang, Konstruktivismus 49, S. 110ff. und als Umschlagillustration. - Papiergesänge 42

New York & Boston: Books, Inc., circa 1920s-1930s. Iconic American poetry collection featuring Whitman's revolutionary free verse exploring themes of democracy, nature, love, and death. This edition is part of "The World's Popular Classics" series with quarter-bound leather and textured board design showcasing the publisher's distinctive Art-Type format.Artist: Walt WhitmanIssued: c. 1930Dimensions: 5.75"L x 8.25"HCountry of Origin: New YorkCondition: Age related wear. Good book conition.

Elizabeth Smart: 'By Grand Central Station I Sat Down and Wept', Editions Poetry London, 1945, 1st edition, original cloth gilt. 1945 novel in prose poetry inspired by Smart's passionate affair with the British poet George Barker (1913–1991). Just 2000 copies were printed on its initial publication in 1945, and it did not achieve popularity at its initial release. Smart's mother, Louise, led a successful campaign with government officials to have its publication banned in Canada. She bought up as many copies as she could find of those that made their way into the country and had them burned. Barker himself, in a letter to Smart, described the novel as "a Catherine wheel of a book."

* Newman (John Henry, 1801-1890), English Catholic theologian, canonized as a Catholic saint in 2019. Autograph Letter Signed, the Oratory Hagley road, Birmingham, 30 December 1854, to Mr MacCarthy in Dublin, suggesting Academia in honor of the Immaculate Conception, ‘I have received a suggestion from a Prelate now in Rome, that we ought to hold in Dublin an Academia in honor of the Immaculate conceived Conception. It will consist of verses and prose compositions, and of pieces of music, continuing that though it will not be a University act. It will be closely connected with it saying that ‘We must come to our Professor of Poetry for assistance’ and wondering if he might provide a copy of verses for the occasion and continuing, ‘Any mode you choose to treat the subject in would be acceptable. E. G. could you write a poem on some local legend? Or could you nor connect this Immaculate Purity of the Mother of God with the freedom of Ireland from reptiles (which bears a sort of analogy to the absence of original sin) and the acknowledged purity of the Irish woman? It is most presumptuous in me that suggesting matter to a Poet but it is this very office to make sugar out of sawdust’, and offering seasonal best wishes, ending with a postscript asking if he can suggest anyone else ‘who would write a good copy of verses?’, 3pp., old clear tape to inner margins to reunite separated leaves, not affecting signature, 8vo, together with the accompanying post marked envelope addressed to D. F. MacCarthy, 29 Blessington Street, DublinQTY: (1)NOTE:Dennis Florence MacCarthy (1817-1882) was an Irish poet, translator, and biographer, from Dublin. His Catholic faith had a strong influence on his work and his Nationalist feelings about Ireland lead him to produce a great deal of patriotic verse. He edited them as The Book of Irish Vellums, by various authors, and an introductory essay on ballard poetry.A significant letter. Ineffabilis Teus Deus is an apostolic constitution by Pope Pius IX which defines the dogma of the Immaculate Conception of the Blessed Virgin Mary. The document was promulgated on 8 December 1854, just three weeks before this letter was written. Mary’s then immaculate conception is a pronouncement made excathedra and is therefore considered by the Catholic Church to be infallible through the extraordinary then magisterium. In 1858, the young Bernadette Soubirous said that Mary appeared to her at Lourds, Southern France, to announce that she was the Immaculate Conception. The Catholic Church later endorsed the apparition as authentic.

Mitchell (Donald, editor). Letters from a Life: The Selected Letters and Diaries of Benjamin Britten 1913-1976, 2 volumes, 1st edition, London: Faber & Faber, 1991, monochrome plates and illustrations, original black cloth gilt in dustwrappers, with slipcase, 8vo, author's presentation copy, inscribed to half-title of first volume 'To John Cornish with best wishes from Donald Mitchell. The Red House, Aldeburgh, 22 June 19992 (PP's 82nd!)', additionally inscribed by the editor to title of second volume, together with The Aldeburgh Festival of Music and the Arts, Program Book, June 10-June 19 1949 & 17-25 June 1950 (the second and third festival programmes), numerous illustrations, both original printed wrappers, a few minor marks to edges, large slim 8vo, plus Crozier (Eric). The Life and Legends of Saint Nicolas, 1st edition, 1949, inscribed by the author to front endpaper, and Britten (Benjamin). Moscow Christmas, December 1966, original printed wrappers, with printed slip attached to first leaf inscribed by Benjamin Britten and Peter Pears to 'Dear Ruth', slim 8vo, plus other Benjamin Britten, Aldeburgh and Suffolk interest, including Montagu Slater, Peter Grimes and Other Poems, 1st edition, 1946, in dustwrapper, Eric Walter White, Benjamin Britten His LIfe and Operas, 1st edition, Faber & Faber, 1970, Boris Ford, Benjamin Britten's Poets: The Poetry He Set to Music, Carcanet Press, 1994, Beth Britten, My Brother Benjamin, Kensal Press, 1986, Gavin Ewart, The Gavin Ewart Show, 1st edition, Trigram Press, 1971 (signed), English Opera Group, original programme for Albert Herring and The Rape of Lucretia, October 8th, 1947 & October 14th, 1947 respectively, Ronald Blythe, Akenfield, 1st edition, 1969 & Places, An Anthology of Britain, Oxford University Press, 1981, each signed by the author to title page, original cloth in dustwrappers, various study scores and programmes, etcQTY: (6 shelves & a carton)

COMMONPLACE BOOK, C19TH. 'Album Vol.II 1835', an album of watercolours, drawings, collage, manuscript poetry and text, over 100 pages, panelled morocco distressed, front board and several leaves detached, decorative brass bosses to front, 29cm x 29cm.

EBSWORTH, Joseph Woodfall (1824-1908), and others. A small commonplace book belonging to Lucy M. Campbell Barnard, late C19th, containing numerous leaves of ms poetry and other works, many addressed to her by Joseph Woodfall Ebsworth, with transcriptions of other works, and letters, circa 70 pages of ms in all including letters, loose insertions, and other documents, a few later annotations, contemp. half-morocco distressed (tape repair to spine), 19cm x 12cm.

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.

This 1912 two-volume set of Rubaiyat of Omar Khayyam, edited by Nathan Haskell Dole, presents Edward FitzGerald's renowned translation alongside English, French, German, Italian, and Danish translations. The Multi-Variorum Edition includes additional selections, notes, biographies, bibliographies, and illustrations. Published by L.C. Page and Company, these books feature half-leather bindings with marbled boards, gilt lettering, and ornate spine detailing. A finely bound literary classic, this set is a collector's piece for poetry and antiquarian book enthusiasts. Lot measures 5.75"L x 3.25"W x 8.25"H.Dimensions: See DescriptionCondition: Age related wear.

Levant.- Waring (Edward Scott) A Tour to Sheeraz, by the route of Kazroon and Feerozabad, engraved portrait frontispiece and plate, corrections inserted by hand, bound without half-title, short marginal tear to C1-4, odd light spot, modern antique-style half-calf, 4to, 1807. *** The first edition of this work was published in Bombay in 1804. This London edition has a greatly expanded section on the language and poetry of Persia and was "an important book in its day as it constitutes one of the first attempts to introduce Persian poetry to the West." (Ghani)

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+

Richly illustrated page from a book with Poetry, Persian, probably 18th century, 24x14.5 cm, external dimensions are 43x33 cm

[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)

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.

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

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