Cat b188

BLACKWELL’S RARE BOOKS
antiquarian &
modern
Blackwell’s Rare Books
48-51 Broad Street, Oxford, OX1 3BQ
Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792
Email: rarebooks@Blackwells.co.uk Fax: +44 (0) 1865 794143
www.Blackwells.co.uk/rarebooks
Our premises are in the main Blackwell’s bookshop at 48-

51 Broad Street, one of the largest and best known in the
world, housing over 200,000 new book titles, covering every
subject, discipline and interest, as well as a secondhand
books department. There is lift access to each floor. The
bookshop is in the centre of the city, opposite the Bodleian
Library and Sheldonian Theatre, and close to several of
the colleges and other university buildings, with on street
parking close by.
Oxford is at the centre of an excellent road and rail network,

close to the London - Birmingham (M40) motorway and is
served by a frequent train service from London (Paddington).
Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.)
Purchases: We are always keen to purchase books, whether single works or in quantity, and will be
pleased to make arrangements to view them.
Auction commissions: We attend a number of auction sales and will be happy to execute
commissions on your behalf.
Blackwell’s Rare Books online

Blackwells.co.uk/rarebooks
Our website contains listings of our stock with full descriptions and photographs, along with links to PDF
copies of previous catalogues, and full details for contacting us with enquiries about buying or selling rare
books.
Please mention Catalogue B188 when ordering.
Winter 2016
All books subject to prior sale.
Front cover illustration: Item 200

Rear cover illustration: Item 16
Part I
Antiquarian
1. (Abelard and Heloise) Lettre d’Héloise à Abailard. [with:] Réponse d’Abailard a la lettre d’Héloise.
[and:] Seconde Lettre d’Héloise à Abailard. [and:] Lettre Seconde d’Héloise à Abailard. [By Nicolas
Remond Des Cours]. Amsterdam: Paul Chayer, 1695, 4 works (or parts) in 1 vol., woodcut device of an
armillary sphere on the first 3 titles, fleurons on the fourth, a little browned in places, some worming,
mainly in the fore-margins but touching a few letters in the first work/part, pp. [xii], 46; 52; 31;40,
12mo, contemporary mottled calf, spine gilt, lacking lettering piece, a bit worn £600
The imprint is probably false.
2. Aeschines & Demosthenes. Aischinou ho kata Ktesiphontos kai

Demosthenous ho peri Stephanou logos [Greek]. Interpretationem
Latinam, et vocum difficiliorum explicationem adjecerunt P.
Foulkes, J. Freind, Aedis Christi Alumni. Editio secunda. Oxford:
e typographeo Clarendoniano, impensis Stephani Fletcher, 1715,
three engraved portraits within pagination, faint toning in places,
embossment of the Earls of Macclesfield to title-page, pp. [xvi], 151,
[1], 182, [18], 8vo, contemporary calf, boards panelled in blind,
unlettered spine, a little bit worn at extremities, slight cracking to
front joint, bookplate of the library at Shirburn Castle, very good
(ESTC T21158; Dibdin I 487) £250
The second edition (first 1696), and one of several variant printings - in
this one the Latin translation is at the foot of the Greek text instead of
on facing pages. The editors, John Freind (1675-1728) and Peter Foulkes
(1676-1747) were undergraduates at Christ Church assigned to edit the
text by Dean Aldrich; both went on to other careers - Freind a physician,
Foulkes in the clergy - and so never reproduced the success of this
popular and useful edition.
3. [Aldrich (Henry)] Artis logicae rudimenta.

Accessit solutio sophismatum. Oxford: J.
Parker, 1820, interleaved, and annotated in
ink and pencil nearly throughout, pp. 84
(including half-title), 8vo, contemporary half
calf, spine blind tooled, black lettering piece,
slightly worn, ownership inscription of W.P.
Sandys on fly-leaf dated May 6th 1827, of
I.L. Richards on one of the interleaves dated
Exeter College, April 13th 1826, and further
inscriptions by him, now a Rev., on the rear
fly-leaf, good (ESTC R16735) £400
Aldrich’s Artis logicae first appeared in 1691,

and, through many editions, continued in use in
Oxford late into the nineteenth century. Inside
the front cover is an engraved ticket: ‘Dewe,
Stationer, Pocket Book Maker, Book Binder, &c.
Broad Street, Oxford. Perfumery, &c.’
4. Anacreon [Greek Title:] TEIOU MELE. Parma: In Aedibus Palatinis [typis Bodonianis] 1791, printed on
heavy paper with cross watermark with initials “FP”, with engraved portrait of Anacreon on title, and
3
of José Nicolás de Azara (the Dedicatee) on the Dedication,

printed in capitals throughout, minor spotting, mainly around
the edges, pp. [iv], cvviii, 111, small 8vo in 4s, contemporary
red morocco, single gilt fillet on sides, gilt ruled compartments
on spine, lettered in gilt direct, inner dentelles gilt with a
distinctive small roll tool (alternating squares and lozenges
with a blind saltire in the middle, separated by a dot), board
edges gilt with a roll tool of small dots, gilt edges, light
Prussian blue paste-downs and end-leaves, spine very slightly
darkened, armorial bookplate of the Marsh family of Gaynes
Park, Essex, very good (Brooks 422; Moss I 49; Dibdin I 265;
Schweiger I 25) £1,000
A most elegant edition, uniformly praised by bibliographers: a

‘bijou typographique’ (Renouard); ‘très jolie édition’ (Brunet);
of this, and the 1785 4to edition, ‘more elegant and exquisitely
finished productions cannot be conceived’ (Dibdin); &c.
5. Anacreon. Odai. Glasgow: In aedibus academicis, Ex Typis Jacobi Mundell, excudebant J. et J.

Scrymgeour, 1801, some foxing and browning, pp. 106, 12mo, contemporary sprinkled calf, boards
bordered with a gilt roll, neatly rebacked preserving most of original backstrip, new red morocco
label, other compartments with central lyre tools, hinges relined, inscription scratched out from front
endpaper, good £350
Mundell took over as printer to Glasgow University following the 1795 ouster of Andrew Foulis, who was
losing money hand over fist. He continued the reputation for typographical elegance, for several years at least,
before dying in 1800. There was then a period of uncertainty before the brothers Scrymgeour officially took
over in 1802, reflected in the imprint of this volume. The Greek text appears above a prose Latin translation in
the footnotes.
6. Angelus de Clavasio. Summa angelica de casibus

conscientiae. Nuremberg: Anton Koberger, 10
February, 1492, text in double columns, fine, large,
20-line, infilled initial A in blue and red at the
commencement of the text, rubricated throughout
and with alternating blue and red 3-line initials,
including in the Index, without the initial and
terminal blanks, ff. CCCX, folio, contemporary
Northern European calf over wooden boards,
elaborate blind tooled freme decoration, original
clasps, the attachments for the clasps renewed,
rebacked, preserving the original spine, bookplate
and other marks of ownership of Albert Ehrman,
good (ISTC ia00722000) £8,000
A noted ‘dictionary of moral theology’. The basis

of this work was a “Summa Confessorum” by John
Rumsik, O. P., Lector of Freiburg (d. 1314), which was
then arranged alphabetically by Bartholomew of San
Concordio who also added material on canon law.
The first edition of di Chivasso’s “Summa Angelica”
appeared in the year 1486, and from that year to the
year 1520 it went through 31 editions.
From the collection of Albert Ehrman, with his

bookplate, monogrammatic stamp inside the rear
cover, and with 2 CP notes initialed by him, together
with endorsement ‘A fine specimen’ possibly in his
hand.
4
7. Aristophanes. Comoediae undecim Graece et Latine, ut

et fragmenta earum quae amissae sunt. [Editio novissima.]
Amsterdam: Apud Joannem Ravesteinium, 1670, additional
engraved title-page, lightly toned, a thin dampmark to fore-edge,
tiny wormhole in lower margin of a few leaves, pp. [xxiv], 1087,
[3], 60, 24mo, contemporary vellum boards, spine lettered in ink,
a bit ruckled and soiled, two front endpapers sometime glued
together (obscuring an eighteenth-century ink note) and since partly
separated and partly torn, later ownership inscriptions to front
pastedown, good (Dibdin I 299) £400
Lempriere calls it one of the best editions of Aristophanes; it is based

on Scaliger’s 1625 text but with additional notes and some of the Latin
translations refreshed. It may in fact have been reset from a copy of the
1625, since the plays themselves are nearly a page-for-page reprint with
the extra notes added on at the end.
8. Aubry (James Philip) The Beauties of Oxford: a poetical translation of a Latin poem, written in the year
1795 ... by the Reverend William Willes. Louth: Printed and Sold by John Jackson, Market-pace; Sols
also by Crosby and Co., 1811, a little browning, pp. viii, 70, 8vo, uncut in the original boards, spine
defective at foot, boards a little soiled and worn, good (Cordeaux and Merry 466) £300
Translation by William Willes, Vicar of Edlington (Soth Yorks) of Aubry’s ‘Oxonii dux poeticus’ . The poem
was originally written for the installation of The Duke of Portland as Chancellor of the University: the
occasion of this translation was the installation of Lord Grenville. Aubry was professor of rhetoric in Paris
before the Revolution. He refers to the Revolution when some of the buildings of New College remind him of
Versailles.
Louth - “Capital of the Lincolnshire Wolds.”
Not in Johnson or Jackson, 2 copies only in COPAC, BL and Bodley.
9. Baretti (Joseph [Giuseppe Marc’Antonio],

translator) An Introduction to the most
useful European languages, consisting of
select passages, from the most celebrated
English, French, Italian, and Spanish
authors. With translations as close as
possible; So disposed, in Columns, as to
give in one View the Manner of expressing
the same Sentence in each Language.
Intended for the Use of Foreigners,
Merchants, and Gentlemen who make the
Knowledge of those Languages their Study.
Printed for T. Davies and T. Cadell, 1772,
FIRST EDITION, parallel foreign texts and
English translations in double columns,
bound without the half-title, pp. [iii-viii],
469, 8vo, contemporary calf, spine gilt in
compartments, red lettering piece, corners
bumped, the upper cover’s top one worn,
splits at head of joints and headcap a little defective, sound (Collison-Morely 23; ESTC T83919) £250
Baretti was at work on translating Don Quixote when this book appeared, and extracts feature here. There is
also a passage from Rasselas (Fleeman 59.4R/TF/2).
10. (Bible. Psalms. English. Metrical Versions.) WATTS (Isaac) Psalms, Hymns, and Spiritual Songs ... Newly
revised edition: with all the additional Hymns and copious indexes. Romsey: John Gray, 1832, first few
leaves nibbled in the upper margin, pp. 552, 12mo, original black hard-grained morocco by Remnant
5
& Edmonds, the sides blind stamped with a bold floral design, echoed on spine, gilt edges, slightly
worn, good £200
A scarce provincial printing in a relatively early Ramnant and Edmonds binding. The firm became well known
for its Cathedral bindings, and also Relievo bindings on chromolithographed texts. The binding here is signed
with a barely discernable stamp in minuscule letters upside down at the top of the panel on the upper cover.
A beautifully-bound Breviary in a scarce contemporary case

11. (Breviary.) HORÆ DIURNÆ BREVIARII ROMANI. Ad usum Fratum Minorum S. Francisci Conventialium,
Monalium S. Claræ Ac Tertii Ordinis utriusque sexus in quibus festa sanctorum. Juxta novum
Kalendarium accurate disponuntur ordinem regente Reverend P. Magustro Fr. Bonaventura Bartoli ...
Rome: Ex Typographia Hosp. Apost. S. Michaelis. 1802, printed throughout in red and black, excepting
the last two gatherings, and in two columns, pp. xxxvi, 572, clxxxiv, 12mo, contemporary russet
straight-grain morocco, flat spine elaborately tooled in gilt in three compartments, one larger than
the other two, with a lattice pattern, and divided by bands of a variety of rolls and rules, the sides with
wide gilt borders of trailing foliage and flowers and cornerpieces, gilt dentelles, marbled endpapers,
five silk bookmarks, a.e.g., in a contemporary pull-off slipcase of green straight grain morocco, each
half with gilt border of vines and grapes, matching cornerpieces, ends and fore edge with simple rolled
gilt border, backstrip elaborately gilt with repeated lattice pattern and six differently tooled patterned
compartments and rolls, tan morocco label with gilt lettering, some light wear, otherwise a beautiful
and well preserved early 19th century binding, very good £1,200
An edition of the Franciscan Breviary, luxuriously got up.
12. (Byroniana.) BENBOW (William) A Scourge for the Laureate in reply to his infamous letter of the 13th
of December, 1824, meanly abusive of the deceased Lord Byron, &c. &c. [bound with other pieces].
[William] Benbow, 1811[-25], first 3 leaves ruled in red and the title underlined in red, pp. [i], iv
(Southey’s letter), 20, 8vo, contemporary half brown morocco, spine lettered in gilt ‘Byroniana’, slightly
rubbed, small label of Charles Clark, and a printed version (sans border) of his monitory poem ‘A
Pleader to the Needer when a Reader’ pasted inside front cover, good £2000
Benbow’s scathing attack on Southey - ‘When Dr. Southey exchanged his principles for a pension, he also
parted with his talent and his genius - both were drowned in the Butt of Sack, and never to rise again’ - is a
rarity. WorldCat records a copy in the BL, and 2 at Harvard - but HOLLIS reveals that both are photostats.
‘Critics accused [Southey] of absurd self-importance, and were quick to point out the contrast between
his former radicalism and his present role as a courtier. The contrast was underlined in 1817 when a
mischievous publisher obtained a copy of Southey’s youthful play Wat Tyler and printed it. The publication
6
was enormously successful, and was acutely embarrassing to a poet laureate, although he defended himself
forcefully’ (ODNB). Benbow, no doubt michievously, published an edition of ‘Wat Tyler’ himself in 1822.
Charles Clark has been described as a ‘bibliographic farmer’ (BL), and ‘a professed bibliomaniac, [and] a
confirmed paronomasiac’ (see https://charlesclark.wordpress.com). Byron was one of his favourite writers.
He has here, over more than a decade, preserved (mainly) newspaper clippings recording the life and death of
Byron on the 38 other leaves that make up this most intriguing volume.
13. Caesar. Commentaria Caesaris prius a Iocundo impressioni

datae... Florence: ex officina Philippi de Giunta, 1514, 5 full-
page woodcuts and 2 double-page woodcut maps included in
pagination, manuscript marginal numbers added to first few
pages, some light spotting, one or two small marginal tears,
ownership inscription of M. Joh. Jacobus Maierus to title-page,
a later manuscript Latin quotation to recto of final leaf (blank
apart from device on verso), ff. [xvi], 285, [1], 8vo, seventeenth-
century walnut-brown calf, boards bordered with a blind
decorative roll inside a triple gilt fillet, endpapers renewed early
twentieth-century, recently rebacked in expertly sympathetic
fashion, fore-edge lettered in ink (with date ‘1541’), very good
(Pettas, Florence, 59; CNCE 8148) £2,500
The first Giunti edition of Caesar, copied from the 1513 first Aldine
edition - the beginning of a string of copy-cat, but nonetheless
often significant, editions (including the 1544 Estienne Caesar).
The text is essentially a reprint, in italic type inspired by the Aldine
octavo classics, and the woodcuts are straight copies, with the
exception of the map of Spain, newly produced for this edition.
When in 1519 the Aldine press produced a second edition of
Caesar, it contained a copy of the Guinti’s map of Spain, and thus it
came to be part of the standard ‘kit’ for later copy-cat editions.
The editor, Giovanni Giocondo, was a man very much of the Renaissance, being an architect, a teacher, and
a Franciscan priest as well as a scholar: he designed the Palazzo del Consiglio in Verona and the Pont Notre-
Dame in Paris (the latter much rebuilt, though Giocondo’s version was among the longest-lasting); he edited
Vitruvius and Cato the Elder; among his students was the young J.C. Scaliger. His architectural experience
- which also included part of the protection of Venice’s lagoons - contributes much to his treatment of
fortifications here.
14. Chaucer (Geoffrey) The Woorkes of ... Newly Printed,

with Divers Addicions, Whiche Were Never in Printe
Before: with the siege and destruccion of the worthy citee
of Thebes, compiled by Jhon Lidgate, Monke of Berie.
As in the table more plainly dooeth appere. [colophon:]
Imprinted at London, by Jhon Kyngston, for Jhon Wight,
Dwellying in Poules Churchyarde 1561, black letter, title
with a large woodcut of Chaucer’s arms with the date 1560
below the helmet, divisional titles to the Canterbury Tales
and the Romaunt of the Rose within a woodcut border,
woodcut at the head of the Knight’s Tale with woodcut
columns either side, title-page skilfully remargined, small
piece torn from upper outer corner of second leaf, small
hole in L1 with the loss of about 3 letters on either side
and a few other letters touched, last leaf with 2 rust holes
towards the fore-margin, 1 affecting 2 letters on the verso
(possibly from the original clasps to the binding), some
browning and staining, stain on 3R5r left by a vessel
containing a now opaque substance totally obscuring 2
letters and masking several others (still legible), one or
7
two ink blots obscuring a letter or two, one patch of browning rendering a stanza difficult to read, ff.
[x], ccclxxviii, folio (mainly in 6s), new panelled calf by Brockman, good (STC 5076; Grolier, L-W 42;
Pforzheimer 176n) £11,000
The fifth collected edition of Chaucer, the second issue. Copies of the first issue have the general title within
a border, and an extra 4 leaves in the preliminaries with wood blocks from Pynson’s edition - but these were
so worn and archaic that they were dicontinued: the two issues are identical from gathering B onwards. The
majority of the pieces added by Stowe to this, his first edition and his first published work, are spurious, and
his editing has been severly criticised.
‘During the 1870s Charles E Harris gradually began to purchase land on the [Tylney] estate, finally acquiring
over 3000 acres (around 1215 hectares). Harris then commissioned Edward Birchett to build a new mansion
on the site of the 18th-century house’ (English Heritage)
15. (Chess.) PHILIDOR (François André Danican)

Analysis of the Game of Chess ... Illustrated
by Diagrams ... With Critical Remarks and
Notes by the Author of The Stratgems of
Chess. Translated from the last French Edition,
and further illustrated with Notes, by W.S.
Kenny. Printed by T. and J. Allman ... 1819, title
printed in red and black, engraved portrait
frontispiece, 1 engraved plate, and copious
woodcuts in the text, pp. xvi, 264, small 8vo,
contemporary half calf, corners slightly worn,
very good £400
William Stopford Kenny (1787/8–1867) was a

schoolmaster and educational writer (his History
of England, 1850, was written in collaboration
with William Godwin), and a noted chess player.
16. (Coventry Mechanics Institute.)

TOMSON (Frederick William) Essays
and Lectures. [Coventry]: [1850-]
1856, manuscript in ink on blue faint
ruled paper, with a few drawings
in the text, 27 pen and ink plates
(the majority hand-coloured), and
a delicately executed portrait of the
young author as frontispiece, signed
with initial JC, a few pages with
sellotape repairs to inner margins,
pp. [viii], 410, 4to, contemporary hard
grained brown cloth, lettered in gilt
on the upper cover and on the spine,
cloth split on joints, a portion of the
spine glued to the textblock and torn
across at the unattached part, slightly
defective at head, front free endpaper
inscribed to the author’s son by his
uncle (also a member of the Institute) in 1891, sound £650
An intriguing record of the Coventry Mechanics Insitutute comprising Essays and Lectures given over the
years (and some further afield) on miscellaneous topics, scientific ones preponderating, by the leading light
of the Institutue, with a few by other members (but all in Tomson’s hand). Furthermore, four Monthly Reports
of the activities of the Philosophic and Scientific Society (which seems to have been an alternative name for
the Institutute) provide a detailed account of the aims and achievements of the Instiutute, and its vicissitudes.
Reference is made to the Society’s Magazine, but we find no trace of it in COPAC.
8
The volume opens rather beguilingly with an essay entitled ‘Visions of Love.’ Next is ‘Whether “Love”
or “Religious Fanatcism” is the greater cause of Insanity.’ Soon the topics become more philosophical or
scientific - ‘Is Reason confined to Man?’ - an unusually long essay this - and so on to anatomy (the essay on the
structure of the eye is well illustrated), Chemical Manipulation, Walking of Quadrupeds (the gait of the horse
is illustrated), Microscopic Investigations, the early history of the Steam Engine (12 very well drawn plates).
Altogether this is a vivid picture of the kind of Mechanics Institute flourishing at the time, if a membership
fluctuating at around a dozen may be said to be flourishing. There is no doubt about the earnestness of the
participants, however, although in one Lecture Tomson bemoans the fact that some members never speak at
Meetings.
17. D’Arcet (Jean-Pierre-Joseph)

Recherches sur les substances
nutrutives que renferme Les Os,
ou Mémoire sur les os provenant
de la viande de boucherie, sur
les moyens de les conserver,
d’en extraire de la gélatine par
la vapeur, etc., et Mémoire
sur l’application spéciale de
ce procédé a la nourriture
des ouvriers de la Monnaie
Royale des Médailles et sur les
applications générales qu’il peut
recevoir, par M.A. Puymaurin.
Avec 5 Planches. Paris: A la
Monnaie des Médailles, Madame
Huzard, and Béchet jeune, 1829,
FIRST EDITION, with 5 folding
engraved plates, minor foxing at the beginning, bound with an extract and some MS notes (see below),
pp. xi, 164, 8vo, uncut in the original blue paper wrappers, inside front cover inscribed ‘Hommage de
l’auteur à [illegible], A. Puymaurin’, good (Cagle 39, and for the Note cf. 38.12; cf. Vicaire p. 718) £350
Both D’Arcet and Puymaurin were associated with the Paris mint. The former’s ‘digester’ had initially been
employed in a Paris hospital: Puymaurin’s improvements were applied to the sustenance of the workers of
the Paris mint, and that sustenance extended to the workers families as well. Hence this work is of combined
gastronomical, medicinal, economical and sociological interest.
Loosely inserted at the front are D’Arcet’s Note sur l’emploi alimentaire de la gélatine des os, pp. 11, a bit
stained and foxed, being an offprint from the Recueil Industriel, Manufacturier ... et des Beaux-Arts, [1831],
and a 7-page MS ‘Extrait ... sur les os provenant de la viande de boucherie par M. Darcet’, being notes on
D’Arcet’s paper, either in Puymaurin’s hand or that of the recipient of the volume.
18. (Darwiniana). [TEESDALE (Maria)] Poems by

M.T. Edited by her children. Printed for Private
Circulation [by Ballantyne, Hanson & Co.,
Edinburgh and London], 1888, printed in sepia,
with a portrait frontispiece and 5 lithographed
plates, tissue guard to frontispiece browned (not
affecting image), pp. [iv, blanks], viii, [ix-x], (11)-
99, [4], 8vo, original green cloth with gilt single-
line border around the front board, title in gilt
within the border, all edges gilt, ends of spine a
trifle worn, inscription on first blank ‘A. G. Milne
from M. J. T., Jan. 1889, very good £220
The five plates show the houses in which Maria Teesdale had lived, each one fronting a section of poetry
written when living at those houses. The final group of four poems were written at Downe Hall, Kent, 1876-
1882, and has a fine lithograph of the house. See Freeman, Charles Darwin A Companion, page 272 - Teesdale
was on the ‘Personal Friends Invited’ list for Darwin’s funeral. COPAC lists the BL copy only.
9
19. Demosthenes. Selectae Demosthenis Orationes: Quarum Titulos

versa indicabit Pagina. In usum studiosorum hoc modo separatim
excusae. Typis J. Redmayne, 1672, a few orations with facing
pages of Latin translation, large but faint dampmark appearing
intermittently, a scattering of pinprick wormholes in foremargin of a
few leaves, occasional underlining or marginal marks in pencil and
red crayon, pp. [ii], 202, 12mo, original sheep, boards bordered in
blind with cornerpieces also in blind, pastedowns from a printed
work in Italian, somewhat scuffed, a small patch of wear to edge of
rear board, front flyleaf partly torn away, shelfmark in pink to foot of
spine, good (ESTC R27855) £250
A tidy little copy of a pocket edition of selected orations of Demosthenes

in Greek for students, popular enough to be reprinted the following
decade.
20. Douglas (Evelyn [i.e., John Evelyn Barlas] Selections from Songs of a Bayadere and Songs of a
Troubadour. Dundee: James P. Mathew and Co., 1893, FIRST EDITION, pp. 57, square 8vo, original
printed card wrappers, wrappers heavily foxed, this affecting the last few leaves to a lessening degree,
newspaper clippings pasted onto blank recto of first leaf, pencil note on verso recording that this copy
comes from the library of Elkin Matthews £800
Barlas ‘was one of the demonstrators at Trafalgar Square on “bloody Sunday”, 13 November 1887, and
received a severe blow to the head from a police truncheon and fell unconscious, bleeding profusely, at the
feet of fellow-demonstrator Eleanor Marx. The blow caused permanent damage—lifelong bouts of delirium
and depression, and it was during one such bout of depression that, on the morning of 31 December 1891,
Barlas fired a number of revolver shots near the Speaker’s Green, at the House of Commons, announcing
himself as an anarchist whose action had been to show his contempt for parliamentary democracy. He was
promptly taken into custody by the police and a fortnight later his friends Oscar Wilde and H. H. Champion
of the Social Democratic Federation stood surety for him, when Barlas was bound over to keep the peace.
However, his mental state deteriorated and by September 1892 he was an inmate of James Murray’s Royal
Asylum, Perth. In March 1893 he was discharged, cured, but about a year later he was admitted to Gartnavel
Royal Asylum near Glasgow, where he died twenty years later.
‘Of Barlas’s eight known volumes of verses and dramas, seven appeared under the pseudonym Evelyn Douglas,
and Holy of Holies: Confessions of an Anarchist (1887) was published anonymously. His first two volumes
were issued through Trübner & Co., London, but the rest of his works were printed at provincial presses in
Chelmsford and Dundee, at his own expense and mostly for private circulation’ (ODNB).
Scarce: BL, Bodley and NLS only in COPAC.; WorldCat adds 3 or 4 in Australia, none in the US.
21. (French Revolution.) [MARIE ANTOINETTE]

Authentic trial at large of Marie
Antoinette, late Queen of France, before
the Revolutionary Tribunal at Paris, on
Tuesday, October 15, 1793 ... Printed for
Chapman & Co., 1793, FIRST EDTION,
with a delicately hand-coloured portrait
frontispiece, tipped onto the recto of the
frontispiece is a somewhat crude depiction
of a guillotine execution about to take
place (140 x 155 mm, folded), frontispiece
a little foxed, slight browning spotting, last
page lose, pp. 92, 8vo,
[together with:] Short account of the
revolt and massacre which took place in
Paris, On the 10th of August 1792. With
A Variety of Facts relating to Transactions
previous to that Date, which throw Light
on the real instigators Of those horrid and
10
premeditated Crimes. To which is prefixed A Plan of the Palace of the Thuilleries, and it Environs. By
persons present at the time. Printed for John Stockdale, 1792, with engraved frontispiece, offset onto
title, first leaf (half-title) almost loose, pp. 42, 8vo, both disbound (ESTC T96760 and T63174) £500
Two examples of the instant print reaction in London to events in Paris: the Trial went through 3 editions
before the end of the year (none of them terribly common in ESTC).
22. Garnett (Thomas) A Lecture of the Preservation of Health. Liverpool: Printed by J. M’creery, and sold
by Cadell and Davies, 1797, FIRST EDITION, slightly browned around the edges, [vi], v, [2], 6-72, 8vo,
disbound, first 6 leaves separated, (ESTC T37696) £450
Dedicated to Erasmus Darwin. The author, member of scientific societies in Edinburgh, Manchester, London,
Dublin and Glasgow, had been a pupil of John Brown in Edinburgh. ‘The first part of [this] lecture is the
substance of an essay which was read by the author before the Royal Medical Society of Edinburgh, intended
as a defence of the general principles of the system of Dr. Brown ... It was .. transcribed into the books of the
society, and the public have now an opportunity of judging how far Dr. Girtanner, in his first essay published
in the Journal de Physique, about two years after, in which he gives the theory as his own, without the least
acknowledgement to the much injured and unfortunate author of the Elementa Medicinae, has borrowed
from this essay.’ A notorious plagiarism. Scarce.
23. (Gauss.) CICCOLINI (Lodovico) Formole analitiche pel calcolo della Pasqua e correzione di quelle
di Gauss con critiche osservazioni su quanto ha scritto del calendario il Delambre ... Rome: Nella
Stamperia de Romanis, 1817, FIRST EDITION, with 5 folding tables, minor foxing, pp. xiii, 142, [1], 8vo,
contemporary calf backed boards, good £500
An attempt by the Italian mathematician, sometime collaborator with Lalande, to mediate in the dispute
between Delambre and Gauss on the calculation of the date of Easter. Gauss’s first algorithm, published in
1800, contained an error, and he published a correction in 1816. Delambre took exception. The best account
is Reinhold Bien ‘Gauß and beyond: the making of Easter algorithms’, Archive for History of Exact Sciences,
58(5), July 2004, 439–452. A scarce book (outside Italy).
24. Gibbon (Edward) The History of the Decline and Fall

of the Roman Empire. Volume the first. Second edition.
[With:] Volume the second [to] Volume the sixth. [And:]
Miscellaneous Works of Edward Gibbon, Esquire. With
Memoirs of his life and writings, composed by himself...
In two volumes. [And:] Miscellaneous Works... vol. III.
[All together 9 vols.] Printed for W. Strahan, and T. Cadell
[later imprints vary, see below,] 1776-1815, FIRST EDITIONS
of all except the first volume (see below), engraved
frontispiece and three maps in the Decline, two further
frontispieces and a folding table in the Miscellaneous
Works, a little foxing and spotting, occasional minor
staining, a few plates and leaves bound out of expected
order (see below), final blank in vol. vi discarded, one
blank corner in vol. v torn away and neatly repaired, pp.
viii, [iv], 586, [2], lxxxviii; [xxiv], 640, [2]; [xii], 640, [2];
[xii], 620; [xii], 684; [iv], viii, [x], 646, [52], 4to, slightly
later diced russia, boards bordered with a double gilt
decorative roll, spines gilt in compartments and gilt-
lettered direct in second and fourth and at foot, rebacked
preserving original backstrips, marbled endpapers, edges
gilt, some old scratches to leather, bookplate of Fleming
Crooks in each vol., along with ownership inscription of
John L. Hammond, bookplate of S. Hammond Russell and
his pencilled inscription recording the gift ‘from H.D.R. January 1st 1843’ in vol. i, plus his pencilled
notes recording dates of reading, vol. ix (supplied later; see below) in original paper boards, printed
label, some small splashmarks, joints and edges a little worn and head of backstrip defective, with
bookplate of Rogers of Stanage, a very good set overall (ESTC ; Norton 21, 23, 29, 131, 136 £6,000
11
The first volume was produced in an edition of only 1000 copies in February 1776 that sold out so quickly a
second and third edition followed within a year. By the time Gibbon had finished writing the second volume
and was ready to print it (in 1781), the fourth edition of the first volume was in the press, and even then the
second and third volumes sold out quickly and were reprinted in the same year. As a result, most complete
sets have later printings of the first three volumes, and even a set like this, where only the first volume is a later
printing, is rather uncommon.
This copy has some variations from the ‘standard’ collation in the position of plates and leaves: the table-of-
contents for vol. i, which was printed with vol. ii but is usually bound in vol. i, has here been left in vol. ii; the
portrait from vol. ii is bound in vol. i, the small map from vol. iii is bound in vol. ii while the large map from
vol. ii is bound in vol. iii; a four leaf-section of prelims (A1-4) from vol. iv is bound in vol. vi instead.
The identical binding on the first 8 volumes indicates this set was likely bound after the publication of the
two volumes of Miscellaneous Works in 1796 - which state on their title-pages that they are complete in two
volumes. The third volume of the Miscellaneous Works, not planned for by the original editors and only
printed some two decades later, is not always found with the first two; the original owners of this set had never
acquired a copy and one has now been supplied for technical completeness.
The set has a significant American provenance: the earliest owner recorded appears to be John L. Hammond,
presumably a relation of the Samuel Hammond Russell who was given the book by one ‘H.D.R[ussell?]’ in
1843. Samuel Hammond Russell was an important figure in Boston society, serving on the city council and
building one of the first homes on Beacon Street in Back Bay, which soon became the most fashionable area
in the city. (The Gibson House Museum, next door to his former property, was owned by his aunt Catherine
Hammond Gibson.) The next evidence of ownership is the bookplate of Fleming Crooks, but the set must have
descended through the family since Russell’s daughter, Edith, widow of the Scottish politician Lord Playfair
(and model for John Singer Sargent) married Robert Fleming Crooks in 1901. The Fleming Crooks collection
was then dispersed at Sothebys in 1932.
Most interestingly, Samuel H. Russell has recorded his three readings of the work on the last text page of vol.
vi: from 20th October to 22nd December 1843, then again from 4th June to 16th October 1848, and a third
time through from November 1862 to 9th April 1863. On this third pass he was very aware of the political
situation in the United States, writing on 6th December 1862 at the end of vol. ii: ‘Finished the 2d vol - while
our own country is devastated by Civil War’, and then on 28th December at the end of vol. iii: ‘While it is still
doubtful wh[ich] side will prevail in the Civil War - Still we may acquiesce in the reflection of Gibbon - and
hope to emerge a wiser and a better people.’
12
25.
Godwyn (Thomas) Romanae Historiae Anthologia... An English Exposition of the Roman Antiquities
wherein many Roman and English offices are parallel’d, and divers obscure phrases Explained. For
the use of Abingdon School. Newly revised and enlarged by the Authour. Printed by R.W. for Peter
Parker, 1661, foxed and browned in places, ownership inscription of ‘Henry Darley his book Jan: 24th
1679/80’ to title-page, pp. [vi], 270, [20],
[bound with:]
Godwyn (Thomas) Moses and Aaron: Civil and Ecclesiastical Rites, used by the ancient Hebrews... The
Ninth Edition. Printed by S. Griffin for Andrew Cook, 1667, a few leaves shaved at lower edge (touching
catchwords), some browning, one or two rust-spots,pp. [viii], 264, [10],
[and:]
Rous (Francis) Archaeologiae Atticae Libri Septem, Seven Books of the Attick Antiquities... The Sixt
Edition Corrected and Enlarged. Oxford: Printed by William Hall for John Adams, 1667, some foxing
and browning (a few leaves heavily), marginal dampmark to last few leaves,
pp. [xii], 374, [10], 4to, original mid-brown calf, ruled in blind, marked and a bit scratched, slight
rubbing to extremities, square paper shelfmark label to head of spine, edges red, front flyleaf with
numerous ink sums and ownership inscription of H. Brewster (1781), no pastedowns, front flyleaf
loosening, rear joint repaired, good (ESTC R19791; R22732; R6074, Madan R2037) £650
Three classic school texts of ancient history, bound

together, as often. The first two are by Thomas Godwyn
(or Godwin, or Goodwin, 1587-1642), headmaster of
Abingdon School, and were originally published in
1614 and 1625, remaining in print (the former as the
only English textbook on the subject) for more than a
century. Godwyn was also instrumental in the founding
of Pembroke College, Oxford, by arranging for Thomas
Tesdale’s bequest to be diverted from Balliol (Tesdale’s
old college) towards conversion of Broadgates Hall
into a college, and became the first fellow of the new
institution.
The third work is by Francis Rous (1580/1-1659), a

graduate of Broadgates Hall, and was similarly popular.
It was greatly enlarged in 1649 by the classical scholar
Zachary Bogan of Corpus Christi College, in which form
it lasted through the seventeenth century. By 1685 the
three works were being issued together under a general
title-page, in recognition of their long association as a
complete course of ancient history and its relation to
modern institutions. This copy contains a substantially
earlier printing of the first work, even though there were
1666 and 1668 printings which one might more usually
expect to find in such a volume.
26. [Haywood (Francis)] An Analysis of Kant’s Critick of Pure Reason by the translator of that work. [C.
Whittingham for] William Pickering, 1844, FIRST EDITION, PRESENTATION COPY, inscribed on the
fly-leaf ‘Francis Haywood to his friend the Viscount de Bussy, 1847’, anchor device on title, endleaves
foxed, transmitted to terminal leaves of text which are also slightly browned, light stain on 2 facing
pages, pp. [i], vi, 215, 8vo, original blue cloth, lacking paper label, spine and edges slightly faded, good
£400
Haywood’s ‘main claim to fame is that in 1838 he published the first complete English translation of
Immanuel Kant’s Critique of Pure Reason. In 1829 he had published an article in the Foreign Review which
referred to the need for an English version of Kant’s Critique. The philosopher Arthur Schopenhauer wrote
to him on the subject but when Haywood suggested that they should collaborate in producing a translation,
Schopenhauer took offence. So Haywood proceeded alone, relying considerably on an unpublished partial
translation made by Thomas Wirgmann (1777-1840). Haywood’s edition was praised by Sir William
Hamilton, the chief authority on Kant in Britain, and it remained the standard English translation for some
time. It was reprinted with improvements in 1848 ... In 1844 Haywood published his Analysis of Kant’s
‘Critique’, but this was mainly a compilation of other people’s work’ (ODNB). Scarce, not in Keynes or Kelly,
or the P&C Pickering catalogue of 1993.
13
An excellent trade association copy

27. [Heinemann (William)] The Hardships of Publishing. Privately printed [at the Ballantyne Press,]
March first 1893, FIRST EDITION, 8/120 COPIES, light foxing to prelims with spots further in largely
restricted to borders, pp. 124, 4to, original green boards, backstrip with printed label heavily rubbed,
a touch of wear to corners and backstrip ends, endpapers lightly spotted, all but the first few leaves
unopened, good £350
The text is formed of letters to and from

William Heinemann, originating in one to
The Athenæum on said topic in December
1892, and including further published
and hitherto private correspondence on
the matter. A pencilled note in the hand of
Charles Home McCall at the head of the
front pastedown records the presentation
of this copy by the author to the printer:
‘Given to Charles McCall (who designed
the format) by William Heinemann’.
28. Heliodorus. Aethiopicorum libri

X. Collatione MSS Biblithecæ Palatinæ et aliorum, emendati et multis in locis aucti, Hieronymi
Commelini opera. [Heidelberg:] Hieronymus Commelinus, 1596, woodcut device on title, parallel
Greek and Latin texts in 2 columns, a little browning and spotting, pp. 15, 519, [1], 48, 8vo,
contemporary vellum over boards, overlapping fore-edges, staining to upper cover and spine (the
former the product of a neighbouring, smaller, book, good (Adams H176; Ebert 9396) £220
The Latin translation of Stanislaw Warszewicki, rector of Vilnius University, had appeared separately earlier.
29. Hero of Alexandria. De gli automati, ouero machine

se mouenti, libri due, tradotti dal greco da Bernardino
Baldi. Venice: Girolamo Porro, 1589, engraved title
within architectural border, engraved and woodcut
illustrations in the text, 6 of the engravings full-page, a
few leaves with a small damp-stain in the lower outer
corner, ff. 47 (without the final blank), small 4to,
[bound last in a vol. with:] Grischow (Augustin)
Descriptio hyetometri ... Berlin: J. Grynaeus, [1734],
with a large folding engraved plate (loose), some
signatures cropped at foot, pp. 28,
[and:] Castelli (Benedetto) Della misura dell’acque
correnti ... [Rome: F. Cavalli, 1639], with a full-page
engraving on verso of title, partly browned, pp. [iv],
72, 18th-century English half calf for the Earl of
Macclesfield, blind stamp on title of the first bound
(Grischow), bookplate, contents in MS on fly-leaf, good
(1. CNCE 22645; Riccardi i, 67 (‘bella e rara edizione’);
Mortimer, Italian, 231: 2. Riccardi i, 209) £4,000
3 works in 1 vol. First edition of this translation of Hero,

second edition of the Castelli (first 1628), while the
Grischow is an offprint from Miscellanea Berolinensia.
Bernardino Baldini, the translator of Hero, was a pupil

of Commandino’s, but is better known as a poet than
a scientist (though one of his poems, L’Artiglieria & la Nautica, is technical enough). Nothing is known of
Hero of Alexandria, under whose name several works have come down to us, the most important being the
Pneumatics. ‘The Automata, or Automatic Theatre, describes two sorts of puppet shows, one moving and
the other stationary; both being performed without being touched by human hands ... a marvel of ingenuity
with very scant mechanical means’ (DSB). This is the second of Hero’s works to appear in print, preceded by
14
Commandino’s translation of Spiritalium liber, Urbino, 1575. WorldCat records 6 copies of De gli automati in
the US, though none on the east coast. There was a second edition in 1601.
Castelli was one of Galileo’s most important associates, and his work Della misura dell’acque correnti
established the science of hydraulics. Girschow’s work describes a rain gauge of his invention.
30. Herodotus. Herodotou Logoi ennea hoiper epikalountai

Mousai [in Greek]. Basle: Johann Herwagen, [1541],
woodcut printer’s device on verso of final leaf (otherwise
blank), numerous woodcut initials, text in Greek, section
at the lower outer corner of title-page neatly excised and
renewed, title slightly soiled, pp. [xx], 310, [2], folio
[bound with:] Thoukydide meta scholio palaio
kai panu ophelimo [in Greek]... Accessit praeterea
diligentia Ioachimi Camerarij, in castigando tum
textu, tum commentarijs unà cum annotationibus
eius. Basle: Johann Herwagen, 1540, text in Greek,
numerous woodcut initials, title-page with same
excision and renewal as Herodotus, lacking the final
leaf (as sometimes) blank except for printer’s device,
pp. [xxiv], 225, [3], 177 [i.e. 127], folio, 2 vols bound
in 1, contemporary elaborately blind-stamped pigskin,
original twirled brass clasps, later ink lettering on
spine, small ink stamp on verso of first title of the
Donaueschingen library, a choice copy (Adams H395
and T664) £5,000
These two editions, published a year apart, are often found

together, probably as intended. The last leaf is sometimes
missing from the Thucydides (e.g. 2 of the 3 copies in Adams, the copy in Harvard). That the two title-pages
have the same excision and repair (not at all recent) it is probably no coincidence, but the significance is not
apparent. These are the first Herwagen editions of these historians, the Herodotus being the second Greek
edition, and the Thucydides the third.
31. [How (William)] Phytologia Britannica, natales exhibens indigenarum stirpium sponte emergentium.
Richard Cotes for Octavian Pulleyn, 1650, FIRST (ONLY) EDITION, woodcut device on title, without the
initial leaf, (blank except for signature A on recto), text printed in a mixture of Roman, Italic, and Black
letter, 4 leaves with small holes affecting a few letters (apparently not worming), pp. [iii-xvi], 133, [1],
15
small 8vo, contemporary calf, rebacked, corners worn, crackling of covers, contemporary signature
at head of title of Edward Heaston, later indecipherable library stamp in outer margin of title, sound
(Henrey 290; ESTC R14016) £750
‘In the main a verbatim reprint of Johnson’s Mercurius botanicus. How augmented the list with a number
of other records of plants .. a number [of which] are held to be of interest and value’ (Henrey). Definitely of
interest are the specified localities where certain specimens were found, or the plants are abundant.
32. Hull (Thomas) Henry the Second; or, The Fall of Rosamund:
A Tragdey; as it is performed at the Theatre-Royal, Covent-
Garden. Printed by John Bell, and C. Etherington, at York,
1774, FIRST EDITION, with the half-title but without the
advertisements, pp. [iv], iv, 76, 8vo, contemporary half
sheep, worn, upper cover detached (ESTC T780) £800
Marked up for the part of the Queen, with cuts, emendations

to the text, and stage directions. The book is signed 3 times
by Harriet Chambers, with variations: thus, ‘Harriet Henrietta
Chambers’ Book’ on the title-page; Hariet Chambers in pencil
at the head of the text; and inside the front cover, where the
surname seems to be written over another (?maiden) name, this
dated 1795. The play was adapted from William Hawkins’s play
of 1749, was staged in an early version at Birmingham in 1761
and revised at the suggestion of Hull’s friend the poet William
Shenstone in 1774. It was Hull’s most populat work. There were
4 London editions and 1 in Dublin in 1775
33. Hutton (Charles) Elements of Conic Sections; with Select Exercises in various branches of Mathematics
and Philosophy. For use at the Royal Military Academy at Woolwich. Printed by J. Davis. Sold by G.G.J.
Robinson and J. Robinson, 1787, FIRST (ONLY) EDITION, diagrams in the text, first and last leaves slightly
browned (offsetting from acidic flyleaves), pp. [xi], 239, [1, Errata and ads], 8vo, uncut in early to mid-
twentieth-century cloth backed boards, trifle worn, good (ESTC T53064) £450
A sterling work, and scarce. ‘Although Invention was not my immediate object, yet throughout the whole
there will be found many things that are new’ (Preface).
Roscoe J1 (1)
34. [Johnson (Samuel)] An Account of the Constitution and
Present State of Great Britain, together with a view of its trade,
policy, and interest, respecting other nations, & of the principal
curiosities of Great Britain and Ireland. Adorn’d with Cuts. J.
Newbery, [1759], FIRST EDITION, with an engraved title-page,
frontispiece and 7 plates, pp. iv, 291, [1], 12mo, original sheep,
double gilt fillets on spine and on either side of raised bands on
spine, cracks to joints but firm, good (Roscoe J1 (1); Osborne
pp. 691-92; ESTC T17526) £975
‘An historical account of the policy and trade of Great-Britain’, pp.

198-224, is a revision of ‘An introduction to the political state of
Great Britain’ by Samuel Johnson which appeared in no. 1, p. 1-9 of
the Literary magazine, or, Universal review, May 1756 - see Fleeman
56.4LM. A propos the Union of the Crowns, Johnson writes how
this ended perennial Scottish incursions into England, ‘To people
warlike and indigent people an incursion into a rich country is
never hurtful.’
Roscoe deems this 1759 or before (see also Osborne), and another
undated edition with Carnan also in the imprint, not before 1768.
16
35. Juvenal & Persius. Satyrae. Cu[m] annotationibus Th. Farnabii. Padua: Typis Seminarii, apud Io.
Manfré, 1705/ 1719, engraved title-page, a little faint spotting, pp. 252, 12mo, contemporary rough
vellum, spine lettered in ink, a bit darkened and marked, bookplate removed from front pastedown,
small area of glue residue to spine, good (Morgan, Persius, 322 & 313) £200
Thomas Farnaby’s edition of Juvenal was first published in 1612 and is here pleasantly reprinted. ‘The title
page is emblematically engraved in a different style from that of the usual Farnaby editions, and the variant
readings of Pithou are added at the end of each satire of Juvenal’ (Morgan). The engraved title-page is dated
1705, but this is the second issue where the letterpress separate title-page to the Persius section is dated 1719
(and has its own Morgan number).
36. [Lagrange-Chancel (François Joseph)] Les Philippiques ou les Odes sur le Regent. No place or date, c.
1720, very fine manuscript in ink on paper, text written on rectos with ‘Remarques’ opposite, uniformly
slightly brown and a little spotting, ff. [ii], 36, pp. 37-45, [1, on the recto of the rear free endpaper], 8vo,
contemporary mottled calf, spine gilt in compartments, minor wear to extremities, armorial bookplate
of Robert de Billy on the front free endpaper, and an unidentified monogramatic bookplate inside the
front cover, good £1,500
This virulent satire on the Le Régent was printed in Amsterdam in

1723 (the year of Le Régent’s death), having then but three odes, and
again there in an undated edition, with 4 Odes. The complement
of 5 was printed in Paris in 1795: a 6th was added to the edition
of 1858. Written in 1720, and circulated in MS, it was rigourously
suppressed by the Régime, and the author was persecuted. The
charges against le Duc include incest with his daughter. This is an
early version of the Philippiques, in that the 4th Ode is added later
in another hand - good, but not as accomplished as the main text:
this accounts for change from foliation to pagination, so that it
could be squeezed into the available space. The Remarques consist
of historical and explanatory notes, and identifications of the
personages. In the 4th Ode the notes are in the margins. The last
page gives the text for the funeral oration on Le Régent’s delivered
by Michel Poncet, Bishop of Angers (Job 30, 22), followed by a few
satirical lines on the bishop.
Lagrange-Chancel was a child prodigy, producing dramas from

the age of nine, so promising that the elderly Racine came out of
retirement to lend his support. But the Philippiques are his best
known work, and rattle along marvellously.
Robert de Billy, 1869-1953, French diplomat and friend of Marcel

Proust. The monogram in the bookplate consists of 4 intertwined
Bs (?another de Billy bookplate).
37. Lang (Leonora Blanche, Mrs. Andrew) Letters

on Literature. Richardson. [London: 1887],
holograph manuscript in ink on feint ruled paper,
written on rectos only, marked up in blue crayon
by a printer, slightly soiled in places, pp. 19, 4to,
unbound, a hole near the top left hand corner (for a
Treasury tag), good £500 (Plus VAT in the EU)
The vast bulk of the MS is in Mrs. Lang’s hand, with a

number of corrections and the concluding paragraph
in Andrew Lang’s hand - including the signature
Leonora B. Lang. A withering critique of Sir Charles
Grandison: ‘it is worth wading through to understand
the kind of literature which could flutter the dove-cots
of the last century in a generation earlier than the one
that was moved to tears by the wearisome drama of
Hannah More.’ Leonora Blanche collaborated with
17
Andrew throughout, especially on the Fairy Books. Practically unacknowledged at the time, her reputation has
revived recently. Published in Letters on Literature, 1892.
Monadology
38. (Leibniz.) HANSCH (Michael Gottlieb) Godefridi
Guilielmi Leibnitii Principia philosophiae, more
geometrico demonstrata: cum excerptis ex epistolis
philosophi et scholiis quibusdam ex historia
philosophica. Cum indicibus theorematum,
auctorum, rerum denique et verborum
memorabilium. Accedunt theoremata metaphysica
De proprietatibus quibusdam entis infiniti et finiti
mundique existentis perfectione, ex philosophia
Leibnitiana pariter selecta et geometricae
demonstrata nec non Meditatio philosophica de
unione mentis et corporis denuo edita. Frankfurt and
Leipzig: Peter Conrad Monath, 1728, FIRST EDITION,
last 2 leaves with a worm hole in the upper margin,
pp. [xvi], 188, [34], [i], 36, 4to, contemporary ?Slovak
calf, spine gilt in compartments, gilt dull, extremities
a little worn, spine slightly defective at either end,
good (Ravier 381) £1,000
‘Little is known of Michael Gottlieb Hansch. A

theologian from Leipzig and adviser to the Emperor
Charles VI, he knew Leibniz personally from 1707 onwards. He was thus in an excellent position to acquaint
himself with Leibnizian thought, having been in correspondence with Leibiniz for five years prior to the
writing of the Monadology (1707-13). The first 19 pages of [Principia philosophiae, more geometrico
demonstrata] consisted of Hansch’s Latin translation of Monadology, which had already appeared in the Acta
Eruditorm, VII, pp. 500-14. Then followed the geometrical demonstration of Leibniz’s definitions, 2 axioms,
and 114 theorems. Also included at the end of the work were Theoremata metaphysica ex philosophia
Leibnitiana selecta De proprietatibus quibusdam entis infiniti et finiti mundique existentis prefectione, and
Meditatio philosophica de unione mentis et corporis. Hansch’s erudite commentary on the Monadology
contains excerpts from Leibniz’s letters and teems with references to the Leibniz-Clarke correspondence,
the Theodicy, the Système nouveau, Leibniz’s reply to difficulties expressed by Bayle in his article Rosarius in
tome II of the Receuil, to the Oratio de Sinarum philosophica practica of Wolff ... [the book] contributed to
Condillac’s understanding of Leibnizian thought’ (Ellen McNiven Hine, A Critical Study of Condillac’s “Traite
des Systemes”, 1979, pp. 94-95). Hansch is perhaps best known as the purchaser of, and publisher of, Kepler’s
letters, a project in which Leibniz took great interest.
Provenance: various ownership inscriptions and notes from 1759 to 1800, chronicling the book’s
transmission and digestion. Twentieth-century ink stamp on title-page of Samuel Zocha of Modra, Slovakia.
39. (Lima. Church History.) [ECHAVE Y

ASSU, (Francisco de)] [extracts from:]
La estrella de Lima [Translation into
French] Particulitez edifiantes de ville de
Lima capitale du Perou. Cayenne: 1695,
manuscript in ink on paper, first leaf a bit
soiled, a bit of damp-staining elsewhere,
90 unnumbered pages in 5 (loose)
sections, folio, unbound £2,000
Echave y Assu’s text does not begin until the

third page, the first two being an account of
how this rather extraordinary MS came into
being. A copy of the printed book had been
brought to Cayenne by pirates (‘filibustiers’)
from St. Domingue in 1695, a colony
renowned for its freebooters. Their first ship
18
(?sailing from Lima) had foundered in the Straits of Magellan. They built another, and continued to Cayenne
with their booty, which included other ‘fort curieux’ books in Spanish. A pirated edition, as it were. The MS
would appear to be complete in itself (i.e. as much of it as was made), though the text trails off in mid-sentence
at the end.
The French first attempted to colonise Cayenne in 1604. The settlement was contested severally, and changed
hands a number of times in the 17th century, the French finally establishing ascendancy in 1676. The
translation of this work no doubt reflects French imperial ambitions.
40. [Lockman (John)] The History of Greece. By way of question and answer. In three parts... for the use
of schools. Printed for C. Hitch and L. Hawes [etc.], 1761, lightly browned and spotted, pp. [viii], 219,
[1], 8vo, contemporary mottled calf, quite rubbed, a bit of wear to head of spine, red morocco lettering
piece partly defective, sound (ESTC T127673) £150
The third surviving edition of this popular school-book. The first appeared in 1743 and the second in 1750 -
according to ESTC, a reissue of the sheets of the first with new title-page and advertisement leaf. This edition
appears at first to be another reissue but on closer examination has in fact been completely reset. There was
also a Dublin printing in 1765, but given that none have edition statements it’s impossible to know how many
editions might have been printed and failed to survive, in the nature of schoolbooks like this. ESTC records
copies of this one in the BL, Toronto Public, Illinois, and Melbourne only.
41. Lockman (John) A New Roman History, by question and answer.

T. Astley, 1737, FIRST EDITION, title-page fore-edge a little creased,
last two leaves containing publisher’s ads, pp. viii, 342, [18], 12mo,
contemporary sheep, joints cracked and strengthened with glue
internally, extremities worn, label lost, early inscriptions of Cabel
Lomax to flyleaves, sound (ESTC T187210) £150
The first edition of Lockman’s history of Rome, in the same format as his
History of England - somewhat of a trademark, as a history of Greece
followed six years later. A scarce publication, with ESTC locating copies in
the BL, Cambridge, NLW, Oxford (x2), and the National Trust, plus five in
the USA.
42. Lope de Vega y Carpio (Félix) Arcadia, Prosas, y Versos.

Con na Exposicion delos no[m]bres Historicos, y
Poeticos a Don Pedro Tellez Giron ... Madrid: [colophon:
Pedro de Madrigal], 1603, title within woodcut
architectural border, woodcut portrait of Lope on [...]7v,
woodcut arms of Tellez Giron on f. 312v, cut a little close
with some headlines just touched, water-staining in
the first half and more particularly the first quarter (but
not a disaster), a few fragments of blank corners torn
away, and small hole in the first leaf of the Exposicion
touching a couple of letters, ff. [8], 312 (various errors in
signatures and pagination), [30], small 8vo, early 19th-
century half English calf, rubbed, upper joint and top
of spine repaired, early English provenance (see below),
inscription of Aurelio M. Espinos (also see below) and
his book label on front free endpaper, sound (Profeti,
Bibliografia di Lope de Vega: opere non drammatiche
pp. 36-37; Palau 356295; Morby p. 141) £5,000
Early (third or fourth) edition of Lope de Vega’s

extraordinarily successful pastoral novel (partly in verse),
first published in 1598 and going through more than 40
editions within a century. All the early editions are rare:
19
WorldCat records only the BL copy of this, though Profeti adds a few more, Arsenal, Wolfenbüttel, Hispanic
Society, and Florence: not in the BNSpain.
Verso of the title inscribed: ‘John Winstanley liber [...] / ex dono Margaret ?Sotherno / 1641’, John
Winstanley’s signature (the ascenders just cropped) on the page opposite. The inscription of A.M. Espinosa is
dated 1908, noting it as a gift from T.S. Bell, which means this is Espinosa Senior, father of the noted folklorist
Aurelio Macedonio Espinosa.
43. Martial. Epigrammaton Libri XIII. Lyon: Apud Seb. Gryphium, 1546, a few minor spots, ownership
inscription erased from title-page, pp. 398, 16mo, eighteenth-century mottled calf, spine gilt in
compartments, boards bordered with a triple gilt fillet, marbled endpapers, label lost from spine,
extremities worn, label removed from front pastedown, ownership inscription of F.G. Kenyon (1894) to
verso of flyleaf, good (Adams M701) £250
A pleasant little pocket edition, in Gryphius’s usual style, one of several of this author that he published
between 1530 and 1550. It formerly belonged to Sir Frederic George Kenyon, the classical scholar and
director of the British Museum.
44. (Music.) COLE (Benjamin, engraver)

[Volume of 66 Songsheets]. Benjamin
Cole, c. 1757, lower outer corner torn from
first sheet without loss to engraved surface,
1 other with a piece torn from the fore-
margin with slight loss to 4 staves, first 2
leaves reinforced at gutter, sporadic minor
soiling or staining, 8vo, contemporary
calf, rebacked somewhat crudely in a
darker calf so that it now resembles a half
binding, front inner hinge reinforced with
strong tape, good £1,250
A fine collection of scarce engraved

songsheets, 2 double-page, the rest single-
page, on topics amourous and convivial, &c.
Each song has a fine engraving at the head, words and music also engraved. In most cases we are told who sang
the song, or where it was sung, theatres and gardens, including Marybon. The front free end-paper is partly
adhering to the paste-down, thereby obscuring an armorial bookplate, but revealing a pencil note recording
it as being in the Tyssen sale at Leigh Sotheby, December 1801 (possibly Lot 2239 - ‘Songs, with music and
plates’).
45. (Music.) PURCELL (Henry) Mr. Henr.

Purcell’s Favourite Songs out of his most
celebrated Orpheus Brittanicus [sic]
and the rest of his Works the whole
fairly Engraven and carefully corrected.
Printed for and sold by John Walsh; and
John and Joseph Hare, [1725], engraved
throughout, on one side only (see below),
outer leaves heavily browned, variable
browning throughout, small rust hole
in one leaf, a few minor stains and
spotting, ff. [i], 62, folio, 19th-century
green pebble grain cloth, lettered in
gilt on the spine, spine a little defective
at head, bright yellow endleaves, good
(Zimmerman, F.B. Henry Purcell :
an analytical catalogue of his music,
appendix IV, 1725c) £500
20
Rare. Engraved on one side only, variably rectos only, or versos and rectos facing. Songs and vocal selections
from masques for or arranged for voice and continuo, most songs followed by parts for flute. Single Songs (17),
Two part Songs (11), and Dialogues (4). Not in ESTC or Day and Murrie, but see Richard Luckett in Music in
Eighteenth-Century England: Essays in Memory of Charles Cudworth, p. 66.
46. Nicholson (Peter) The Carpenter and Joiner’s Assistant; containing practical rules for making all kinds
of joints, and various methods of hingeing them together; For Hanging of Doors on Straight or Circular
Plans; For fitting up Windows and Shutters to answer various Purposes, With Rules For Hanging
Them: For the Construction of Floors, Partitions, Soffits, Groins, Arches for Masonry; for constructing
Roofs in the best Manner from a given Quantity of Timber: For placing of Bond Timbers, with various
Methods for adjusting Raking Pediments, enlarging and diminishing of Mouldings; taking Dimensions
for Joinery, and for setting out Shop Fronts. With a new scheme for constructing stairs and hand-
rails, and for Stairs having a Conical Well-Hole, &c. &c. To Which Are Added, Examples of Various
Roofs Executed... Printed for I. and J. Taylor, at the Architectural Library, 1797, FIRST EDITION, with
79 engraved plates, many folding, first few leaves a little frayed at the fore-edge, bound with a 4-page
catalogue of ‘Modern Books on Architecture’ on sale at the Architectural Library, dated Jan. 2, 1802 (see
below), pp. [xi], 79, [1], 4to, modern calf backed boards, good (ESTC T131531) £500
This is supplementary to, but also an updating of, the

author’s Carpenter’s New Guide. ‘Nicholson’s great gift as
a mathematician was his ability to simplify and generalize
traditional methods as well as inventing new ones. The
rules that he formulated for finding sections of prisms,
cylinders, or cylindroids enabled joiners to construct the
great sweeping, curved staircases that were so fashionable
in the early nineteenth century with much greater ease,
speed, and economy of timber. Nicholson was the first
author to write about the practical creation of joints, and
the hinging and hanging of doors and shutters. He was
also the first to note that Grecian mouldings were conic
in section and that the volutes of Ionic capitals should be
composed of logarithmic spirals. The complexity of the
geometry involved in setting out fine woodwork meant
that Nicholson was writing for an informed audience
rather than the novice, as he sometimes thought. It was,
perhaps, for this reason that he wrote so many books on
mathematics really to help the enthusiastic tradesman.
Nicholson’s books were also sold in America but despite,
or perhaps because of, his use of Greek revival ornament,
then so popular there, he became the subject of much
plagiarism. As a result, he is perhaps not as well known in
America as he should be’ (ODNB).
Bound in at the end is a 4-page folio ‘Catalogue of Modern Books on Architecture ... which, with the best
ancient authors, are constantly on sale at J. Taylor’s Architectural Library.’ The bifolium has been sliced to
allow the lower third of the leaves to be folded up to fit the volme. The Carpenter and Joiner’s Assistant is
advertised at 18s. This particular catalogue is not recorded in COPAC, though earlier ones (not many) are.
On the Amiableness of Childhood

47. Parry (Joshua) Seventeen Sermons on Practical Subjects. Bath: Printed for the editior by R. Cruttwell;
and sold by J. Rivington and Sons, J. Johnson, and C. Dilly, 1783, FIRST EDITION, pp. xii, 340, 8vo,
contemporary tree calf, gilt ruled compartments on spine, red lettering piece, small patch straddling
front cover and spine probably from an original flaw in the leather, armorial bookplate of Edward Bayly
inside front cover, very good (ESTC T104628) £450
A very nice copy of Parry’s posthumously published sermons. ‘Parry was a polymath who was prolific in
literary output, producing many essays on a number of political, theological, and moral topics, and writing
poetry ... Although on many occasions he was offered higher ecclesiastical appointments through the
influence of well-connected friends and acquaintances, Parry steadfastly refused to subscribe to the Thirty-
Nine Articles of the Church of England. By all accounts he was a deeply pious man who believed in the need
21
for religious tolerance in a rational and enlightened society’ (ODNB). A poignant sermon here is On the
Amiableness of Childhood ... Occasioned by the Death of one of the Author’s Children.
Only 3 copies in ESTC (2 in the UK - BL & Rylands, and one in Gottingen), though COPAC adds 3 more in the
UK (Cambridge, Cardiff, NLS).
48. (Pervigilium Veneris.) Traduction

en prose et en vers d’une ancienne
hymne sur les fêtes de Vénus, intitulée
Pervigilium Veneris. A Londres, et se
trouve à Paris, Chez Barbou, 1766,
some dustsoiling and toning, a piece
of lower blank corner of final leaf
torn away, slight damage to corner of
previous three leaves, pp. 47, [1], 8vo,
later marbled boards, spine and edges
rubbed, label chipped, good (ESTC
T126505) £300
A rare printing of the Pervigilium

Veneris (or ‘Vigil of Venus’), a late
antique poem of unknown authorship
(sometimes attributed to Tiberianus),
with accompanying French translations
in both prose and verse, by Henri-Simon-Joseph Ansquer de Ponçol (1730-1783), who signs the dedication.
The imprint mentions London but it is almost certainly entirely a Parisian production; nonetheless it has an
ESTC entry, locating copies in the BL & Niedersachsische Staatsbibliothek only. COPAC adds Cambridge, and
Worldcat the Biblioteca Nacional de España, NYPL, and Texas A&M.
49. Ravizzotti (Gaetano) Viridarium Latinum;

ou, recuiel des pensées et bons-mots le plus
remarquables, Tirés des plus illustres Orateurs,
Poëtes, et autres Ecrivains, tant Grecs que
Latins, traduits en Italien et en François, ... De
l’Imprimerie de W. et C. Spilsbury, Snowhill.
1801, FIRST EDITION, title-page (a cancel) signed
by the author to prevent piracy, poor-quality
paper browned and foxed throughout, pp.
[iv], viii, 300, 8vo, contemporary brown cloth,
black lettering piece to spine, cloth slightly
bubbled, a touch of wear to extremities, good £300
The scarce first edition of a language textbook containing maxims and epigrams from ancient authors in
Latin, with translations into French and Italian. Gaetano Ravizzotti was tutor to the children of the second
Viscount Palmerston, and in the elder son Henry, later prime minister, the ‘foundations were laid of excellent
French and good Italian’ (ODNB). Ravizzotti compiled an Italian grammar which saw several editions and was
dedicated to Henry, while this book was dedicated to the younger son William. With Ravizzotti’s method,
‘the pupil was exercised and taught the rules and distinction of three languages at once... The Viridarium,
after smoothing young Henry Temple’s load to the fourth form at Harrow, ran to a third edition, and brought
the author into great vogue among the aristocracy as a teacher of languages’ (Museum & English Journal of
Education, Dec. 1845, p. 335).
Despite over 150 subscribers, this first edition is scarce: BL, Cambridge, Edinburgh, Harvard and San
Francisco Public Library only in COPAC and Worldcat.
50. Reynolds (Edward) A Treatise of the Passions and Faculties of the Soul of Man. With the several
Dignities and Corruptions thereunto belonging. For Robert Bostock. 1656, KATHERINE BLOUNT’S
COPY, with her inscription ‘Given me by Sr. Thomas = Pope Blount, July ye 10th, 1696’on the front free
endpaper and another inscription on the verso of the same leaf ‘Omne sulit punctum qui miscuit utile
22
Dulci’, title within double ruled borders and lightly soiled, occasional dampstaining, pp. [18], 553,
small 4to, contemporary sheep, flat spine, later red morocco label with gilt lettering, worn at head and
upper joint with tear at foot, cracked but still strong, good (Wing R1297; ESTC R234710) £800
The author of this treatise, which was first

published in 1640 was known as one of the
leading moderates of the time. He was also
Bishop of Norwich and had close connections
with Oxford, having matriculated at Merton.
In August 1646 Reynolds was one of the
preachers sent to Oxford by parliament to
prepare the way for reform of the university,
and in May 1647 he was appointed one of the
visitors to the university. On 12 April 1648 he
was made DD, vice-chancellor, and dean of
Christ Church.
The work is inscribed as having been given by Sir Thomas Pope Blount, First Baronet, writer and politician,
who died in 1697, possibly to one of his nine daughters. The quotation, also in a contemporary hand, is from
Horace’s ‘Ars Poetica’ and translates: ‘He wins every hand who mingles profit with pleasure, by delighting and
instructing the reader at the same time’.
51. Rossini (Gioachino) Autograph music manuscript. Paris: 15 June, 1856, Signed by the composer and
inscribed to ‘M. Mendes’, a short 10-bar piece for pianoforte in 3/4 time with pedal marks, trills and
dynamics, notated in brown ink on three systems, each of two staves, on a decorated eight-stave album
leaf, with the staves and historiated border printed in green, single sheet, oblong 8vo, (16.6 x 25.8cm),
faintly toned, edges of verso with thin remnant strips from album attachment £3,250
A delightful musical autograph in C major (with a brief D minor development) written a year after the
composer settled in his Paris apartment on rue de la Chaussée-d’Antin. The dedicatee, ‘M. Mendes’ may
possibly be Maria do Céu da Silva Mendes, daughter of the eminent Portuguese writer João da Silva Mendes.
She would have been nine at the time, but was an able pianist even then and later became a notable performer
and teacher; the image of the famous composer jotting down a musical flourish for a young admirer is a
difficult one to resist.
Listen to a recording of the autograph at the below link:
https://soundcloud.com/user-510379226/rossini-autograph
23
52. Sallust. Bellum Catilinarium et Jugurthinum, cum versione libera. ...I.E. The History of the Wars of
Catiline and Jugurtha, by Sallust. With a free translation... by John Clarke, of Hull. Glocester: Printed
by R. Raikes, 1789, some browning, foxing, and minor staining, a few small wax-marks and slight
abrasions to blank area of title-page, pp. xxvi, [3]-226, [2], 8vo, contemporary sheep, joints and edges
repaired, front flyleaf excised, gift inscription dated 1841 to front pastedown, ownership inscription of
the same era to rear flyleaf, good (ESTC T131424) £250
A scarce provincial printing of Clarke’s school edition of Sallust, originally published in 1734. John Clarke
(1687-1734) was master of Hull Grammar School, and sought to reform the teaching of Latin through a
number of books and editions of classical authors. The printer of this edition, Richard Raikes (1736-1811),
was Clarke’s nephew (the son of his wife’s brother, another printer named Richard, who was instrumental in
the history of printing in Gloucester) and himself became a notable promotor of Sunday schools. ESTC locates
only 4 copies of this edition, the BL only in the UK, plus McMaster, UPenn, and the College of William and
Mary.
53. Sand (George, pseud for Amantine-Lucile-Aurore

Dudevant, née Dupin) Leone Leoni; or, The Intensity
of Woman’s Love, from the French ... With Engravings.
W. Dugdale, 16 Holywell Street, [c. 1845], with 8
woodcut illustrations in the text, slightly browned, a
few minor stains, thumbing, pp. 130, small 8vo, recent
calf backed boards, good £1,500
An unrecorded, and apparently the first, English

translation of George Sand’s early novel, first published in
Paris in 1835: there is no 19th-century English translation
in COPAC. The publisher, William Dugdale, was the
‘kingpin of pornography’ (Pearsall, The Worm in the Bud,
p. 52). In fact Dugdale’s early publications, of which this
is one, were comparatively mild, though the extended
title (not present in the original) is clearly intended to
excite would-be purchasers - however, the illustrations
are melodramatic at most. The novel had been quickly
translated into several languages, including Czech and
Armenian. COPAC does record another George Sand
novel published by Dugdale, Indiana, ?1840 (BL only),
with the translation attributed to James Campbell Reddie
in the Ashbee catalogue, and no doubt the same is true of
this one
54. Seneca. Tragoediae: Post omnes omnium editiones

recensionesque editae denuo, & notis Tho. Farnabii
illustratae. Excudebat Rogerus Daniel, 1659, first leaf
blank, one leaf with a paper-flaw to fore-edge affecting a
few characters of side-note, small wormhole in gutter of a
few gatherings sometimes touching a line number, a few
minor marks, bookplate of Robert Maxwell of Finnebrogue
to title-page verso, pp. 344, [8], 12mo, original blind-ruled
sheep, worn paper label to spine, rear joint damaged near
head revealing structure of the binding (but the binding
still entirely sound), slightly marked and rubbed, good
(ESTC R27481) £200
Farnaby’s edition of Seneca was first published in 1613; this is

the fourth edition recorded in ESTC and the first in duodecimo
format (the 1613, 1624, and 1634 editions were all octavos). It is
also the scarcest of the seventeenth-century editions, with ESTC
locating copies at the BL, Oxford, Cambridge, and just three
24
more locations in the UK (Southampton, NT, and St Canice’s in Kilkenny), plus three in the USA (Harvard,
Trinity College, and the Clark).
55. (Shakespeare.) THOMPSON (John, engraver)

Illustrations of Shakespeare; comprised in two
hundred and thirty Vignette Engravings, by
Thompson, from Designs by [John] Thurston:
Adapted to all editions. Printed for Sherwood,
Gilbert, and Piper by Maurice and Co., 1830,
printed on rectos only, frontispiece, ff. [i], [38],
8vo, original half dark green roan, spine defective
at either end and corners worn, sound £200
‘Thurston’s drawings, outlined in pen or pencil and

tinted with India ink, were pleasing though somewhat
stiff affairs. They were admirably adapted to the
wood-engraver’s art, which was carried to its greatest
perfection under his influence. Thurston was for a
time ‘the principal artist in London who had any
repute as a designer on the wood’ (Redgrave, Artists,
431), and he made a significant contribution to the
formation of a modern school of wood-engraving’
(ODNB). Shakespeare’s works, with designs (only 50
of them) by Thurston had appeared, in 1814. This
collection of the illustrations on it own appeared in
1825. No doubt they appealed to those who wanted
to make their own extra-illustrated books. Thompson
‘ranked at the head of British wood-engravers for fifty
years’ (ODNB).
56. Terence. The Comedies of Terence. Translated into

Familiar Blank Verse. By George Colman. Dublin:
Printed by Boulter Grierson, 1766, engraved
frontispiece (printed on smaller paper), some light
browning, ownership inscription of H. Davies,
rector of Llandegfan (1778) to title-page, pp. lx, 436,
8vo, contemporary calf speckled black and green,
green morocco lettering piece, a touch rubbed at
extremities, front joint just cracking at foot, very
good (ESTC N28149) £200
The first or second Dublin edition (a two-volume 12mo

was published by Elizabeth Watts in the same year) of
Colman’s popular translation of Terence, first published
1765. Boulter Grierson, the printer, was the second
successor of George Grierson, whose scholarly second
wife Constantia had helped him establish a reputation
for printing the classics and gain the position of King’s
Printer, which was then passed down through their son
GA Grierson to his half-brother Boulter (and onward
through the dynasty well into the nineteenth century).
57. Terence. Comoediae sex elegantissimae, cum Donati commentariis, ex optimorum praesertim veterum
exemplariorum collatione emendatae, atque scholiis exactissimus, a multis doctis viris illustratae, &
nunc denuo ab omnibus mendis repurgatae. Basel: Nicoaus. Bryling, 1548, marginal dampmark to first
30 leaves, some light foxing thereafter, title-page lightly soiled and with a later ownership inscription,
several lines and phrases in the prelims lightly struck through in early ink, pp. [xxvi], 692, 8vo,
contemporary blind-stamped calf over wooden boards, spine with three raised bands, later manuscript
paper label in second compartment, boards with a central panel enclosing a repeated floral tool,
25
enclosed by a decorative portrait roll border showing half-length classical figures (dated 1526), brass
clasps (one lost), rubbed, some wear to corners and endcaps, spine creased and with a touch of wear to
cords, no flyleaves, bookplates and inscriptions to front pastedown, sound (VD16 T427) £950
A scarce edition - VD16 locates three copies (two in Munich, one in Göttingen), while Worldcat adds six:
Berlin, Manitoba, and four in the USA (Stanford, Illinois, Newberry, Texas - the last imperfect). No copies
are listed in COPAC. It prints a comprehensive set of commentaries, with prefatory material by Erasmus,
the surviving ‘Donatus’ commentary (and a few additional notes) following the text of each scene and
Melanchthon’s notes printed at the end.
The attractive contemporary binding on this copy features an unusual portrait roll depicting the Judgement of
Paris. The clearly labelled half-length portraits are of Paris, in full armour, and three nudes: Pallas [Athena], in
helmet, Juno, clutching a sceptre, and Venus, holding an apple.
Provenance: with the bookplate of Robert Alexander Chermside, M.D. (1787-1860) of co. Down, who served
as assistant-surgeon to the 7th Hussars throughout the Peninsular War and at Waterloo, later opening a
practice in Paris and then settling in Oxford, becoming a fellow of the College of Physicians in 1843. The
book was later in the Salisbury Museum Library and bears their bookplate (‘Deposited 1920’) as well. Also
on the flyleaf is the early inscription of Ioannis Karpensius(?), and a later inscription on the title-page of ‘S.E.
Elohausend’.
58. Theocritus. The Idyllia, Epigrams, and Fragments, of

Theocritus, Bion, and Moschus, with the Elegies of Tyrtaeus;
translated from the Greek into English Verse... A new edition,
corrected. By the Reverend Richard Polwhele. [Two vols.
bound as one.] Bath: Printed by R. Cruttwell, 1792, half-title
discarded, a little minor spotting, ownership inscription of W.
Mayer, T.C.D., to title-page, pp. [iii]-viii, 319, [1], iv, 226, [2],
8vo, later half maroon roan, marbled boards, spine lettered in
gilt, corners worn, spine rubbed, shelfmark to front pastedown,
good (ESTC T138184) £120
The first edition of Polwhele’s Theocritus had been published in

Exeter, six years earlier, and his text ‘was often reprinted in the early
nineteenth century, the translations of Tyrtaeus being included in a
polyglot version published at Brussels by A. Baron in 1835’ (ODNB).
26
This elegantly printed Bath edition, liberally sprinkled with woodcut head- and tail-pieces, is the second
edition; there is also a rarer variant with the date 1791 (otherwise identical: ESTC T183939, Bodleian and
Cornell only).
59. Theophrastus. Characteres ethici Græce, cum versione

Latina Isaaci Casauboni et notis Johannes Cornelli de
Pauw. Utrecht: Johannes Evelt, 1737, woodcut device on
title, parallel Greek and Latin texts on facing pages, slight
browning around the edges, pp. [xl], 221, [3], small 8vo,
contemporary vellum over boards, lettered in ink on spine,
staining to lower cover, spine dust-soiled, top corner excised
from front free end-paper, good (Ebert 22832) £400
‘Only a more correct and neat impression of Casaubon’s text,

but the critical notes added are of the greater value’ (Ebert).
60. Tyrtæus. Elegies of ... translated into English verse; with Notes and the Original Text. Printed for
Tho. Payne, 1761, the Greek text of the Elegies following the translations, pp. xxiv, 36, small 8vo,
contemporary calf, single gilt fillet border on sides, spine gilt in compartments, red lettering piece,
some wear, headcaps chipped, good (ESTC T105573) £600
First separate edition in English, tyranslated by William Cleaver (1742–1815), bishop of St Asaph. He
speaks in the Preface of there being no need of a Tyrtaues during the present (the Seven Years’) war, since
so many Englishmen who, ‘notwithstanding the advantages of Title and Fortune ... spirited up by ... glorious
Enthusiasm, have died in the Defence of their Country.’ Printed by William Bowyer in an edition of 250
copies.
61. (Virgil.) WALLIS (Arthur) Select Passages from the

Georgics of Virgil, and the Pharsalia of Lucan; Translated
from the Latin: with notes, and miscellaneous poems. By
Arthur W. Wallis. Longman, Rees, Orme, Brown, Green,
and Longman, 1833, FIRST EDITION, PRESENTATION COPY,
initial blank inscribed ‘The author, age 20, to his father,
1833’, a single erratum listed by hand at the foot of final
page of text (the erratum also corrected by hand in the
preface), paper lightly toned, some spotting, pp. xiii, [i],
145, [1], 8vo, original half purple calf, textured cloth
boards, spine lettered vertically in gilt, blue chalked
endpapers, a little rubbed, a letter pasted to verso of
initial binder’s blank (see below), good £250
Although not the dedication copy - the book is dedicated to

‘Mrs and the Misses Powell, of Exmouth’ - this is nonetheless
a significant one. In addition to the presentation inscription
to to the translator’s father, there is pasted in a letter on
behalf of the Dutchess of Kent and Princess Victoria, dated
4 months before publication, offering to subscribe to the
intended volume. (The letter has been annotated in pencil,
presumably by Wallis or his father, ‘Be pleased to fold this
document carefully’.)
Of the Arthur Wallis, little seems to be known, but this is a scarce book, with COPAC locating a cluster of
copies in Scotland (Aberdeen, Edinburgh, Glasgow, and NLS) but only one copy in England (Nottingham);
there is also a copy in the British Library.
62. Wollstonecraft (Mary) A Vindication of the Rights of Woman: with Strictures on Political and
Moral Subjects. Printed for J. Johnson. 1792, FIRST EDITION, a little foxing, mainly at the beginning,
elsewhere a few larger scattered spots (?wax), pp. xix, [i](blank), 452, 8vo, contemporary half calf,
flat spine gilt, black lettering piece, stamp of the Signet Library in gilt on both covers, joints neatly
27
repaired (Masterpieces of Women’s Literature

pp.528-30: PMM 242: Tinker 2314: Todd 9:
Windle A5a) £12,500
Wollstonecraft’s most famous work ‘aims, like

her first book, to make women think, but it
goes far beyond it in passionate argument for
women’s rights and for the opportunity to prove
themselves intellectually equal to men. “It is time
to effect a revolution in female manners - time to
restore them their lost dignity.”’ (Todd quoting ‘A
Vindication’) She was the first to codify women’s
rights, to identify the cause as ‘justice for one
half of the human race’. This rallying cry was
perceived as being too revolutionary for its day,
but in reality it was not especially shocking. She
did not attack the institution of marriage, nor
the practice of religion. Wollstonecraft sought
‘to persuade women to endeavour to acquire
strength, both of mind and body, and to convince
them that soft phrases, susceptibility of heart,
delicacy of sentiment, and refinement of taste, are
almost synonymous with epithets of weakness.’
Her object was to show that women should not
be an unregarded adjunct of men, but ought to be
their equal partners, and that this end could only
be achieved through equal opportunity in education.
63. Xenophon. Expeditio Cyri. Tomis quatuor. Ex editione

T. Hutchinson. [4 vols.] Glasgow: In aedibus academicis
excudebant Robertus et Andreas Foulis, 1764, paper lightly
toned, pp. [iv], 261, [3]; [iv], 255, [1]; [iv], 245, [3]; [iv], 271,
[1], foolscap 8vo, contemporary mid-brown calf, spines
gilt, red morocco lettering pieces (one renewed), the next
compartment down stained darker and gilt-lettered direct,
a little wear to spine ends and slight rubbing to extremities,
good (ESTC T139177; Gaskell 435) £300
The foolscap octavo issue with Greek and Latin on subsequent

leaves (and thus facing pages alternating sides).
28
Part II
Modern First Editions
64. Armitage (Simon) Waymarkings. Wood Engravings by Hilary Paynter.

Rochdale: Andrew J Moorhouse, 2016, FIRST EDITION, 44/100 COPIES
(from an edition of 125 copies) signed by author and artist, 8 full-page
illustrations, pp. [41], royal 8vo, original quarter green morocco with tan
cloth, printed label inset to upper board, fine £95
The book collects eight poems documenting Armitage’s walking trips ‘down
the spine of the northern uplands and along the coast of the south west
peninsula’, each illustrated with an original wood engraving by Hilary Paynter
and supplemented by additional material by Armitage on the landscapes and
motivations for each piece.
65. (Auden.) OXFORD POETRY 1927. Edited by W.H. Auden & C.Day-Lewis. Oxford: Basil Blackwell, 1927,
FIRST EDITION, pencil note of ‘Eric’ [Walter White?] at head of final Anonymous contribution, pp. ix,
48, crown 8vo, original quarter cream boards with blue sides, printed label to upper board backstrip
lettered in blue, edges untrimmed, tissue dustjacket frayed with some loss to backstrip panel, very good
(Bloomfield & Mendelson B3; Armitage & Clark B27; Handley-Taylor & d’Arch Smith B2) £120
Scarce in the dustjacket, which has preserved the book very well.
Auden’s third book-form publication, and edited by him along with Cecil Day-Lewis; the 20 year old Auden
also contributes the opening poem (’Extract (for J.B.A.)’), which makes its first appearance here, as well as the
Preface written together with his co-Editor (whose 4th book-form appearance this is). Other contributors
include Louis MacNeice, Tom Driberg, and Rex Warner.
66. (Baynes.) TOLKIEN (J.R.R.) Bilbo’s Last Song. (At the

Grey Havens). Illustrated by Pauline Baynes. Sharon,
Ontario, Riverwood, 1990, FIRST CANADIAN EDITION,
colour-printed illustrations throughout, pp. 32, 4to,
original green boards with Baynes illustration to upper,
endpapers with Baynes illustration double-spread,
dustjacket repeating board design with gentle fading to
backstrip panel, very good £265
Signed by the illustrator Pauline Baynes, beneath her name

on the title-page. This Canadian edition is in the same year
as its US and UK counterparts. Three series of illustrations
run parallel alongside the text: on each verso Bilbo is shown
reclining in varying states of contemplation and torpor; on
each recto the narrative of Bilbo’s last days at Rivendell is
depicted; smaller illustrations along the foot of the text, one
to each page beneath a horizontal foliate border, tell the
story of ‘The Hobbit’. The combined effect of these is very
impressively managed - and indeed, Baynes’s work is really
the star here, with the accompanying poem rather slight.
67. Betjeman (John) Continual Dew. A Little Book of Bourgeois Verse. John Murray, 1937, FIRST EDITION,
printed on pale blue paper with a 4-leaf insert of white India Paper printed in black and red, 16
illustrations (some full-page) and border designs by de Cronin Hastings, Osbert Lancaster, Gabriel
Pippet and others, pp.[x], 45, 8vo, original black cloth, the backstrip and front cover blocked in gilt to a
design by Osbert Lancaster, a.e.g., ownership inscription to flyleaf, dustjacket designed by E. McKnight
Kauffer with a single instance of internal tape repair at head of backstrip panel, very good (Peterson
A5a) £200
29
68. Betjeman (John) [Original typescript draft:] ‘A Subaltern’s Love

Song’. circa 1940, carbon typescript with holograph corrections,
pencilled note by original recipient to left margin, pp. [1], 4to,
sometime folded, corner creasing and one or two faint spots to
margin, good condition £800
One of Betjeman’s best-known poems, here with some variants to

the published version: the last two lines of the fourth stanza (here
reading ‘To the welcome verandah and wickerwork chairs,/ Then
into the drawing room, up the oak stairs’) are marked ‘x’ by Betjeman,
and were accordingly revised; the same is true of the first two lines of
the sixth stanza (here reading ‘’She has flung down her tennis things,
doffed her white slacks/ On the floor of the bedroom they all lie in
stacks’), where a marginal note records ‘x expand’; in the second
line of the eighth stanza ‘She drove to the club’ had as its original
destination ‘the barracks’, with the change made in Betjeman’s hand
here; meanwhile, in what can only be described as a minor change,
the time that they are waiting until in the car park at the close is in the
present version ‘quarter to one’ - in the published version this was Item 67
hastened to ‘twenty to one’. A few further small typographical
errors are corrected also.
This draft was, a later note to the margin records, given by

Betjeman at Olivelli’s restaurant in Bloomsbury, ‘after he had
declaimed it con amore at lunch, one day in 194? Miss JHD
ran the MOI canteen’. The note is signed J.D. Lloyd - this is
Betjeman’s Oxford (and lifelong) friend John Davies Knatchbull
Lloyd, a member of the Hypocrites Club where he gained the
nickname ‘Widow’ by which Betjeman tended to refer to him.
Schoolboy Betjeman, MacNeice

69. (Betjeman.) THE HERETICK, No. 2. Marlborough School,
1924, SOLE EDITION, a small manuscript correction in pencil
to p. 5, a few handling marks, pp. 16, 4to, original cream
wrappers printed in red, dustsoiled overall with a few marks,
good (Peterson C11) £1,000
An upstart school magazine from an impressive coterie of

upstart Marlburians - at the centre of which was John Betjeman,
and with him other notable figures such as Louis MacNeice
Item 68
(the poem to the inside cover has been attributed to him) and
Anthony Blunt. Betjeman’s signed contibution here is a sonnet,
‘Ye Olde Cottage’, though there are unsigned contributions
conceivably by him, and the pencil correction to that on p. 5
is - though entirely unsubstantial - in a hand that resembles his
somewhat.
Sworn against the athletic and military emphasis of the official

organ of the school, The Marlburian, they took as their motto -
displayed on the cover here - ‘Upon Philistia will I triumph’; their
industry, though not its guiding sentiment, waned in the face of
disapproval from the establishment and the magazine did not get
beyond this the second issue.
Scarce on the market, this copy was previously a gift from the
manuscript dealer Jacob Schwartz - whose forthright manner
of conducting business had him classified by Samuel Beckett
as an ‘entertaining ruffian’ - to P.J. Croft, an academic authority
on modern poetry manuscripts, with a typed note (with various
manuscript additions to the margins) from the former to the latter
loosely inserted. Item 69
30
McKnight Kauffer dustjacket design

70. Bowles (Paul) Let it Come Down. New York: Random
House, 1952, FIRST EDITION, pp. 311, 8vo, original quarter
grey cloth, black boards with that to upper board ribbed,
backstrip lettered in yellow with small sun to upper board
in amber and a small inset illustration to same, some tiny
speckling to lower joint, corners bumped, top edge yellow
with light dustsoiling, a little sunning round the head,
McKnight Kauffer dustjacket with some internal tape
repair, good £145
‘an attempt to sum up the aims and destiny of man’

71. Britton (Lionel) Hunger and Love. With an Introduction by Bertrand Russell. Putnam, 1931, FIRST
EDITION, pp. xi, 705, [2, ads], 8vo, original green cloth lettered in white to upper board and backstrip,
slight knock to top edge of lower board, top edge green with others roughtrimmed, very minor rubbing
to extremities and a single spot to leading edge of flyleaf, very good £250
A presentation copy, inscribed by the author to the flyleaf: ‘To

Louis Sterling, here is an attempt to sum up the aims and destiny
of man, Lionel Britton’. The recipient, Sir Louis Sterling, was a
businessman and philanthropist, whose impressive book
collection now constitutes the Sterling Library at Senate House.
His pencilled ownership inscription is above the author’s
extravagant message here.
The author’s only novel, but a weighty contribution to the

genre - the narrative of a bookseller’s assistant who finds
himself at odds with the world is partly autobiographical, and
certainly deeply felt in its narrativising of his socialist beliefs. Its
underlying philosophy draws praise from Bertrand Russell (who
had earlier praised Britton’s play ‘Brain’) in terms of its value as
truth, but assessing it in literary terms George Orwell was more
dismissive - complaining in his review that it ‘tells the truth
about life, but make[s] no attempt to be readable’.
72. Brown (George Mackay) Edwin Muir. A Brief Memoir. West Linton: The Castlelaw Press, 1975, FIRST
EDITION, 37/160 copies, pp. [16], [1], royal 8vo, original cloth backed boards, printed paper label on
spine, near fine £150
Hic Snarkius
73. Carroll (Lewis) The Hunting of the Snark. Rendered into Latin
Verse by Percival Robert Brinton, Rector of Hambleden, Bucks.
Macmillan, 1934, FIRST LATIN EDITION, the odd tiny spot to border,
printed in parallel text, pp. v, 57, crown 8vo, original red wrappers
printed in gilt to front, a touch of fading to borders and backstrip,
the latter chipped at ends, good £400
Inscribed by the translator on the title-page, ‘from P.R. Brinton 1943’

- the first edition of the poem in Latin, preceding the 1936 translation
published by Basil Blackwell.
Prior to his translation work, Brinton had been a first-class cricketer,

a batsman, with Worcestershire - though his batting average neither
exceeded his career total runs nor his innings played, all equalling one.
31
The Tove Jansson ‘Alice’

74. Carroll (Lewis) Alice I Underlandet. I Översättning av Åke Runnquist , med Illustrationer av Tove
Jansson. Stockholm: Albert Bonniers, 1966, FIRST JANSSON EDITION, illustrations throughout including
4 full-page and 11 with colour-printing, pp. 112, 8vo, original brown cloth with Jansson medallion-
design stamped in gilt to upper board, backstrip lettered in gilt, dustjacket with a Jansson design, a
short closed tear at either end of front panel and a single instance of internal tape repair at head of
backstrip panel, very mild toning to backstrip and borders, contemporary Swedish newspaper clippings
laid in at rear, very good £575
A delightful edition and a lovely copy - Jansson’s illustrations are distinctive and appropriate.
75. Carroll (Lewis) Snarkjakten. I Översättning av Lars Forssell och Åke Runnquist. Illustrerad av Tove
Jansson. Stockholm: Albert Bonniers, 1959, FIRST SWEDISH EDITION, frontispiece and 8 full-page
illustrations by Tove Jansson as well as numerous tail-piece decorations, pp. 52, crown 8vo, original
wrappers with Jansson illustrations to both covers (that to front colour-printed), a hint of creasing to
bottom corners and lightest of handling, untrimmed and partially uncut, near fine £600
A wonderful edition of Carroll’s poem, with Jansson’s illustrations - full of her characteristically sombre and
quizzical expressions - capturing its mood perfectly. A sparkling copy, and scarce thus - the illustrations were
used for an English language version by the Tate Gallery in 2012, but this is their original publication.
76. Christie (Agatha) Appointment with Death. Crime

Club by Collins, 1938, FIRST EDITION, pp. 252, [4, ads],
crown 8vo, original orange cloth, backstrip lettered in
gilt and faded with strip of fading round head of boards
also, a few small spots to edges, endpapers browned,
dustjacket with light soiling and some professional
repair to backstrip ends, corners, and along foot, good
£1,500
The dustjacket is a scarce attribute on this Poirot novel,

based - in terms of its setting - on the author’s travels in the
Middle East.
32
77. (Cinema.) MARCHANT (Sir James, Editor) The Cinema in Education.

Being the Report of the Psychological Investigation Conducted by
Special Sub-Committees Appointed by the Cinema Commission
of Enquiry Established by the National Council of Public Morals.
George Allen & Unwin, 1925, FIRST EDITION, tables and graphs,
some foxing to a handful of pages, pp. 159, 8vo, original maroon
cloth, blind-stamped rules to upper board with blind-stamped
publisher device at foot of same, backstrip lettered in gilt, a few
spots to edges, browning to free endpapers, shelfmark at head of
front pastedown with incredibly faint erased message to flyleaf,
dustjacket browned with some chipping, good £200
Significant as the first such scientific study into the educational

possibilities of this newly developed medium - the report is very positive
as to the possibilities of the use of cinema within an educational context.
Scarce on the market, and even more uncommon with the dustjacket
present.
A gift from Edmund Blunden to Leonard Clark

78. (Clare.) POETS AND POETRY. A series of broadcasts provided by the BBC for the School Broadcasting
Council for the United Kingdom. BBC, 1961, FIRST EDITION, pp. 33, [1], crown 8vo, original stapled
wrappers with portrait of Clare to front and Byron at rear, a tiny amount of faint spotting, very good
£70
At the head of the front cover is a presentation inscription by Edmund Blunden, recording the circumstances
of giving this copy to Leonard Clark: ‘Addition to Leonard’s Clare collection, due to his leading Edmund to a
bookstall, 20 xi 1964’. Clare, along with Shakespeare, Chaucer, Byron, et al. is among the featured poets here -
a scarce piece of Clareiana.
With an unpublished typescript on William Morris

79. (Cockerell.) FRIENDS OF A LIFETIME. Letters to Sydney Carlyle Cockerell. Edited by Viola Meynell.
Jonathan Cape, 1940, FIRST EDITION, 16 plates with portraits of correspondents, pp. 384, 8vo, original
pale blue cloth, backstrip lettered in brown, the cloth with some mottled rubbing in a couple of small
patches, light bump to bottom corner of upper board, bookplate of Harry & Monica Dance to front
pastedown and various things laid in (see below), a few small spots to edges, price-clipped dustjacket
with some rubbing to extremities - this heavier to backstrip panel with the lettering there just about
holding, a small amount of chipping and light soiling, very good £650
33
Sixty correspondents, including A.C. Benson, Wilfrid Blunt, Robert Bridges, Joseph Conrad, A.E. Housman,
Henry James, T.E. Lawrence, William Morris, Charles Ricketts, John Ruskin, and W.B. Yeats.
This copy is inscribed by the correspondee on the flyleaf: ‘To Monica Dance , from Sydney Cockerell, Kew 2
Febr. 1948’; laid in are two PCs from 1952 & 1961 and a note on headed paper from 1960 from Cockerell to
the same - he thanks her for the return of his print and explains his poor health, compliments her for her work
with the Morris-founded Society for the Protection of Ancient Buildings (for whom she was Secretary), and
congratulates her on her MBE (received for said work).
Perhaps of greatest interest is the 7pp. carbon typescript, which opens with the line ‘William Morris has been
dead for more than half a century’ (dating it at least around the time of Cockerell’s inscription to Dance),
and proceeds to give an account of both Cockerell’s relation to him - ‘I was his secretary and librarian
during the last four years of his life and saw him almost daily’ - and the character of the man, his many
achievements, incidents in his life, and his general interests in his life and leisure. Cockerell’s appraisal is
fulsomely laudatory, and rich in detail in a manner that few others could have provided - even if the larger part
of that detail is not unknown. The typescript would appear to be the content of a talk given by Cockerell for
SPAB (upon which he proposes to talk at one point, but immediately reverts back to Morris), and otherwise
unpublished.
80. Connolly (Cyril), Edith Sitwell, Patrick Leigh Fermor, Evelyn Waugh, W.H. Auden et al. The Seven
Deadly Sins. Introduction by Raymond Mortimer. Sunday Times, 1962, FIRST EDITION, woodcut
illustration to title-page with further at the head of each section, pp. xii, 87, 8vo, original red cloth,
backstrip lettered in gilt, dustjacket with very minor soiling, very good £100
With a signed autograph note from Connolly tipped in to the flyleaf, giving his consent to a Mr Bartley for
further publication of the pieces in the book ‘in any form or language’.
Angus Wilson writes on Envy, Edith Sitwell on Pride, Cyril Connolly on Covetousness, Patrick Leigh Fermor
on Gluttony, Evelyn Waugh on Sloth, Christopher Sykes on Lust, and W.H. Auden on Anger.
Inscribed by Conrad, ‘Memorial of a man whom I loved’

81. (Conrad.) HENDRICK (Burton) The Life and Letters of Walter H. Page. [2 Vols.] New York: Doubleday,
Page, 1922, FIRST EDITIONS, frontispiece photographs and 12 further photographic plates to each
volume, a few spots to prelims and borders, pp. xii, 436; x, 437, 8vo, original blue cloth with facsimile of
Page’s signature stamped in gilt to upper board, backstrips lettered in gilt and gently faded, t.e.g., others
roughtrimmed, some faint spotting to endpapers with bookplate of Stanley J. Seeger to front
pastedowns, good £500
Inscribed by Joseph Conrad to the flyleaf of the first volume: ‘N.V. Ridgeway, affectionately from J. Conrad.
Memorial of a man whom I loved - the truest friend of England in the darkest hours of her history’. The
second volume has a tipped-in note from Conrad to the same: ‘With warm wishes of health and propserity and
love to you both and the chicks, J.C.’. From the collection of noted Conrad collector, Stanley Seeger.
34
The recipient of these warm inscriptions, the Reverend Neville Vibart Ridgeway, was house-master to
Conrad’s son John at Tonbridge School - and married to the sister of Ted Sanderson, one of Conrad’s closest
friends. Walter Hines Page, a partner in Doubleday, Page and Company, was Woodrow Wilson’s Ambassador
to Britain between 1913 and 1918 - as well as his work in effecting US entry into the Great War, Conrad’s
homage also derives from Page’s assistance in rescuing him from Poland (where he was on an extended
vacation) at the outbreak of conflict.
82. Cornwell (Patricia Daniels) Postmortem. New York: Scribners, 1990, FIRST EDITION, pp. [viii], 293, 8vo,
original quarter black cloth with red sides, top edge of lower board with a small dink, backstrip lettered
in silver with a hint of fading at tips, dustjacket with red of title faded to backstrip panel (as often found),
shallow chipping to corners and at foot of rear panel, very good £1,000
The author’s first novel, introducing her protagonist Dr. Kay Scarpetta, signed by her to the title-page. With an
ALs from the author to a Mrs Scannell laid in, enclosing ‘a few articles’ and apologising for poor print quality
(’a number of them were faxed me by my publisher’, signed as ‘Patsy Cornwell’ - the letter, from March 20
in the year of publication is on the headed paper of the Department of Health in Virginia, where Cornwell
worked before her career as a writer took off.
83. Dibdin (Michael) The Last Sherlock Holmes Story. Jonathan Cape, 1978, FIRST EDITION, pp. 192, crown
8vo, original black boards, backstrip lettered in gilt, top edge blue, a couple of tiny faint spots to fore-
edge and a few to leading edge of rear free endpaper, dustjacket, near fine £200
The author’s first book, bringing together Jack the Ripper and Sherlock Holmes.
Inscribed to the epigrapher, Walter de la Mare

84. Eddison (E.R., Translator) Egil’s Saga. Done into English out of
the Icelandic, with an Introduction, Notes and an Essay on Some
Principles of Translation. Cambridge: at the University Press, 1930,
FIRST EDDISON EDITION, 2 double-spread maps at rear, a few tiny
spots to page-heads of opening leaves, pp. xxxiv, 346, [7, maps],
8vo, original red cloth with single fillet gilt border to upper board,
backstrip lettered in gilt, a couple of tiny spots to edges, bookplate
of Walter de la Mare to front pastedown with some very fine and
faint spotting to the free endpapers, dustjacket with darkened
backstrip panel, a couple of faint spots and small marks, very good
£1,500
With a lengthy inscription by the author on the flyleaf to Walter de la

Mare, whose bookplate is on the facing pastedown: ‘Dear Mr. de la
Mare, I hope that you will honour me by accepting, as from one
frequenter of desert islands to another, this book. I speak of my share
35
in it: for the great Saga itself, whose portrait I have rashly tried to paint,
& to frame, can only confer honour upon anybody connected with it,
living or dead. So at least it seems to me, after five years’ living at close
quarters with it. Yours very truly, E. R. Eddison’.
The inscription refers obliquely to the quotation from de la Mare’s

‘Desert Islands’ that Eddison has used as the epigraph to the book -
marking this as a very significant presentation (the other epigraph,
from Sappho, eliminates the possibility of there being more than one
such copy).
Praised by Lewis and Tolkien for his own creative work (the latter
referring to him as the ‘greatest and most convincing writer of
invented worlds that I have read’), and exhibiting the same ‘Norse
complex’ as a background to the fantasy world of his fiction - Eddison
here undertakes, like Tolkien and earlier William Morris (a sure
influence on both), a translation of the source material. An important
and accomplished contribution to the field - and an excellent Fantasy
association copy.
85. Fayard (Jean) Oxford et Margaret. Paris: Arthème Fayard et Cie, 1924, FIRST TRADE EDITION, pages
toned throughout, paper flaw to p. 210 not affecting text, pp. 283, [1], foolscap 8vo, contemporary
binding of quarter calf with marbled boards, vertical gilt rule and backstrip lettered in gilt between five
raised bands, wear to corners and lighter to edges, good £150
An inscribed copy of a book included in Betjeman’s list of

Oxford books in the back of his ‘Oxford University Chest’.
Received with characteristically terse admiration by Conrad,

and reviewed ambivalently by Ford Madox Ford, the debut
novel of an author who had studied English Literature at Exeter
College - his impressions there forming the basis of this fictional
account of that milieu, with his attention drawn to the titular
female presence. Using his position as an outsider to examine
the manners and mores of English society, Fayard continues his
assessment of the town in a lengthy inscription to the half-title:
‘La distance où Oxford se trouvait de tout prejugé, son amour du
très beau at sa répugnance aux enthousiasmes faciles faisaient
de cette ville une chose passée et un peu indifférent aux efforts
inutiles des générations vers le “Progrès”. J. Fayard’.
86. Fraser (George MacDonald) Flash for Freedom. Barrie & Jenkins, 1971, FIRST EDITION, pp. 296, 8vo,
original pink boards, backstrip lettered in silver, edges faintly foxed, endpaper maps with a single spot
to rear free endpaper, dustjacket lightly toned at edges, scratch to fore edge of rear panel with small area
of surface loss, near fine £190
Signed by the author on the title page.
87. Fraser (George MacDonald) Flashman at the Charge. Barrie & Jenkins, 1973, FIRST EDITION,
occasional foxing at edges, pp. 286, 8vo, original pink boards sunned through the jacket, backstrip
lettered in silver, some foxing to edges, endpaper maps, dustjacket rubbed at corners, faint
waterstaining at foot, gentle fading to backstrip panel and borders, good £90
Signed by the author on the title page.
Bloomsbury association copies

88. Garnett (David) The Golden Echo. Chatto & Windus, 1953, FIRST EDITION, frontispiece portrait
and further plates, tobacco burn-hole (Strachey’s pipe?) to gutter of first page carrying through to
surrounding pages, pp. xi, 272, 8vo, original brick red cloth, backstrip lettered in gilt and lightly faded,
36
faint pencil mark running down upper board, top edge red, bookplate of Richard Strachey to front
pastedown with his Oxford address to facing flyleaf, good £200
[With:] Garnett (David) The Flowers of the Forest. Being

Volume Two of ‘The Golden Echo’. Chatto & Windus, 1955,
FIRST EDITION, frontispiece portrait and further plates,pp. xi,
272, 8vo, original brick red cloth, backstrip lettered in gilt
and lightly faded, bookplate of Richard Strachey to front
pastedown with his Oxford address to facing flyleaf, good
Both books inscribed by the author on the flyleaf in the

year of publication to James Strachey, with the second
presentation including his wife Alix - each ‘with love from
Bunny’, Garnett’s nickname in Bloomsbury circles. Strachey
and his wife are best known as the translators of the Standard
Edition of Freud’s works - the youngest Strachey sibling
had known Garnett for some 40 years, and enjoyed ‘mild
flirtation’ in their early contact (Strachey letter to Rupert
Brooke, 13 March 1912); Garnett’s dalliance with Strachey’s
wife, Alix, went beyond mere fliration - he describes on pp.
42-3 of ‘The Flowers in the Forest’ engaging in a ‘curious,
indeterminate relationship, half friendship, half love-affair’
(which if unfulfilled was not unrequited) with a ‘very thin, tall
fair girl’ who is not named in the text but clearly identifiable.
Both are recurrent figures throughout the text.
Subsequently ownership passed to Dick Strachey, the son of

James’s elder brother Ralph and the author of the Little Reuben series.
89. (Greene.) OXFORD POETRY 1924. Edited by Harold Acton and Peter
Quennell. Oxford: Blackwell, 1924, FIRST EDITION, sprinkling of spots
to prelims and one or two to page borders further in, pp. [viii], 52,
crown 8vo, original blue wrappers, printed label to front and
backstrip, gentle sunning to backstrip and borders, a little creasing to
overhanging edges, a few spots to textblock edges, very good (Wobbe
B4 & B5; Ritchie B3a) £100
Graham Greene contributes two poems, ‘Childishness’ and ‘Paint and

Wood’, both of which would feature in his first published book - ‘Babbling
April’ - from the same publisher the following year; Greene had also
contributed to the previous year’s volume. Other contributors here include
the Editors, Brian Howard, Desmond Harmsworth, and A.L. Rowse.
90. (Greene.) OXFORD POETRY 1925. Edited by Patrick Monkhouse and

Charles Plumb. Oxford: Blackwell, 1925, FIRST EDITION, a few faint
spots at head of rear pages, pp. viii, 56, crown 8vo, original blue
wrappers, printed label to front and backstrip, gentle sunning to
backstrip and borders, a little creasing to overhanging edges, some
dinks to front wrapper carrying through to first few pages, good
(Wobbe B7 & B8) £75
With two early appearances by Graham Greene, his poems ‘I Shall be

Happy’ and ‘Sonnet’ (both collected in ‘Babbling April’ in the same year);
other notable contributors include C. Day Lewis, Harold Acton, and A.L.
Rowse.
Blackwell’s to Foyle’s
91. Greene (Graham) Babbling April. Oxford: Basil Blackwell (Printed at the Shakespeare Head Press,)
1925, FIRST EDITION, faint partial browning to title-page, one or two tiny spots to page-borders, pp. [vii],
32, crown 8vo, original grey boards, lettered in blue to upper board and backstrip, top edge a little dusty
37
with edges untrimmed and predominantly uncut, free endpapers with a few faint spots, the flyleaf with
the tiny pencil ownership inscription of a contemporary Exonian at head, dustjacket with backstrip and
borders a little toned and very minor chipping to corners and backstrip ends, very good (Wobbe A1)
£5,000
Graham Greene’s first book, published by Blackwell whilst the author was still an undergraduate; this latterly
the copy of bookseller Christina Foyle of Foyle’s Bookshop.
92. Greene (Graham) Brighton Rock. An Entertainment. New

York: Viking, 1938, FIRST EDITION, pp. [viii], 358, 8vo, original
salmon pink cloth with black cloth around head, separated by
two horizontal silver rules on upper board, backstrip lettered
in silver with slight lean to spine, top edge black, dustjacket
very bright with backstrip panel sunned and a tiny chip at
head of lower joint-fold, a nick at foot of rear panel and some
very light dust-soiling to the same, very good (Wobbe A13b)
£2,500
Published a month ahead of the UK edition, in June 1938 - this is a

very well-preserved copy.
First issue dustjacket

93. Greene (Graham) It’s a Battlefield. Heinemann, 1934, FIRST
EDITION, some light foxing to prelims with the occasional
outbreak to terminal leaves, pp. [viii], 278, 8vo, original black
cloth with publisher’s device blind-stamped to lower board,
backstrip lettered in gilt, edges toned with a few spots to
fore-edge, dustjacket designed by Youngman Carter with loss,
creasing and general defects but crucially with 7/6 price, good
(Wobbe A6a) £3,250
The first issue dustjacket, distinguished by the higher price of 7/6

(reduced to 3/6 subsequently) is most uncommon.
94. Greene (Graham) Stamboul Train. Heinemann, 1932, FIRST

EDITION, second state, pp. [x], 307, 8vo, original black cloth,
backstrip gilt lettered within a gilt stamped design and slight
lean to spine, a little rubbing to leading edge and upper joint,
top edge lightly dustsoiled, single small spot to fore-edge,
dustjacket (designed by Youngman Carter) with central crease
to backstrip panel and internal tape repair to same, a single
instance of tape repair at head of front panel with some
professional repair to backstrip ends and corners delta shaped
piece (30x25mm.) missing from head of front panel adjacent
to the backstrip panel, good (Wobbe A5a) £2,800
A few changes to the first state had been necessitated when J.B.
Priestley, who had seen a review copy, threatened libel action
under the impression that the the character of Mr Savory was
based on him. The offending passages, and resulting amendments,
are on pp. 78-80 and largely involved (as Greene recounted in A
Sort of Life) removing any reference to Dickens, whom it seemed
‘Mr Priestley [was] defending... rather than himself’.
‘One can’t just send them to Foyle’s, can one?’

95. Greene (Graham) The End of the Affair. Heinemann, 1951, FIRST EDITION, crease to top corner of p. 209,
pp. [vi], 237, 8vo, original grey cloth with publisher’s device blind-stamped to lower board, backstrip
lettered in gilt, endpapers toned with pencil note regarding p. 209 at head of flyleaf, Foyle’s bookseller
38
sticker at foot of front pastedown, dustjacket with backstrip panel lightly toned and a little chipped at
ends, very good (Wobbe A27a) £300
Christina Foyle’s copy, without mark of ownership but with the pencil note and page-creasing marking a
reference to Foyle’s bookshop within the text - an appealing association copy.
Antonia Fraser’s copy

96. Highsmith (Patricia) This Sweet Sickness. Heinemann, 1961, FIRST ENGLISH
EDITION, pp. [viii], 240, crown 8vo, original blue boards, backstrip lettered
in silver, top edge a trifle dusty, ownership inscription to flyleaf (see below),
dustjacket with a touch of fraying to corners, backstrip panel sunned and
some light water-staining at head of rear panel and to flap-folds, good £200
A desirable association copy, with the author referred to by Fraser as ‘the great
Patricia Higsmith’ when enumerating the models for her own forays into the
genre.
97. Ishiguro (Kazuo) The Buried Giant. Faber and Faber, 2015, FIRST EDITION, 2/200 COPIES signed by the
author with a folder containing two manuscript pages in facsimile (these also signed), pp. [vi], 345, 8vo,
original maroon boards with inset illustration to upper, backstrip and upper board lettered in gilt, green
cloth slipcase with tree design stamped in gilt, still sealed in publisher’s original packaging, fine £300
98. Ishiguro (Kazuo) The Remains of the Day. Faber and Faber, 1989, FIRST EDITION, pp. [vi], 245,
crown 8vo, original black boards, backstrip lettered in white with slight push at head of lower joint,
dustjacket, near fine £150
A very bright example of the first state dustjacket (without mention of the Booker Prize), with none of the
fading usually found.
99. Keynes (John Maynard) The General Theory of Employment, Interest and Money. Macmillan and Co.,
1936, FIRST EDITION, single spot to half-title and title-page, pp. [xii], 403, crown 8vo, original dark blue
cloth, backstrip gilt lettered and gently faded with a tiny hole to the left margin, corners lightly bumped
with a couple of little dinks to top edge of lower board, top edge of textblock with some very light
foxing and a couple of marks, good £700
100. (Lawrence.) 352087 A/C Ross [i.e., T.E. Lawrence] The Mint. A day book of the R.A.F. Depot between
August and December 1922, with later notes. Jonathan Cape, 1955, FIRST EDITION, Unexpurgated Issue,
1,157/2,000 COPIES printed on laid paper, title-page printed in black and red, gift inscription to initial
blank, pp. [iv], 208, 4to, original quarter dark blue morocco, backstrip gilt lettered, mid blue cloth
sides with a small amount of rubbing to corners, marbled endpapers, t.e.g., others untrimmed, board
slipcase soiled with a dent to top edge, original Heffers sale slip laid in, near fine (O’Brien A172) £180
101. Le Carré (John) The Russia House. Hodder & Stoughton and
London Limited Editions, 1989, FIRST EDITION, 108/250 COPIES signed
by the author (to the title-page rather than the limitation page), pp. [iv],
344, [1], 8vo, original quarter green cloth with marbled boards, vertical
gilt rule, backstrip gilt lettered with the merest hint of fading, original
tissue jacket, near fine £180
102. Lee (Harper) To Kill a Mockingbird. Heinemann, 1960, FIRST ENGLISH

EDITION, a few very faint spots to half-title, pp. 296, crown 8vo, original
maroon boards backstrip lettered in silver, faint endpaper browning,
edges gently toned with one or two very faint spots, the same to free
endpapers with a contemporary ownership inscription (Oct ‘60) to the
flyleaf, dustjacket with a touch of fading to the backstrip panel and very
minor rubbing to extremities, very good £700
39
Christina Foyle
Item 91 Item 95 Item 103 Item 104
Inscribed to Christina Foyle

103. Lee (Laurie) Cider with Rosie. Hogarth Press. 1959, FIRST
EDITION, first issue, line-drawings, a number full-page, by John
Ward, pp. [iv], 284, crown 8vo, original green boards,
backstrip lettered in gilt with lean to spine, bottom corners
slightly pushed, Foyle’s bookseller sticker at foot of front
pastedown, dustjacket with backstrip panel a shade darkened
and minimal rubbing to extremities, very good £850
A presentation copy, bearing an inscription to the flyleaf:

‘For Ronnie & Christina - who give writers wings - from the
Author, with affection’ - the recipients were Christina Foyle,
of Foyle’s Bookshop, and her husband Ronald Batty. Laid in
are two Christmas cards to the same signed by the author,
utilising an excerpt and an illustration from ‘Cider with
Rosie’ respectively - one from 1981, the other undated but
probably earlier - and an ALs on Lee’s headed paper from February
1972, to ‘Dear Ronnie’ (with ‘very best regards to Christina’),
thanking him for sending copies of the book and declaring himself
‘impressed that you found [...] the Burning Piano’ and returning
a copy ‘duly inscribed’ (presumably the present copy). The latter
likely refers to the issue point regarding the inclusion of a passage
on page 272, which describes the ‘fire at the piano-works almost
every year [...] a way of balancing the books’.
Signed for Christina Foyle

104. Lennon (John) In his Own Write. Jonathan Cape, 1964,
FIRST EDITION, illustrations by the author throughout, with
these and the text printed in blue or brown, pp. 79, small 4to,
original boards illustrated with a photograph of the author
to front, a little rubbing to extremities, tiny spot to gutter of
front endpapers, very good £5,000
Signed by the author on the flyleaf. This was formerly the copy of
Christina Foyle, of Foyle’s Bookshop, who had hosted a literary
lunch to mark the book’s publication in April 1964 - though the
signature is undated, it is likely to have been signed at this event.
40
105. Macaulay (Rose) Non-Combatants and Others. Hodder and

Stoughton, 1916, FIRST EDITION, pp. xi, 305, crown 8vo,
original khaki cloth lettered in gilt to backstrip and upper
board, the latter within an orange border, gentle rubbing to
extremities and a small pen-mark to lower board, a few dinks
around head and a couple of faint marks, free endpapers
browned with armourial bookplate to front pastedown offset to
flyleaf, good £275
An autobiographical novel of the First World War, conveying the

complexities of the conflict’s human impact in a highly effective
manner through the author’s expert handling of structure and tone.
The bookplate on the pastedown belongs to Sir Edward Warner

and his wife Nesta - he a Colonel in the Scots Guards during the
war, awarded the DSO and mentioned several times in despatches.
106. McEwan (Ian) Atonement. Jonathan Cape, 2001, FIRST EDITION, pp. [viii], 372, [1], 8vo, original black
boards, backstrip lettered in silver, dustjacket (without mention of the Booker Prize), fine £180
Signed by the author to the title-page beneath his printed name.
107. Mackenzie (Compton) The Monarch of the Glen. Chatto & Windus, 1941, FIRST EDITION, one or two
light handling marks, pp. 288, crown 8vo, original blue cloth, backstrip lettered in pink, some fading
and discolouration through the jacket, bookplate of Olive Campbell to front pastedown, dustjacket
defective, good £200
Inscribed by the author on both sides of the flyleaf, both inscriptions somewhat unsuccessful: the first,
to the verso, is illegible due to ink-bleed on the cheap war-time paper - it perhaps reads ‘With [obscure]
compliments[?], Compton, see p. 253’; the next (if indeed the priority itself can be fixed) is in pencil and reads
‘OC, from Compton, see page 252’ with a ‘x2’ in the margin probably referring to the duplication of the
inscription. What can be established is that the inscription is to Olive Campbell of Inverneill, the formidable
aunt of John Lorne Campbell - Mackenzie’s friend and collaborator, both on books relating to Barra, where
they met, and the Sea League to control fishing there which they founded together.
As the inscriptions indicate, pp. 252-3 contain a reference to the Campbells and their formidable nature that
Olive was said to epitomise - ‘nothing could frighten Campbell of Inverneil or any other Campbell’ - a tribute
that was no doubt well received.
108. Manning (Olivia) The Great Fortune. Heinemann, 1960, UNCORRECTED PROOF COPY, pp. 296, crown
8vo, original wrappers, gently faded backstrip with short split at head of upper joint, lean to spine, light
pressure marks at foot of rear cover, oversize proof dustjacket (that of the published book, with the date
of publication stamped at foot of front flap) a little creased and rubbed to edges, good £65
The first book in Manning’s Balkan Trilogy. Her novels were described by Anthony Burgess as ‘the finest
fictional record of the war produced by a British writer’.
Garrod to Masterman
109. (Merton College.) GARROD (H.W. , Editor) Injunctions of Archbishop
Kilwardby, 1276. Oxford: [Printed by John Johnson at the] University
Press, 1929, FIRST EDITION, printed in the Fell type on handmade
paper, single faint spot to title-page, pp. 15, 4to, original grey wrappers
printed in black, overhanging edges a little nicked and chipped, very
good £150
With an inscription by Garrod at the head of the front cover: ‘J.C.M. from
H.W.G.’ - the likely recipient being the intelligence officer and academic,
J.C. Masterman (Provost of Worcester College following World War Two).
41
At one-time a colleague of Tolkien and an adversary of Housman, Garrod was a classical and literary
scholar and an entrenched Mertonian - the ODNB describes him as having ‘rarely moved further afield than
Blackwell’s bookshop; there his figure was well known’. This, his Introductory Note states, is the first printing
of this interesting document from the College’s history.
110. Middleton (Stanley) Him They Compelled. Hutchinson,

1964, FIRST EDITION, pp. 224, crown 8vo, original charcoal
boards, backstrip lettered in gilt with orange horizontal rules,
dustjacket in excellent shape with two small holes to rear flap-
fold and a hint of fading to the orange on backstrip panel,
very good £150
An attractive copy of the Nottingham author’s sixth novel - best-

known for his Booker winning ‘Holiday’, his earlier books are hard
to find in this sort of shape.
Inscribed to Walter de la Mare

111. Muir (Edwin) Journeys and Places. Dent, 1937,
FIRST EDITION, a few spots at head of prelims, pp.
x, 54, foolscap 8vo, original grey boards,
backstrip lettered in red, top edge red, the upper
board bowing slightly, dustjacket with backstrip
panel darkened and some light soiling, a little
corner chipping, very good £210
Inscribed by the author on the flyleaf: ‘To Walter de

la Mare, in admiration and gratitude. Edwin Muir’.
A significant presentation copy to a fellow poet,
though the precise nature of Muir’s debt has not
been possible to determine.
112. Murakami (Haruki) Blind Willow, Sleeping Woman. Translated from the Japanese by Philip Gabriel
and Jay Rubin. Harvill Secker, 2006, 55/1,000 COPIES, signed by the author in English on a tipped in
bookplate, pp. x, 334, 8vo, original quarter black boards with willow tree design, backstrip lettered in
silver, a tiny speck along top edge of upper board, slipcase stamped with willow tree motif, near fine
£240
McKnight Kauffer dustjacket design

113. Myers (L.H.) The Clio. Putnam, 1925, FIRST EDITION,
pp. 257, [4, ads], crown 8vo, original blue cloth, printed
label to upper board and backstrip, lean to spine,
ownership inscription to flyleaf, faint partial browning to
free endpapers, excellent McKnight Kauffer dustjacket,
very good £200
Signed by the author on the initial blank, dated July 1930. The
second novel from an author on the fringe of the Bloomsbury
group, ‘The Clio’ is the yacht travelling up the Amazon on
which the narrative takes place.
114. Peake (Mervyn) [The Gormenghast Trilogy]: Titus Groan, Gormenghast, Titus Alone. Eyre &
Spottiswoode. 1946-1959, FIRST EDITIONS, frontispiece to ‘Titus Alone’ and title-vignettes to the other
two books by Peake, single faint foxspot at head of prelims of first volume, pp. 438; 454; 223, 8vo,
original cloth in differing shades of red, backstrips lettered in gilt with that to first volume slightly
dulled and lean to spine of third volume, minor corner-bumping to lower board of Titus Groan, a few
spots to edges and the same to endpapers of first volume, second and third vols with offset tape adhesive
from former covering to corners of free endpapers and small ownership inscription to flyleaf of Titus
42
Groan, tiny stamp at head of rear pastedown of second volume, dustjackets in earliest states and in
excellent shape with mild toning to those of first two volumes, minor nicking, a very good set £1,000
115. (Periodical.) THE SHEAF. A (perhaps) Quarterly

Magazine [May and December issues, 2 Vols.] [Oxford
& London:] Simpkins & Marshall [the second issue,]
1902, SOLE EDITIONS, frontispiece by E.B. George to
both volumes, textblocks lightly browned, pp. 32, [1,
ad]; 37, [1, ad], royal 8vo, original brown wrappers, the
first volume with splitting along the spine, chipping to
edges and some light creasing, good £300
The magazine eventually ran to four issues, these the first

two - and scarce, with copies at the BL and the Bodleian,
and a copy of the December issue at Liverpool University
only on COPAC. Bibliographic details on the first are scant
- the second issue lists both a publisher and the fact that it
is distributed in Oxford by B.H. Blackwell.
Contributors include Laurence Binyon, Robert Bridges,

Clinton Pirie-Gordon (who would go on to collaborate
with Baron Corvo), and very early work by the then-
undergraduate (at Magdaeln College, Oxford) Compton
Mackenzie - his poem, ‘October’, under the name
Montague Compton.
Inscribed to Charles Tennyson

116. Prince (F.T.) Memoirs in Oxford. Fulcrum Press, 1970, FIRST EDITION, pp. 47, crown 8vo, original black
cloth, backstrip lettered in gilt, dustjacket lightly rubbed to extremities, very good £80
Inscribed by the author on the flyleaf: ‘To Sir Charles Tennyson, with kind regards from Frank Prince’. A long
poem occasioned by the author’s return to Oxford in 1968-9, as a Visiting Fellow at All Soul’s - he had earlier
been at Balliol.
Signed by the author and Duncan Grant

117. Roche (Paul) All Things Considered. Duckworth, 1966,
FIRST EDITION, frontispiece portrait of the author by
Duncan Grant with the author’s corrections and revisions
in blue ink to poems on pp. 76-7, 91, 95, small spot at
head of opening poem, pp. 128, foolscap 8vo, original
green boards, backstrip lettered in gilt, price-clipped
dustjacket repeating frontispiece illustration £150
43
Signed on the flyleaf in green ink by both Roche and Duncan Grant, his lover who provides the frontispiece
here. Roche’s signature is dated 1978, which would make this a very late signature from Grant who died that
same year. A note by Roche at the foot of the same in blue ink records that this copy has been ‘corrected by the
author’ - some of these corrections reflect poetic decisions, others simply typographical errors (’mildweed’ to
‘mildewed’).
Roche and Grant met in 1946 and lived together in the final years of the latter’s life.
118. Rushdie (Salman) The Satanic Verses. Viking, 1988, FIRST EDITION, pp.[ix], 547, [1], 8vo, original blue
boards, backstrip lettered in gilt, dustjacket with the merest hint of fading to backstrip panel, near fine
£200
Signed by the author to the title-page.
On war and the Middle East

119. Russell (Bertrand) Typed Letter signed to Aubrey Hodes. 28th August, 1951, from his Queen’s Road
address in Richmond (headed thus), signed in black ink at foot, pp. [2], 4to, original folds, stapled to top
left corner, some corner creasing, good condition £1,200
A superb letter to a Jewish South

African scholar (then resident in
Israel), in response to a letter from
the same: Russell begins, ‘I have
every sympathy with your
perplexity as regards the problem
of war. I will do my best to tell you
what I myself think’...
What follows constitutes an

excellent statement of his beliefs
on this and various touching
matters: ‘With regard to war
in particular, I have always felt
that some wars are justifiable. I
stated this view publicly during
my pacifist activities in 1914-18’,
with Russell holding that he still
considers himself to be correct on
this matter; he proffers the opinion
that ‘a quick German victory would have done less harm’ than ‘a long war ending in a German defeat’ - ‘there
would not have been the rise of the Bolsheviks in Russia; there would not have been the Nazis in Germany;
there would not have been the Atom Bomb or the ferment in Asia’. Taking it that England’s neutrality would
have facilitated the posited ‘quick victory’ for the Germans, ‘on this ground I think that my opposition to
England’s participation in the first war was justified.
His summary of the Second World War is pithier and more straightforward: ‘Hitler’s regime was worse than
the Kaiser’s, and I thought war a lesser evil than subjection to the Nazis’.
Russell continues, addressing Hodes’ anxieties over his own region: ‘I certainly feel that if I were in your place
I should fight if the Arabs made an unprovoked attack’, but that an appeal to the United Nations would be
preferable - ‘I think it is the duty of any person who realises the evils of war to urge the settlement of disputes
such as that between Jews and Arabs, or that between India and Pakistan, by appeals to an international
authority rather than by fighting’. He states that he holds ‘no opinion whatever as to the rights and wrongs’
of the respective sides - ‘the only opinion I have is that both sides ought to be willing to submit to neutral
arbitration.
He closes with a general point on conscientious objection, conceding the ineffectiveness of the individual
versus the state: ‘The Governments would still use their atom bombs, and the whole thing would be probably
quite as bad as if these men had participated [... In the modern world it is governmental action that matters,
and the only important power remaining to the individual is that of influencing his government’.
44
Russell wrote further letters to Hodes, some of which were published in the New Outlook magazine of which
Hodes was an Editor, but the present letter is the one cited by the recipient as having inspired him politically -
and it is such an excellent setting-down of Russell’s developed and considered opinions on these matters - still
very pertinent some 65 years later - that it is easy to see why this was the case.
Graham Pollard’s copies, inscribed and with letters from the author
120. [Sayers (Dorothy L.)] An Account of Lord Mortimer
Wimsey, the Hermit of the Wash, related in a Letter to Sir
H- G- Bart, by a Clergyman of the Church of England.
‘Bristol: Printed by M. Bryan, Corn-street, 1816’ [but
Privately Printed at the Oxford University Press, 1937,] FIRST
EDITION, ONE OF 250 COPIES, pp. 16 (incl. covers), crown 8vo,
original self wrappers, unstitched and untrimmed as issued,
a few spots to borders, inscribed at the head of front ‘To
Graham Pollard Esqre, With the Compts of the Author’,
good (Gilbert A27 & A23) £3,500
[With:] [Sayers (Dorothy L.)] Papers Relating to the Family of

Wimsey. Edited by Matthew Wimsey. Privately printed for the
Family by Humphrey Milford, [1936,] FIRST EDITION, ONE
OF 500 COPIES, frontispiece portrait and 1 further plate with
genealogical table at rear, occasional spots to borders, pp. 55,
[1], 8vo, original blue wrappers printed in black with fading to
backstrip, a few spots to flyleaf, book label of Graham Pollard
to front pastedown, laid-in note stating that further copies can
be purchased from Helen Simpson, good
A pair of playful hoaxes (though ‘we aim to deceive none

but the simple-minded’, the author assured Basil Blackwell)
designed to add genealogical ballast to Sayers’ fictional world.
These are the copies of Graham Pollard, and with the accompanying letters from Sayers (1 TLs and 1 ALs) shed
light on his involvement in the undertaking - which relates in a fascinating way to his earlier exposé, alongside
John Carter, of the many scurrilous forgeries of eminent bibliographers Thomas J. Wise and Harry Buxton
Forman. Sayers had been fascinated by the work of their ‘Enquiry’, seeing in their forensic approach an
analogue of her own detective fiction - indeed in her review she professed it the superior of it.
Here Pollard, in arch fashion, himself takes on the role of

forger, assisting Sayers with the fabrication of ‘An Account...’
- which is given the look, along with the thoroughly false
bibliographic trappings, of just the sort of pamphlet for which
Wise and Buxton Forman had been responsible.
Her first letter, from December 1937, is a TLs acknowledging

receipt of ‘Lord Mortimer [...] I think he looks splendid’ and
asking to be billed for the various costs. The subsequent
ALs to Pollard, from January of 1938, finds Sayers in a more
playful mode: she thanks him ‘for sending the O.U.P. account
[...] I think it is very reasonable indeed’ and then proceeds
to ask him ‘on what grounds you determined that a metal
pen was used for the inscription’ when ‘[i]t was in fact
written with a virgin goose-quill, the ink being compounded
from gallo, green vitriol & gum arabic, according to a 17th
century recipe’, her line of questioning referring to the forms
of scrutiny that Pollard had applied in his ‘Enquiry’ into
the nineteenth-century pamphlets that the present volume
imitates, and also indicating that - despite the needful
appearance to the contrary - the inscription is in her own
hand. A further TLs to Pollard from Desmond Neill at the
Bodleian Library in 1964 thanks him, on behalf of Mr Hanson,
for sending a copy.
45
Also included are two photocopied TLs from Sayers to Basil Blackwell, the latter in response to a TLs from
the Gaffer (also included in photocopy), which refer to the potential sales life of the volumes eight years down
the line - the second, from 15th May 1945, in response to Blackwell’s suggestion that ‘we might make an
antiquarian item of them’, confirming the arrangement for Blackwell’s to sell ‘6 copies each of the WIMSEY
PAPERS and the ACCOUNT OF LORD MORTIMER’, as well as making reference to her present work on
translating Dante’s Comedia (‘I can[...] chew over the rhymes as I peel the potatoes’). Sayers continues to enjoy
what Desmond Neill, in his letter to Pollard, refers to as her ‘jeu d’esprit’, suggesting that ‘we release them
judiciously, as the redoubtable Mr. Thomas Wise released the forged XIXth century pamphlets’ and making
explicit Pollard’s role - ‘the format of the Lord Mortimer pamphlet was devised and superintended by Graham
Pollard, who did the detective job on the said pamphlets: but he will not vouch for there being no esparto grass
in the paper’.
A fascinating group of material, the two hoaxes being scarce items in their own right - but these perhaps the
best association copies that could be hoped for, with inscribed copies of ‘An Account’ otherwise unknown (for
the obvious reason of maintaining the ruse).
121. Shershenevich (Vadim) [in Russian:] 2 x 2 = 5. Listy Imazhinista.

Moscow: Imazhinisty, 1920, FIRST EDITION, pp. 48, small 4to,
original wrappers with an Imaginist design by Boris Erdman, a few
handling marks and very gentle fading to borders with export
stamp and some numbers to rear, good £600
A manifesto for Imaginism, a brief poetic movement with a severe

programme - conceived as a strike against Russian Futurism,
with which its members had previously been affiliated (indeed,
Shershenevich was the Russian translator of Marinetti). With its
emphasis on the primary poetic importance of the image, it naturally
bears comparison with the Anglo-American movement Imagism,
though the similarities are largely superficial.
122. Simenon (Georges) Maigret Right and Wrong. Comprising Maigret in Montmartre and Maigret’s
Mistake. Hamish Hamilton, 1954, PROOF COPY OF THE FIRST ENGLISH EDITION, faint smudging from
erasure to half-title, pp. 286, crown 8vo, original plain brown wrappers, fragile, a little chipped at
backstrip ends with a hint of splitting at head of joints, lean to spine, good £150
Signed by the author to the title-page and dated to the year of publication.
123. Sinclair (Iain) Ebbing of the Kraft. Cambridge: Equipage, 1997, FIRST EDITION, 12/12 signed by the
author with holograph material, title-page photograph, pp. [40], crown 8vo, original stapled wrappers,
the merest hint of fading around the spine, near fine £185
The holograph material on the inside cover is a short poem entitled ‘The Spirit Shed’.
46
Monroe Wheeler’s copy

124. (Surrealism.) BRETON (André) and Marcel Duchamp. First Papers of Surrealism. [Exhibition
Catalogue.] New York: Coordinating Council of French Relief Societies, 1942, FIRST EDITION, outer
leaves of green paper, illustrations of work by Buñuel, Yves Tanguy, Duchamp, Chagall, Picasso, Ernst,
de Chirico, André Masson, Leonora Carrington, Mirò, et al. with some alongside antecedents, with
amusing ‘ compensation portraits’ of some artists supplied by Duchamp and various literary quotations
scattered through, pp. [47], royal 8vo, original stapled wrappers by Duchamp with 5 pinhole apertures
to front, a tiny amount of rubbing along the spine, very good £650
An excellent copy of this important and imaginative catalogue for

a show held at Reid Mansion between October and November
of that year - the first major exhibition of the group’s work in the
US, marking the migration of primary figures such as Breton and
Duchamp to the States.
This was the copy of Monroe Wheeler, Director of Exhibitions

and Publications at MoMA, with his contemporary ownership
inscription (’Oct. 1942’) to the flyleaf - Wheeler, along with the rest
of the city’s cultural elite would certainly have been in attendance,
and the Museum itself is thanked for the loan of some exhibits.
Visitors to the exhibition itself were greeted by Duchamps’s

hanging ‘mile of string’ installation - a web that covered the vast
space of the site; here, in playful reference to that piece he is
credited as the ‘twine’ for the catalogue, whilst Breton is given
responsibility for the ‘hanging’. For the catalogue itself, Duchamp
contributes the cover - on the one side a wall riddled with bullet-
holes, on the other a close-up of some Swiss cheese - as well
as the amusingly specious ‘compensation portraits’ of some of
the featured artists, intended to represent rather than depict
(Duchamp’s own is that of a sharecropper’s wife taken by Ben
Shahn during the Great Depression).
125. Szuts (Szegedi) My War. With an Introduction by R.H. Mottram.

John Lane The Bodley Head, 1931, FIRST EDITION, full-page
illustrations, the odd handling mark, pp. [20], 206 [illustrations],
8vo, original beige cloth lettered in black to upper board and
backstrip, some light spotting and faint soiling, corners of lower
board gently bumped, top edge black, a few spots to edges with tail
edges roughtrimmed, faint endpaper browning, good £100
Inscribed on the title-page: ‘W.E. Bates from R.H. Mottram, Xmas 1931’.
The recipient was the former Company Quarter Sergeant-Major of the
Honourable Artillery Company, who had contributed introductory
material to Mottram’s ‘Ten Years Ago’ in 1928.
Mottram’s Introduction here describes the Hungarian artist as having

‘stated honestly, [...] though very probably too strongly for some people,
his view of a piece of contemporary history’ - namely the Great War. The
series of pictures provides a narrative that takes the Little Hussar from a
contented youth to a battle-ravaged adult, and ends with his execution.
126. Tennant (Stephen) My Brother Aquarius. Poems. Bournemouth:

Nash Publications, 1961, FIRST EDITION, frontispiece repeating dustjacket design, light foxing to title-
page with the odd spot further in, one page with a small scribble in red pencil, sliver of surface lifting
to final text-page, pp. [viii], 62, 4to, original blue cloth lettered in gilt to upper board and backstrip,
very light rubbing to extremities and a few indentations at head of lower board, dustjacket designed by
Tennant with some light soiling to rear panel, very good £600
47
With a lengthy inscription in blue ink by Tennant across the front endpapers: ‘For Carol Pennels, I think
you are a true poet...’ - Tennant goes on to enumerate the qualities he has discerned in the work she has sent
to him, ending ‘Poetry is an Essence of Experience. You are saving something precious from Oblivion. Very
cordially yours, Stephen Tennant’. The inscription is written from Wilsford Manor and dated to October
1972. On the facing pastedown, Tennant has written his poem ‘The soul of a wheel is the space between the
spokes’, an adaptation from the Chinese, along with a quotation from ‘Romeo & Juliet’ - attributed to ‘W.
Shakespeare? a Bacon? or Edward de Vere?’. Laid in at the front is a letter to the same recipient, presenting the
book, from her Uncle John - who evidently worked for Tennant in some capacity, as the address at the head is
the same.
A charming presentation copy from the one-time socialite and then recluse, his aesthetic nature developing a
mystical tone.
127. Tolkien (J.R.R.) Beowulf: the Monsters and the Critics. Sir Israel Gollancz Memoiral Lecture, British
Academy, 1936 [Reprint.] Oxford University Press, 1960, bookplate sometime adhered to verso of title-
page now loose, pp. 53, crown 8vo, original sewn grey wrappers printed in black, mild border toning
and one or two light marks, good £150
The third impression of this text, reprinted lithographically - in a slightly smaller format - from the sheets of
the first. The loose bookplate adds some small significance to this copy, being a presentation plate to ‘The
Sisters of the Love of God, With Father Hugh’s Love and Gratitude’ - the former an Anglican Community
based in Oxford, the latter Father Hugh Maycock, who was Principal at Pusey House on St Giles between
1955 and 1970 and knew Tolkien; he was the recipient of a Japanese edition of the Hobbit, inscribed and with
a note to him from the author, in 1966.
128. Tolkien (J.R.R.) The Lord of the Rings Trilogy.

The Fellowship of the Ring; The Two Towers;
The Return of the King [3 Vols.] George Allen
and Unwin, 1959- 1963, FIRST EDITIONS, later
printings (the 13th, 6th, and 9th respectively),
folding-maps drawn by Christopher Tolkien at
rear of each volume, shire map by same printed
in red and black to first volume, pp. 424; 352;
416, 8vo, original red cloth, backstrips lettered
in gilt with some soiling along upper joint of
first volume, top edges red, a couple of tiny
spots at head of rear free endpapers, second
volume with attractive bookplate to front
pastedown, a small bookseller sticker at foot of
same and the original Blackwell’s receipt for
this copy laid in (he also bought a copy of
Dickens’ Pickwick Papers), dustjackets with
backstrip panels just a little sunned with some
very shallow chipping to a couple of corners, an excellent set £650
48
William Rothenstein’s copy

129. Waddell (Helen, Translator) The Desert Fathers [Vitae Patrum.]
Translations from the Latin, with an Introduction. Constable, 1936,
FIRST EDITION, illustrated title-page as frontispiece, pp. x, 312, crown
8vo, original blue cloth, backstrip lettered in gilt, a couple of tiny white
specks at head of upper board, top edge blue, bookplate of William
Rothenstein, dustjacket with very minor chipping, very good £150
Inscribed by Waddell on the flyleaf to her friends the Rothenstein’s: ‘William

and Alice, with Helen’s love. June 15, 1936’. A small photograph, probably of
the recipients, has been laid in.
Signed and with a manuscript correction to the epigraph

130. Wain (John) Where the Rivers Meet. Hutchinson, 1988, FIRST EDITION, pp. 563, 8vo, original green
boards, backstrip lettered in gilt, dustjacket, fine £175
An Oxford novel, the first of a trilogy, from an author with the distinction of being involved with both the
Inklings - Lewis was Wain’s principal tutor when he read English at St John’s - and the Movement, along with
his collegiate contemporaries Amis and Larkin.
Wain has signed beneath his printed name on the title-page, and has additionally made a small correction to
the epigraph where the letter ‘r has been omitted from ‘your’.
131. Wells (H.G.) War in the Air, and Particularly how Mr. Bert
Smallways Fared while it Lasted. George Bell, 1908, FIRST
EDITION, tissue-guarded frontispiece and 15 plates by A.C.
Michael, light foxing to prelims receding but not
disappearing throughout, pp. vii, 389, [2, ads], crown 8vo,
original blue cloth lettered in gilt to upper board and
backstrip, the latter gently faded, rubbed to edges and
extremities with some very faint discolouration to both
boards, small Blackwell’s sticker at foot of front pastedown,
endpapers browned with front hinge strained a little, good
(Wells 35: Wells Society 36) £300
In the first issue binding, Wells’s future war novel is among his
most successful contributions to the genre of scientific romance.
132. Williams (William Carlos) This is Just to Say. Blue Print Press: San Giacomo di Veglia, 2014, 8/10
COPIES initialled by the artist in pencil, printed on Zerkall mould-made paper, full-page lino-cut by
Annalisa Cescon and Janine Raedts (the printer) printed in black and purple and numbered and
initialled by Raedts, pp. [5], 8vo, original sewn blue wrappers printed in black to front, fine £75
An attractive printing of Williams’ famously prosaic poem, printed in a very small edition; the suitability of
the poem for this sort of presentation is indicated by critic Marjorie Perloff, when she writes ‘the three little
quatrains look alike; they have roughly the same physical shape. It is typography [...] that provides directions
for the speaking voice’.
49
Part III
Private Press and Illustrated Books
133. (Barbarian Press.) THE INGOLDSBY LEGENDS. A Gallimaufry. Selected

and Edited, with Notes & an Afterword, by Crispin Elsted. Original
Illustrations engraved by the Brothers Dalziel in London, circa 1870,
from drawings by J.L.R. and here first published, printed from the
wood. Mission, British Columbia, 2015, ONE OF 45 DELUXE COPIES,
printed on Heine mouldmade paper, frontispiece and 6 further
engravings on Zerkall Cream Smooth paper and tipped in, Errata
sheet tipped in at rear, pp. 165, square 4to, original quarter calf with
patterned paper sides, backstrip lettered in gilt, calf-tipped corners,
edges untrimmed, with a quarter cloth folder containing pulls of
the seven engravings plus one additional, housed together in cloth
slipcase, fine £600
134. Bawden (Edward) A Book of Cuts. (Introduction by Ruari McLean).

Scolar Press, 1979, FIRST EDITION, 76 pages illustrating reproductions of Bawden’s woodcuts, pp. [iv],
84, 4to, original green card wrappers, covers printed in black, white and red, including reproductions
of work by Bawden, minimal rubbing and backstrip red gently faded, very good £60
135. (Bawden.) HOWES (Justin) Edward Bawden: A Retrospective Survey. Bath: Combined Arts, 1988, FIRST
EDITION, Bawden illustration throughout, pp. xv, 132, 4to, original wrappers with integral patterned
paper jacket, printed label to front, fine £50
A very useful reference work.
136. Baynes (Pauline) Original signed drawing for Prince

Caspian. [p. 79: ‘…while the three Dwarfs and two
Badgers trotted stealthily across to the trees…’] [n.d.,
circa 1951,] black ink with some correction and
heightening to details in white, pencil annotation to
borders and faint crease visible at head, 31.7 x 19cm,
mounted and framed in English oak under museum
glass using high-grade acid-free materials, with pencil
quotation visible at foot of image [50 x 42 cm approx.
within frame], very good £12,000
A full-page illustration from the second Narnia book,

and a particularly rich one in terms of the number of
characters that are incorporated. Baynes’s drawing, with
her pencilled signature beneath, shows the Great Council
meeting on the Dancing Lawn (Chapter VII: ‘Old Narnia
in Danger’). The image is the same size as published in the
first edition. The other pencil markings refer to sizing and
place in text, with a contextual quotation (contemporary
with the original drawing) in Baynes’s hand captioning her
illustration.
137. Baynes (Pauline) Original signed drawing for Prince

Caspian. [p. 138, ‘in every field and wood, the alert ears of rabbits rose from their holes... etc’.] [n.d.,
circa 1951,] black ink with pencil and ink annotations to borders, 19 x 18 cm approx., original creasing
from publisher storage, but none touching image, trace overlay with some pencil markings fixed with
tape on verso, very good £5,000
Baynes’s drawing, with her pencilled signature beneath, shows in four medallions the response to Aslan’s roar.
The image is the same size as published in the first edition. The other pencil markings (some in red, numerals
50
in pen at head) refer to sizing and place in text, with a contextual quotation in Baynes’s hand captioning her
illustration. Further signed original drawings from this book are available – please request images.
138. Baynes (Pauline) Original signed drawing for

The Magician’s Nephew. [p. 150, ‘...the
children re-snuggled (if that is the right word)
under his wings...’] [n.d., circa 1955,] black
ink, pencil margins and annotations to
borders, 18 x 18 cm approx., original creasing
from publisher storage, but none touching
image, very good condition £5,000
Signed by the artist, the image is the same size

as published in the first edition. The pencil
markings (some in blue) refer to sizing and place
in text.
A beautiful image, dominated by Fledge, the

winged horse, but with the evanescent ‘tall,
dark figure’ of the Witch in the cross-hatched
background.
139. Baynes (Pauline) Original signed drawing for The Last Battle. [p. 112, ‘The Ape was knocked head over
heels by Ginger...’] [n.d., circa 1956,] black ink, pencil margins and annotations to borders, some light
handling marks, 24 x 18 cm approx., very good condition £5,000
Signed by the artist and with a contextual quotation in Baynes’s hand captioning her illustration. The image
is the same size as published in the first edition. The pencil markings (some in red) refer to sizing and place in
text, with the book’s title written in pencil to the reverse by the artist.
140. Baynes (Pauline) Original coloured drawing for Leaf by Niggle. circa 1980, black ink on thick art card
with pastel and gouache colouring in shades of brown, orange, and grey, 27 x 19 cm [image size 17.5
x 11 cm approx.], mounted and framed using high grade acid-free materials [35.5 x 24.5 cm within
frame], very good £7,000
Produced for Allen & Unwin’s deluxe edition of Tolkien’s ‘Poems and Stories’ in 1980 (Hammond &
Anderson A16) , the Baynes illustrations to this story were new to this edition and are an attractive and
accomplished example of her work - this original is more vivid, with greater contrast and use of colour, than
the printed version (which appears opposite p. 198).
141. Baynes (Pauline) Original signed coloured drawing for

Smith of Wootton Major. [p. 32: ‘There they danced...’] circa
1980, black ink on thick art card with gouache colouring in
shades of brown, orange, and grey, 27 x 19 cm [image 18 x 11
cm approx.], mounted and framed using high grade acid‑free
materials [31 x 22 cm within frame], very good £8,000
Signed by the artist in pencil at the foot of the image. The image is
larger and more detailed than that featured in the first edition. The
number 23, presumably some reference to its position in the edition
for which it was intended (where it appears opposite p. 322), is in
pencil on the reverse of the mount and of the art card itself, as well
as on the frame-board and a small piece of card affixed to the same
(the last identifiably in Baynes’ hand). The style and colouring make
it likely that this was produced for Allen & Unwin’s deluxe ‘Poems
and Stories’ in 1980.
51
Pauline Baynes’s copy

142. (Baynes.) [GRIMM (Jacob & Wilhelm)] Grimm’s Folk Tales. Translated by Eleanor Quarrie. With
Etchings by George Cruikshank, Coloured by Hand [by M. Johnson.] Folio Society, 1949, FIRST EDITION
THUS, hand-coloured frontispiece and 17 further full-page illustrations hand coloured by M. Johnson,
pp. 206, crown 8vo, original red cloth with illustration stamped in gilt to upper board against a pale
blue ground, backstrip lettered in gilt partially against a pale blue ground, top edge red, light foxing to
endpapers, dustjacket with light foxing to rear panel, light toning to backstrip panel with head of same a
touch chipped, very good £125
This the copy of illustrator Pauline Baynes, who herself provided illustrations for editions of Grimm as well
as other collections of folk and fairy tales - though without ownership inscription, a typed compliments slip
from Allen & Unwin is loosely inserted, requesting updated address information for her.
143. (Baynes.) POURRAT (Henri) A Treasury of French Tales. Illustrated by

Pauline Baynes. George Allen & Unwin, [1953,] FIRST EDITION, nine
plates and head and tail-pieces throughout, all from drawings by Pauline
Baynes, pp. vii, 232, crown 8vo, original blue boards, backstrip with
slight knock at head lettered in silver with Baynes design in same, small
spot to lower board, top edge blue now faded, dustjacket with Baynes
design browned overall and with a few drink splashes, very good £160
Signed by the illustrator Pauline Baynes, beneath her name on the title-page;
following her work for Tolkien with the same publisher, and in the midst
of her illustrations for Lewis’s Narnia series (which these in many cases
resemble), this is charming and accomplished work by this leading illustrator.
A binder bound
144. (Binding.) HICKS (Chris, Binder) Elizabeth Greenhill, Bookbinder. A Catalogue Raisonné. Frenich,
Foss, K.D. Duval, 1986, FIRST EDITION, ONE OF 500 COPIES (this unnumbered), frontispiece photograph
of Greenhill, illustrated throughout with examples of her work, the majority of these colour-printed,
pp. 111, 4to, bound by Chris Hicks in purple morocco, with overall gilt tooling using gouges formerly
owned and used by Greenhill, a hint of very gentle rubbing to corners, backstrip with red morocco
label lettered in gilt, patterned paper endpapers, near fine in custom dropdown box £850
A very attractive binding, constituting - in an original and meaningful way - an homage to the subject.
145. (Binding.) HICKS (Chris, Binder)

(Gwasg Gregynog.) Princes and
Castles. The Legacy of Thirteenth-
Century Wales. An essay by J.
Beverley Smith. Wood engravings
by Hilary Paynter. Calligraphy
by Ieuan Rees. Newtown, Powys,
2010, ONE OF 200 COPIES, this
unnumbered, printed in black
and red on Somerset Book Wove
mould-made paper, Paynter’s
illustrations throughout printed
from the original blocks,
impression from binder’s stray
paperclip faintly visible to verso
of title-page, pp. 63, oblong folio,
bound by Chris Hicks (his ticket at
rear) in dark green and pale blue
morocco to form skyline, grey
morocco onlay of castle outline
above multiple onlays in shades of
green, brown, and yellow to form
52
a forest landscape, heightened with gilt tooling with trunk outlines at foot in blind, near fine in custom
dropdown box with green morocco label with gilt lettering to Rees design £1075
The binding design is based on Paynter’s engraving of Dinefwr on p. 52 - the reproduction is vivid in colour
and detail, not to mention impressive in its execution. Chris Hicks also bound the whole edition in a quarter
leather binding designed by the calligrapher, but this is a unique binder’s copy.
146. (Binding.) HICKS (Chris, Binder) Les Assemblages de Jean Dubuffet. Signes Sols Sorts, par Pierre
Volboudt. Paris: F. Hazan, [1958,] FIRST EDITION, 615/700 COPIES (from an edition of 770 copies),
tipped-in colour frontispiece and 17 further full-page illustrations of which 4 are double spread and
a good number colour-printed, pp. 118, [6], 4to, bound by Chris Hicks in tan morocco with onlays
of maroon morocco to form skyscape, sculptured bird in black morocco to upper board, orange
endpapers, fine in custom cloth dropdown box with three vertical apertures showing Dubuffet
illustration £650
A very attractive binding, although (beyond the box) without any obvious relation to the text or the work of
Dubuffet - founder of the Art-Brut movement.
147. (Binding.) HICKS (Chris, Binder) (Incline Press.) A selection

ofpoems on the theme of Water. Oldham, 2008, ONE OF
400 COPIES issued as sheets to binders (from an edition of
550 copies), printed on Zerkall paper, marbled wave design
to title-page by Ann Muir, and colour-printed illustrations
throughout by Paul Kershaw, Rigby Graham, Bert Eastman,
Clare Curtis, Victoria Hall, and Eric Hasse, the majority of
these from wood or lino-cuts and printed direct from the
original block, a number double-spread, 4to, bound by Chris
Hicks (his ticket at rear) in blue morocco with multiple onlays
in shades of blue and green, heightened with gilt tooling,
edges untrimmed, fine in custom dropdown box £900
A wonderful book designed for the express purpose of being

bound for submission in the International Competition of
Designer Bookbinders in 2009, and exhibited in that context
at the Bodleian Library - with text drawn from various sources,
including work by Wordsworth, Edward Thomas, and Rimbaud.
This binding represents a conceptually straightforward response
to the text, but is hugely impressive in its technical execution and
in its effect.
148. (Binding.) HICKS (Chris, binder) WILBUR (Richard,

compiler) A Bestiary. Illustrated by Alexander Calder. Fourth
Estate, 1993, FIRST ENGLISH EDITION, Calder line drawings
throughout hand-coloured by Karen Hicks, pp. [viii], 75, [1],
4to, bound by Chris Hicks in black box calf, that to upper
board sculptured into contoured surface and cut to expose
silver of underlying endpaper, animal footprints tooled in
silver to same, fine in custom green cloth dropdown box
which has a bump to one corner £550
An imaginative response to the text, the design representing a

waterhole at night and the vestiges of its various visitors.
149. Brock (C. E., illustrator) AUSTEN (Jane) Pride and Prejudice.
With twenty-four coloured illustrations by C. E. Brock. J.M.
Dent & Co., 1907, a touch of foxing at either end, patterned
endleaves a bit browned, pp. xiv, 336, 8vo, original full vellum
53
richly gilt to Brock’s design, top edges gilt, others uncut, vey good, bookplate of Dorothy Stewart
(on flyleaf) £2,000
First edition in the English Idylls series, with new illustrations (not those of 1895 repeated). The vellum binding
is very scarce: it is not noted in C.M. Kelly’s ‘The Brocks.’
150. (Cambridge Christmas Book.) BALSTON (Thomas) The Cambridge University Press Collection of
Private Press Types: Kelmscott, Ashendene, Eragny, Cranach. Cambridge: Printed by the University
Printer for his Friends, 1951, ONE OF 350 COPIES printed on mouldmade paper, title-page and 15
collotype facsimiles (10 full-page) printed in black and red, pp. x, 48, 4to, original olive-green buckram,
gilt lettered and panelled backstrip less faded than usual but a touch rubbed at ends, gentlest of knocks
at head of upper board, very good (Crutchley p.24) £175
151. (Cambridge Christmas Book.) LISTER (Raymond) Hammer and Hand. An Essay on the Ironwork of
Cambridge. [Preface by Brooke Crutchley]. Cambridge: Printed for his Friends by the University Printer,
1969, ONE OF 500 COPIES printed on fawn paper, frontispiece and 20 other line-drawings, including 14
full-page, by Richard Bawden, pp. [vi], 42, oblong 8vo, original quarter russet-red crushed morocco,
backstrip gilt lettered with a tiny amount of rubbing at foot, pale grey boards with an overall dark green
railing design also by Bawden, small Sotheran’s sticker at foot of front pastedown, near fine £50
152. (Cambridge Christmas Book.) SCURFIELD (George) A Stickful of Nonpareil. (Preface by Brooke
Crutchley). Cambridge: Privately Printed, 1956, ONE OF 500 COPIES, title-page illustration and 15 other
line-drawings by Edward Ardizzone, pp.[viii], 58, royal 8vo, original mid green cloth, backstrip and
upper board lettered and decorated in gilt, patterned endpapers, near fine (Crutchley p.28) £120
Memories of the Cambridge University Press at the turn of the century.
Will Carter’s copy

153. (Cambridge Christmas Books.) CRUTCHLEY (Brooke) Two Men: Walter Lewis
and Stanley Morison at Cambridge. (Printer’s Preface by Brooke Crutchley).
Cambridge: Printed for his Friends by the University Printer, 1968, [ONE OF
500 COPIES?], 2 full-page 3-colour line-drawings by Denis Tegetmeier of Lewis
and Morison, 2 pages of facsimiles and 4 portraits (3 from photographs), the
title-page and an example of a press-device printed in red, 7 specimen leaves
of books produced by Lewis and Morison, each tipped to a blue backing
paper with printed caption opposite, pp. [vi], 48+(Specimens), 8vo, original
quarter scarlet buckram, backstrip gilt lettered, Reynolds Stone designed
dark blue boards with overall design of the main subjects’ initials surrounded
by floral border in white, board slipcase, fine £95
With the bookplate of Will Carter of the Rampant Lions Press to the front
pastedown - a pleasing Cambridge printing association copy
54
154. (Cayme Press.) SAINSBURY (Hester) Noah’s Ark. n.d., FIRST EDITION,
printed on pink paper folded to form double-leaves, 14 engravings as
headpieces to each poem, a few numbers in pencil to borders of one
page, pp. [12], crown 8vo, original sewn self wrappers with Sainsbury
wood engraving to front, edges untrimmed, faintest of sunning to
borders and a few light spots and marks, very good £150
A delightful little booklet of animal poems, illustrated by the author in her

characteristic style and published by the Cayme Press run by her brother
Philip and Grant Richards.
Scarce, with no copies in UK libraries on COPAC or WorldCat (the BL holds

only a reprint from 1926), and only four in the US.
155. Craig (Elizabeth) Men & Myths of Ancient Greece. Foreword by Paul
Gallico. New York: Thomas Yoseloff, 1962, FIRST EDITION, title leaf with vignette to front and 12 further
folded leaves each enclosing a colour-printed plate by Craig, further leaf of ‘Principal Characters’ at
rear, outermost pages with very faint spotting, pp. 55, 4to, original half grey cloth portfolio with lightly
spotted printed label to front, ribbon ties to open edges, very good £60
156. Farjeon (Eleanor) The Country Child’s Alphabet. Drawings by William Michael Rothenstein. The
Poetry Bookshop, 1924, FIRST EDITION, a full-page historiated initial for each letter, pp. [55], [4, ads],
4to, original wrappers with Rothenstein drawing to front printed in tan and green, light soiling to rear
cover, very good (Woolmer A39) £275
The first commission of William Michael Rothenstein, later just Michael Rothenstein (possibly to avoid
confusion with his eminent father), completed at the age of sixteen.
Illustrated by David Jones

157. Farjeon (Eleanor) The Town Child’s Alphabet. Designs by David Jones. The Poetry Bookshop, 1924,
FIRST EDITION, each letter with a full-page illustration by Jones, the majority of these with a small
amount of colouring in blue, some handling marks and occasional light spotting, pp. [55], [4, ads],
4to, original wrappers with Jones illustration to front printed in orange and blue, a small split at head
of upper joint and loss at foot of backstrip with chipping at head of same, rubbing to covers but not to
image, ownership inscription to inside front cover, good (Woolmer A40) £400
Significant as Jones’s first illustration work outside of the Ditchling community, and departing from his work
there in its more playful tone whilst preserving traces of it in the skill and composition.
55
158. (Fleece Press.) (BAWDEN.) Yorke (Malcolm) Richard Bawden, his life & work. Upper Denby, 2016, ONE
OF 300 COPIES (from an edition of 355 copies), title-page design and frontispiece designed by Bawden
for this edition, colour-printed illustration (circa 200) throughout including a number tipped-in and
some fold-out plates, pp. 196, square 4to, original blue cloth with patterned paper to a Bawden design,
backstrip with printed label, new £224
With the prospectus. A beautifully produced book providing a much needed overview of the artist’s work
in a variety of media: watercolours, etchings, linocuts, cast iron, murals, glass engraving, mosaics, and book
illustration.
159. (Fleece Press.) RAVILIOUS (Eric) Ravilious for Curwen. A glimpse of Joy from 1933. Upper Denby, 2015,
ONE OF 120 COPIES, the frontispiece printed from the original Curwen electrotype and hand-coloured
in blue to match the original, loose print inserted in corner-pocket facing text-page printed from the
wood, title-page printed in black and blue, pp. [5], 8vo, original marbled paper wrappers by Jemma
Lewis, printed label to front, fine £105
Originally made for the Curwen Press News-Letter No. 6 (1934) - a striking
geometric astral design, editioned for the first time here.
160. (Freedman.) QUENNELL (Peter) John Ruskin. Collins, 1949, FIRST EDITION,
frontispiece and 8 further photographic plates, pp. 320, 8vo, original tan
boards, backstrip lettered in gilt with very slight lean to spine, dustjacket
with very attractive Barnett Freedman overall (a portrait of Ruskin in blue
and red), backstrip panel gently sunned, very good £100
161. Gill (Eric) Original pencil drawing. [1929,] pencil sketch on

thin paper, a couple of small spots to border and one at head
of image, signed by the artist at foot ‘EG, T.S.D. [Tertiary Saint
Dominic], 24.5.29’, image size 15 x 14 cm approx., very light
edge creasing, good condition £850
A sketch demonstrating Gill’s masterful ability to convey form

and movement with only a few lines.
An additional note by Gill beneath his signature states ‘originals

sold to C. Zigrosser’ - suggesting that it replicates a more finished
piece. Though the shape of the foliage (with a single eye peeking
out) and the figure of the girl looking back bear similarity with
some of his work on ‘Troilus and Criseyde’ (1927), and ‘Art and
Prudence’ (1928), it does not directly correspond to any of the
images therein.
Carl Zigrosser was an influential American art critic, curator, and

collector, who had visited Gill earlier that year whilst in England
and ‘came away with prints and drawings’ (’A World of Art and
Museums’, p. 75)
162. (Golden Cockerel Press.) A LOVERS PROGRESS. Seventeenth Century Lyrics: Selected by Nancy Quennell.
1938, 200/190 COPIES (from an edition of 215 copies) printed in black on handmade paper with the
large initial letter to each poem printed in red, the title and press-device on the title-page printed in
gold, pp. 85, folio, original quarter white morocco with yellow buckram sides, backstrip lettered in gilt,
morocco a little dustsolied and dry to the touch, t.e.g., others untrimmed, single faint spot to leading
edge of flyleaf, very good (Pertelote 135) £300
163. (Golden Cockerel Press.) CYNWAL (Wiliam) In Defence of Woman, a Welsh Poem. Translated by Gwyn
Williams. [1960], 232/400 COPIES printed on mouldmade paper, 10 colour-printed wood-engravings
(including a decorated title-border) by John Petts, pp. 28, tall 8vo, original dark blue cloth, lettering on
backstrip and Petts design on the front cover blocked in gilt, untrimmed, fine (Cock-a-Hoop 210) £70
56
164. (Golden Cockerel Press.) DRYDEN (John) Songs and Poems.

Chosen and Introduced by Gwyn Jones. (The Text Prepared by
James Kinsley). 1957, 197/400 COPIES (from an edition of 500
copies) printed on handmade paper, full-page reproductions
of 8 watercolour drawings and 11 other pencil drawings by
Lavinia Blythe (i.e. Leslie Blanche), very mild toning to the
title-page and frontispiece as commonly found, pp. 64, folio,
original quarter russet morocco with grey canvas sides,
backstrip gilt lettered and a little darkened with a small
amount of rubbing, faint fading to edges, more so to tail of
front cover, t.e.g., original russet cloth slipcase a little rubbed
and darkened, good (Cock-a-Hoop 206) £300
165. (Golden Cockerel Press.) EDGEWORTH (Maria) and Letitia

Barbauld. Letters. Selected from the Lushington Papers,
and Edited by Walter Sidney Scott. 1953, FIRST EDITION,
181/240 COPIES (from an edition of 300 copies) printed on
Arnold mouldmade paper, 14 pen-and-ink drawings by
Lettice Sandford hand-coloured in blue and pink, pp. 88,
8vo, original pale blue and pink cloths, backstrip lettering
and portraits on the front cover all gilt blocked, small area of
gentle fading at head of backstrip and tiny bump to bottom
corners, mild toning to edges, tissue jacket with area missing
across foot of rear panel, very good (Cock-a-Hoop 193) £80
Walter Sidney Scott has added short memoirs of the authors

of the letters and a short account of the chief events of Stephen
Lushington’s life. The book was originally to have been illustrated
by Joan Hassall, but she was too busy and Christopher Sandford’s
wife Lettice stepped in.
From the press of Will Ransom

166. (Golden Cockerel Press.) HUGHES (Richard) Gipsy-Night and Other Poems. Chicago: Will Ransom,
1922, FIRST AMERICAN EDITION, 6/63 COPIES signed by the author and the printer (at front and rear
respectively), lithograph portrait by Pamela Bianco as frontispiece with her signature in pencil, slight
offsetting from portrait to both half title and title-page, pp. [ii], 66, 8vo, original quarter yellow cloth
with brown boards, printed label to backstrip gently sunned with a small pen mark carrying round to
front joint, blue page-marker detached with offsetting to pp. 26-7, bookplate to front pastedown, top
edge lightly dustsoiled, browning to outermost of untrimmed edges, very good (Ransom 9) £360
The English edition of Hughes’ first book was printed by the Golden Cockerel Press, but contained several
errors (considerably more, as Hughes complained, than the two that were acknowledged in the errata slip) as a
result of the formes of type having been dropped after final proof corrections had been made. Those errors are
corrected in this very handsome, and considerably scarcer, US edition from the same year.
This copy has the bookplate of the publisher Robert Ballou and his wife, Vera.
167. (Golden Cockerel Press.) KOMENSKY (John Amos) The Labyrinth of

the World and the Paradise of the Heart. Translated by Count Lutzow
(with an introduction by Dorothea Braby). 1950, 86/300 COPIES (from an
edition of 370 copies) printed in black, brown and red on mouldmade
paper, 56 reproductions of pen drawings by Dorothea Braby printed in
black and brown, pp. 271, royal 8vo, original cream cloth with Braby
designs blocked in ochre to each board, backstrip lettered in ochre, very
gentle corner-bumping, t.e.g., with others untrimmed, very good (Cock-
a-Hoop 186) £200
57
168. (Golden Cockerel Press.) MUSAEUS. Hero & Leander.

Translated from the Greek by F.L. Lucas. 1949, 438/400
COPIES (from an edition of 500 copies) printed on
mouldmade paper, 11 Buckland-Wright copperplate-
engravings with 9 full-page and tissue-guarded, a couple
of faint spots to frontispiece and title-page design, pp. 48,
8vo, original maroon and bright yellow buckrams with
Buckland-Wright designs stamped in gilt to upper board,
backstrip lettered in gilt and very gently faded, small dink to
fore-edge of upper board, t.e.g., others untrimmed, a couple
of very faint spots to endpapers, tissue jacket, near fine
(Cock-a-Hoop 183) £200
Perhaps Gibbings’ finest engraving

169. (Golden Cockerel Press.) POWYS (Llewelyn) The Glory of
Life. 1934, FIRST EDITION, 269/275 COPIES (from an edition
of 277 copies) printed on Batchelor handmade paper,
Robert Gibbings’s superb frontispiece and 13 other wood- Item 168
engravings by him, the title, printed in red and engraved on
wood, is also by Gibbings, pp. [i], 36, folio, original quarter
cream vellum, backstrip gilt lettered, fawn linen sides
lightly soiled as usual with a small mark to lower board,
t.e.g., others untrimmed with a few faint spots, very good
(Chanticleer 91) £700
The superb frontispiece of a seagull with wings outstretched,

poised for flight, is usually thought to be the finest of Gibbings’s
wood-engravings, and the flowing capitals of his magnificently
designed title-page marry perfectly with it.
170. (Golden Cockerel Press.) POWYS (T.F.) Goat Green. Or

the Better Gift. 1937, FIRST EDITION, Unlimited Issue, 5
full-page wood-engravings by Gwenda Morgan, pp. 61,
crown 8vo, original green cloth, backstrip gilt lettered,
t.e.g., free endpapers faintly browned, textblock a little
strained, dustjacket price-clipped with sunned backstrip, a
small penmark and a few spots on front panel not affecting
the cover illustration, very good (Pertelote 128: Riley A Item 169
Bibliography of T.F. Powys A31) £120
171. (Golden Cockerel Press.) STEWART (Cecil) Topiary, an

Historical Diversion. [1954], 438/400 COPIES (from an
edition of 500 copies) printed on handmade paper, 13
fanciful topiary designs printed throughout the text in black,
blue, brown, green, mauve, orange and red, by Peter Barker-
Mill, pp. [iv], 40, 4to, original quarter bright orange cloth,
backstrip gilt lettered, pale grey boards patterned overall in
green to designs by Barker-Mill and with matching orange
cloth fore-edges, untrimmed, fine (Cock-a-Hoop 198) £95
172. (Golden Cockerel Press.) SWINBURNE (Algernon Charles)

Pasiphae, a Poem. 1950, 361/400 COPIES (from an edition
of 500 copies) printed on mouldmade paper, 6 copperplate-
engravings, including 4 full-page, by John Buckland
Wright, pp. 40, 8vo, original mid blue and bright yellow
buckrams,backstrip lettered in gilt and very gently faded,
Item 172
58
the Buckland Wright design on the front cover also gilt blocked, t.e.g., others untrimmed, tissue-jacket,
near fine (Cock-a-Hoop 185: Reid A57b) £200
With wood engravings by Lettice Sandford

173. (Golden Hours Press.) MARLOWE (Christopher) and George Chapman. The Amorous Poem Entitled
Hero & Leander. Begun by Christopher Marlowe and finished by George Chapman. Together with Two
Lyrics by Chr. Marlowe. 1933, 11(a)/200 COPIES, printed on handmade paper at the Chiswick Press,
5 wood-engravings by Lettice Sandford with all but one full-page, tipped-in note to Colophon Page
as issued, faint offsetting from engravings and a few foxspots to borders, a little water-staining at head
of some leaves, pp. [viii], 87, 4to, original second issue bevel-edged green buckram, upper board and
backstrip lettered in gilt, fading to edges with head of backstrip lightly rubbed, faint red stain at head
of upper board and a small white mark at foot of same, t.e.g. with others untrimmed, faint browning
and some spotting to endpapers with gift inscription to flyleaf, bookplate discreetly removed from front
pastedown, good £80
Hollis & Carter took over sales of remnant stock, giving them a new binding and numbering from 1(a)
onwards.
174. (Grapho Editions.) MADDEN (Phil) & Paul K. Kershaw

(Illustrator). The Amphibious Place. Ripon, 2015, 53/60 COPIES
signed by the illustrator, printed on Atsukuchi and Kozuke paper
in various colours and with a variety of techniques, pp. [19],
small 4to, original brown cloth with Japanese style stab binding,
illustration inset to upper board, matching slipcase with printed
label at back, fine £125
The third collaboration between poet and artist/printer, following

2009’s ‘Wings Take Us’, and 2013’s ‘Paths’ - here taking the seashore
as their theme. Once more, the fusion of text and image creates a
diverse but harmonious whole that is quite stunning in its effect.
175. (Grapho Editions.) MADDEN (Phil) & Paul K. Kershaw (Illustrator). Wings Take Us. Ripon, 2009,
45/130 COPIES printed on Zerkall mould-made paper, illustrations printed in various colours
throughout, pp. 25, 4to, original blue cloth lettered in gilt to upper board, edges untrimmed, fine £95
A series of poems about birds. Kershaw’s illustrations are a powerful blend of wood-engraving, machined
wood, and marbling techniques, which allows for a combination of precision with a more fugitive quality -
gloriously rendering the books avian theme.
176. (Gwasg Gregynog.) HERBERT (George) Sundrie Pieces. A New

Selection of George Herbert’s Poetry, with Samples of his
Prose. Edited, with an Introduction and Notes, by The Earl of
Powis. Newtown, Powys, 2003, 109/200 COPIES (from an
edition of 215 copies) printed on Saunder’s Waterford
mouldmade paper, signed by printer David Vickers, numerous
wood-engravings by Sarah van Niekerk, title page printed in
black and purple, running heads and tails printed in purple,
pp. xviii, 99, [1], small folio, original quarter crushed mauve
morocco, backstrip faded and gilt lettered, marbled blue, red
and yellow boards, cloth and board slipcase, near fine £500
With the prospectus and invitation to the book launch.
177. (Incline Press.) (RAVILIOUS.) POWERS (Alan), Barry Kitts and Ronald Maddox. In Place of Toothpaste.
Three Essays Celebrating the Watercolour Painting of Eric Ravilious. Oldham, 2004, FIRST EDITION,
74/250 COPIES printed on Zerkall mouldmade paper, 6 tipped-in colourplate reproductions, one a
facsimile of a letter from Edward Bawden, some previously unpublished, wood-engraved title-page
decoration, designed by Ravilious, printed in blue, pp. viii, 34, royal 8vo, original quarter mid blue
59
cloth, backstrip gilt lettered, blue and white Ravilious-patterned boards, printed front cover label,
untrimmed, fine £150
178. Maret (Russell) ÆTHELWOLD ETC. Twenty Six Letters Inspired by Other Letters and Non-Letters and
Little Bits of Poetry. Rendered with Accompanying Notes by Russell Maret. New York: Editions
Schlechter, 2013, ONE OF 750 COPIES, photographed by 42-Line to exactly reproduce the original, which
was printed on Hahnemuhlë Biblio paper from 165 plates using 105 different colours; the texts set
using Johann Titling, Cancellaresca Milanese II, Gill Flare Greek, Leitura Primeira, Utopia Sans and
Texture Inglese, and printed in black with the sub-titles in red, pp. [120], folio, original card wrappers,
backstrip lettered in gilt, fine £80
A facsimile, produced to the highest standards, of Maret’s 2009 work, originally published in an edition of 55
copies and long since sold out. It is at heart an alphabet book, each letter imaginatively printed to produce an
amazing array of designs of exquisite quality. This facsimile also reproduces the diary of ink colours that had
accompanied only the special copies of the original.
179. Maret (Russell) Ornamental Digressions. A Showing of

Pinwheel Ornaments. New York: Russell Maret, 2016,
FIRST EDITION, 7/80 COPIES (from an edition of 100
copies) signed by Russell Maret, printed on Zerkall
wove paper in various colours throughout (the colour
most various in the ‘Digressions’ section, pp. [54], 4to,
original Craig Jensen binding of quarter salmon-pink
goatskin with Yatsuo handmade paper patterned to a
Maret design, backstrip lettered in gilt, blue cloth
dropdown box with leather label to match book,
original prospectus laid in, new £1050
A wondrous book, divided into three sections: ‘The

Ornaments’, an entirely pictorial glossary of the building
blocks used presented through four basic designs; ‘The
Digressions’, these ornaments used to create a variety of
pattern designs, each of the 15 illustrating or illustrated
by a quotation (a mix of technical and literary, with Henry
James and Flaubert represented in the latter category);
‘The Sources’, the quotations identified and explained
by Russell Maret with reference to how they relate to his
process and their pictorial representation.
Immersive in the manner of Maret’s earlier ‘Linear A to Linear Z’, the concept of digression that is at the
project’s heart has allowed the printer to develop an expansive and allusive rendering of its basic materials,
possessed of an elegance and wit that gives a really vivid quality to the imagery on the page.
Inscribed, with 2 ALs from the illustrator

180. (Miller Parker.) BATES (H.E.) Down the River. Gollancz,
1937, FIRST EDITION, 83 wood-engravings by Agnes
Miller-Parker, a number full-page, a couple of pages with
a line of spots at foot, pp. 150, 4to, original mid blue
cloth, backstrip lettered in gilt and a shade darkened with
the cloth borders likewise, a couple of very faint marks
and light knock at foot of upper joint, a tiny amount of
tape residue to corners of free endpapers, dustjacket with
Miller-Parker engraving repeated on front panel, some
light spotting though not affecting image, very good
(Eads A29a) £950
A very special copy of what ranks among Miller Parker’s

finest work - and therefore among the best of what is justly
regarded as a golden age of British wood engraving. This
60
copy has been signed three times by the illustrator: once with a simple inscription, ‘Best wishes from Agnes
Miller Parker’, and then at the foot of two of her illustrations - the first the central portion of the dustjacket
laid down to the flyleaf and given the title ‘Book Jacket. Canada Geese’ and signed in pencil, and then ‘Small
Ships’ on p. 147 also titled and signed, here with the date added.
Additionally, laid in at the front of the book are two

ALs from Agnes Miller Parker to the book’s previous
owner (a Mr Ernest Rasdall) from June and August 1963:
in the first she thanks him and advises him not to cut
out the signed page from within the book, offering the
possibility that she might have some loose pages back
in Hambleden that would satisfy him; she goes on to
discuss her illustrations to a John Cowper Powys work
(’Lucifer’), the limited edition of which was not signed by
her, complaining that ‘the hand-made paper on which it
is printed is unsympathetic to my wood engravings’ and
encouraging him not to bother with it; in the second,
with the original envelope addressed in her hand, she
encloses for his amusement a note addressed to her from
Hatchards (present here) offering the book at a price of
£1.10.0 (’I was staggered at the price!’).
Thankfully, Mr Rasdall - who corresponded with

Tolkien in the same capacity (i.e., seeking an autograph) -
observed the artist’s recommendation not to excise what
was evidently his favourite illustration, and the book
preserved its integral status, gaining some very enhancing
additional features in the process.
Katherine Anne Porter’s copy

181. (Officina Bodoni.) VALÉRY (Paul) Le Cimetière Marin / The Graveyard by the Sea. [Translated by C. Day
Lewis.] (Printed at the Officina Bodoni for) Martin Secker & Warburg, 1946, FIRST EDITION, 465/500
COPIES signed by the translator, printed on Magnani paper, title-pages printed in black and red, parallel
texts of English and French, two lines of English translation in pencil to French text at head of p. 15, pp.
21, 8vo, original green, grey and red marbled paper over stiff card, printed front cover label, a short split
at foot of upper joint and a touch of chipping at top corner of front panel, edges untrimmed, original
card chemise a little frayed with title information and copy number printed to front, good (Mardersteig
74; Handley-Taylor & d’Arch Smith B15) £300
From the library of author Katherine Anne Porter, with her ownership inscription on the flyleaf: ‘Katherine
Anne Porter, at George [Platt Lynne]’s, Hollywood, 2 January 1948’. The 2-line translation at the head of p. 15
is Porter’s own and has been transcribed and annotated by Monroe Wheeler (to whom the copy subsequently
belonged) on a slip loosely inserted at front.
Wheeler had published Porter’s translations of some French songs at his Harrison of Paris imprint and they
were part of the same cultural circles throughout their lives.
182. (Old Stile Press.) ABELL (John, Illustrator) The Book of Job.
King James Version. Linocuts by John Abell. Llandogo, 2016,
20/150 COPIES (from an edition of 160 copies) signed by the artist,
half-title vignette and 35 further lino-cut illustrations printed direct
from the blocks with 5 of these full-page, folio, original quarter blue
cloth with linocut illustrated boards printed in 5 colours, red cloth
slipcase with printed labels, fine £295
Abell’s second book with the Press, following ‘The Diary of a Dead
Officer’ in 2014. His jagged, macabre imagery once more takes man in a
desperate situation as its subject matter - though drawn from a different
context, it is equally impressive in its effects and it’s ability to convey the
raw and urgent nature of the text.
61
183. Pasmore (Victor) Burning Waters. Visual and Poetic Images. Malta: Progress Press, 1988, FIRST EDITION,
105/150 COPIES with signed lithograph laid in, Pasmore’s illustrations accompanying text throughout,
ff. [66], 4to, original beige linen, backstrip lettered in black, matching slipcase, fine £900
A poem, richly conveyed in Pasmore’s abstract images.
The numbering of the edition is confusing: the copyright page states that there exists ‘an edition of 200
copies and a signed de luxe edition of 50 copies with an original litograph [sic]’ - however, here (and indeed
elsewhere) there is no numbering or signature on the book itself but the original lithograph is numbered to a
different limitation.
184. (Pear Tree Press.) GUTHRIE (James) Divine

Discontent. [Fellowship Books, Edited by
Mary Stratton.] B.T. Batsford, [1913,] FIRST
EDITION, one or two faint foxspots, title-
page vignette and head-piece [by Guthrie?],
pp. [ii], 61, foolscap 8vo, original blue
cloth with lettering and decorations in gilt
to upper board and backstrip, publisher’s
device in gilt to lower board, t.e.g., others
with a few foxspots, a few faint tiny foxspots
to endpapers, dustjacket with darkened
backstrip panel and a few light handling
marks, very good £240
Inscribed by Guthrie on the flyleaf: ‘To Jane,

from the author, Feb. ‘35’. The recipient was the
author Janie Legge, whose work was printed by
Guthrie at his Pear Tree Press.
On Vale Press paper

185. (Pear Tree Press.) HODGKIN (L.V.) Holy Poverty. The Message of St. Francis for To-day. Harting, 1905,
FIRST EDITION, printed on Arnold handmade paper with the Vale Press watermark, title-page printed in
green with decoration by James Guthrie, pp. 15, crown 8vo, unbound as issued in original wrappers,
faint browning to free endpapers, untrimmed and uncut, very good £150
After the closure of his Vale Press, Ricketts disposed of the paper stocks by selling them to James Guthrie, and
Pear Tree books from this period can be found printed on paper with either the VP or mermaid watermarks.
62
Vivian Ridler’s copy

186. (Perpetua Press.) SHAKESPEARE (William) Five Sonnets by
Shakespeare. [Sonnets 29, 33, 60, 73, 143.] Oxford, 1998,
36/50 COPIES, printed in Garamond Italic with typographic
headpieces printed in red, pp. [5], 4to, the broadsides loose
as issued within original yellow wrappers, the title printed in
black with a typographic border in red, printing statement
at foot of rear cover, fine £300
Superbly printed by Vivian Ridler at his own press, the sonnets

plainly set and with a judicious use of ornament; this his own
copy with the Ridlers’ library label loosely inserted.
Inscribed and with a letter from Margaret Pilkington

187. Pilkington (Lawrence) An Alpine Valley, and Other Poems.
Wood Engravings by Margaret Pilkington. Longmans,
Green, 1924, FIRST EDITION, 10 illustrations by Margaret
Pilkington with half of these full-page, 5 wood-engraved
decorated initials by the same, a handful of spots to prelims
with one or two small spots further in, pp. [vi], 70, crown
8vo, original canvas-backed grey wrappers with printed
label to front, light bump to top corner of textblock, faint
spotting to inside covers, good £200
Inscribed on the half-title by the illustrator, the author’s

daughter, whose contribution elevates the book considerably:
‘A.P. Simon, from M.P. December 1925’. A letter from Margaret
Pilkington on headed paper to the verso of the same asks that
the contents not ‘be taken too seriously’ - she explains, ‘my
father took to rhyming at the age of 69 as a distraction from
pain - and my decorations have more value to myself as an
education’, closing with the promise that ‘if I ever have another
chance I shall know more & I hope do better’.
These are notable as her first work of book illustration, which -

despite her excuses - demonstrate real accomplishment in that
respect.
188. Piper (John) Buildings and Prospects. Architectural Press,

1948, FIRST EDITION, illustrations throughout both as plates
and within text, a good number by Piper including the
impressive double-spread title-page design printed in grey
and brown, the remainder photographs or reproductions
of work by other artists, pp. 146, 4to, original grey cloth,
backstrip lettered in orange, bump to top corners, dustjacket
repeating title-page design a little frayed with closed tear at
head of front panel, good £65
189. Piper (John, illustrator) The Rape of Lucretia. A symposium

by Benjamin Britten, Ronald Duncan, John Piper, Henry Boys, Eric Crozier [and] Angus McBean.
Bodley Head, [1948], FIRST EDITION, tipped-in frontispiece by John Piper and 7 further colour-printed
plates by the same with 3 of these folding out, 5 photographs by Angus McBean, some excerpts of
musical notation, handling mark at foot of one page, erratum slip, pp. 101, 4to, original green cloth
lettered in gilt to upper board and backstrip, gentle bump to top corner of upper board, dustjacket with
Piper illustration to front, a little darkened to backstrip panel and borders, very good £100
63
In the dustjacket
190. (Rackham.) CARROLL (Lewis) Alice’s Adventures in
Wonderland. Illustrated by Arthur Rackham. With
a Proem by Austin Dobson. William Heinemann,
[1907,] FIRST RACKHAM EDITION, 13 colour plates
including frontispiece all with captioned tissue
guards, further drawings to text, a few pages with
some very light spotting to borders but the plates and
text in very clean state, pp. xi, 162, [2], 8vo, original
green cloth with Rackham design stamped in gilt to
upper board, backstrip and boards otherwise with
lettering and decoration in dark green, some small
patches of dryness and discolouration to cloth with
a couple of light marks and a few tiny holes to upper
joint, top edge green with all edges spotted, Rackham
design in green repeated to front and rear endpapers
with very faint spotting to free endpapers, dustjacket
repeating frontispiece illustration with some loss,
heaviest at foot of rear panel but with nicks and chips
elsewhere, a few closed tears, some creasing, with
overall soiling and rubbing including a dark streak
across the front panel, good (Riall p. 77) £3,000
The dustjacket is uncommon and original to this copy

which, though it is far from being without flaw, remains
an attractive, unrestored example.
Unrecorded broadsides
191. (Saint Dominic’s Press.) GILL (Eric) Liturgical Broadside. Ditchling, n.d., broadside printed in black
and red in three columns with Eric Gill[?] engraving at foot of centre, pp. [1], 22 x 31 cm, very good
condition £100
An attractively printed liturgical broadside, bearing some relation to Altar Cards recorded by Taylor & Sewell
but in itself unrecorded. The Chalice and Host engraving at foot is not recorded in Skelton but looks like Gill’s
work with the same motifs, particularly P65.
192. (Saint Dominic’s Press.) Liturgical Broadside. Ditchling, n.d., broadside printed in black and red in
two columns, pp. [1], 22 x 25 cm, very good condition £50
A liturgical sheet consisting of the ‘Initium Sancti Evangelii...’ on the left and the ‘Lavabo...’ on the right. Plainly
printed; unrecorded by Taylor and Sewell but with some similiarities to the Altar Cards described there.
Signed by Eric Gill

193. (Saint Dominic’s Press.) The Spoil Bank Association Limited. FIRST DEBENTURE. Issue of First Mortgage
Debenture, To secure an aggregate amount of One Thousand Pounds [£1000] carrying interest at the
rate of six per cent per annum under Clause 3 (II) of the Memorandum of Association and in pursuance
of a Resolution passed on the 24th day of January 1922. Ditchling, February 23 1922, printed in red
and black with SBA blind-stamp at foot and ‘three pence’ red ink stamp at head, manuscript additions
in red and black including a cancellation statement by Edgar Holloway of the Guild dated 29.ix.1976,
pp. [4], folio, single folded sheet, untrimmed, tipped-in SBA slips to front completed in manuscript by
John V.D. Kilbride (Secretary) recording transfer of interest in this Debenture and one printed slip for
the same purpose laid down and signed by Charles L. Waters, very good (Taylor & Sewell A103) £150
Signed by Eric Gill & Douglas Pepler (each adding ‘O.S.D.’), in their capacity as Directors of the Association -
also signed, as Secretary, by Charles L. Waters.
An interesting and unusual financial document from the early years of the Guild, which had established the
SBA in order to manage its land and property.
64
Item 193 Item 194
Item 192
Item 191
Signed by Eric Gill, unrecorded

194. (Saint Dominic’s Press.) The Spoil Bank Association Limited. SECOND DEBENTURE. Issue of Second
Mortgage Debenture, To secure an aggregate amount of One Thousand Pounds [£1000] carrying
interest at the rate of six per cent per annum under Clause 3 (II) of the Memorandum of Association
and in pursuance of a Resolution passed on the 24th day of January 1922. Ditchling, February 23 [in
manuscript,] 1922, printed in red and black with SBA blind-stamp at foot and ‘three pence’ red ink
stamp at head, manuscript additions in red and black including a cancellation statement by Edgar
Holloway of the Guild dated 29.ix.1976, pp. [4], folio, single folded sheet, untrimmed, tipped-in SBA
card to front completed in manuscript by John V.D. Kilbride (Secretary) recording transfer of interest in
this Debenture on September 14th 1937, very good £150
Signed by Eric Gill (adding ‘O.S.D.’), in his capacity as Director of the SBA, and signed in the same manner by
H.J. (Joseph) Cribb - Gill’s former apprentice. Also signed, as Secretary, by Charles L. Waters. The date written
in manuscript to the rear also appears to be in Gill’s hand
An interesting and unusual financial document from the early years of the Guild, which had established the
SBA in order to manage its land and property - Taylor & Sewell record only the First Debenture, issued on the
same date but with some small variants in content and in the setting, and in the signatories (the first was signed
by Pepler along with Gill).
195. (Salvage Press.) SMYTH (Gerard) After Easter. Ten poems of The
Republic, with a drawing by Brian Maguire. Dublin, 2016, FIRST
EDITION, 68/90 COPIES (from an edition of 100 copies) signed by
author, illustrator and printer, printed on Zerkall mouldmade
paper with a three-colour frontispiece by Maguire, the pages
French-folded to form double-leaves each enclosing a sheet of red
paper, titles printed in red, pp. [25], 4to, original red wrappers
stitched in a Japanese style with grey thread, grey cloth slipcase
with red label to back, fine £160
Published in the centenary year of the Easter Rising; the interleaving

with the same red paper used for the covers allows the bloodshed of
the event to run through the experience of the text.
196. Shepard (Ernest H.) Original signed pen-and-ink drawing, ‘From Cradle to Horse’ (no. 2). n.d., pencil
sketching visible, drawn with brown and blue ink on stiff art-card and signed at the foot of image and
titled in pencil by him beneath, spotting with a few darker spots at head of image, image size 20 x 22
cm approx, marked as ‘Sketch’ with artist’s name and address (first Long Meadow, Guildford then
Woodmancote at Lodsworth) in his holograph on reverse, good condition £150
65
An accomplished image, of uncertain purpose, but conceivably for use in Punch and more in line stylistically
with his work there than with his more famous work on the Winnie the Pooh series and Grahame’s ‘Wind in
the Willows’.
197. Shepard (Ernest H.) Original signed pen-and-ink drawing,

‘Spring Caller’. n.d., pencil sketching visible, drawn with
black ink on stiff art card, light spotting, title written twice in
pencil by the artist at foot of image and then at foot of card,
image size 20 x 16 cm approx, stamped as ‘original to be
returned’ on reverse, with artist’s name and address (first Long
Meadow, Guildford then Woodmancote at Lodsworth) in his
holograph, good condition £200
An attractive illustration, though with an unusually small lamb

as the ‘caller’ in question. The drawing was first signed only
with initials, with the artist subsequently adding the rest of his
surname in a slightly different ink - what that means with regard
to the dating of the piece has not been possible to determine, but
this is likely to be early work from the artist who gained fame
as illustrator of Milne’s Winnie the Pooh series and Kenneth
Grahame’s ‘Wind in the Willows’.
198. (Whittington Press.) BUTCHER (David) British Private Press Prospectuses, 1891-2001. Andoversford,
2001, 213/260 COPIES (from an edition of 350 copies) printed on Zerkall mouldmade paper, 16 plates of
facsimiles and illustrations and a further 7 illustrations in the text, the title printed in orange and black,
pp. xii, 149, 4to, original quarter yellow cloth, with patterned cream boards, matching cloth leading
edges, with facsimiles of Kelmscott, Doves and Nonesuch Press prospectuses loosely inserted in a
pocket on the rear pastedown, untrimmed, cloth and board slipcase, near fine £150
199. (Whittington Press.) CRAIG (John) Venice. Risbury, 2016,

LIII/60 COPIES (from an edition of 285 copies) signed by the illustrator
and with an additional portfolio of prints, wood-engraved
illustrations throughout with 10 linocuts, some printed in colours,
some on coloured paper, some on tipped-in fold-outs, the text
printed in cinnamon, pp. [256], 4to, original quarter Oasis leather
with matching leading edge, backstrip lettered in blind, pink boards
with large illustrations to each by Craig printed in brown, together
with cloth and board portfolio in like slipcase, fine £395
The accompanying portfolio features prints of close to two-thirds of the

seventy-odd engravings in the book itself.
200. (Yeats.) JACQUES (Robin) [Original Illustration for] ‘Easter, 1916’ by

W.B. Yeats. circa 1970, ink stipple drawing with water-colouring
in blue, red, and brown, signed by the artist in pencil with pencil
margins, and brief notes referring to placing in book at foot of
sheet, pp. [1], 30.5 x 19.5 cm (image size 22 x 13 cm approx),
faint browning to outermost edges, not touching image, stored in
envelope, very good condition £2,000
A striking image, one of a series produced by Jacques for the Limited

Editions Club edition of Yeats’s Poems in 1970.
66
travel
To receive a copy of our upcoming

Travel catalogue, email us at
rarebooks@Blackwells.co.uk
or sign up to our mailing list by visiting
www.Blackwell.co.uk/rarebooks/join.php
Short lists available on request by email or hardcopy.

Blackwell’s Rare Books
Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792
Email: rarebooks@Blackwells.co.uk Fax: +44 (0) 1865 794143
www.Blackwells.co.uk/rarebooks

Cat b188

Uploaded by

Copyright:

Available Formats

Cat b188

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Cat b188

Uploaded by

Copyright:

Available Formats

BLACKWELL’S RARE BOOKS

Our premises are in the main Blackwell’s bookshop at 48-

Oxford is at the centre of an excellent road and rail network,

Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.)

Blackwell’s Rare Books online

Please mention Catalogue B188 when ordering.

All books subject to prior sale.

Front cover illustration: Item 200

The imprint is probably false.

2. Aeschines & Demosthenes. Aischinou ho kata Ktesiphontos kai

3. [Aldrich (Henry)] Artis logicae rudimenta.

Aldrich’s Artis logicae first appeared in 1691,

of José Nicolás de Azara (the Dedicatee) on the Dedication,

A most elegant edition, uniformly praised by bibliographers: a

5. Anacreon. Odai. Glasgow: In aedibus academicis, Ex Typis Jacobi Mundell, excudebant J. et J.

6. Angelus de Clavasio. Summa angelica de casibus

A noted ‘dictionary of moral theology’. The basis

From the collection of Albert Ehrman, with his

7. Aristophanes. Comoediae undecim Graece et Latine, ut

Lempriere calls it one of the best editions of Aristophanes; it is based

Louth - “Capital of the Lincolnshire Wolds.”

Not in Johnson or Jackson, 2 copies only in COPAC, BL and Bodley.

9. Baretti (Joseph [Giuseppe Marc’Antonio],

A beautifully-bound Breviary in a scarce contemporary case

An edition of the Franciscan Breviary, luxuriously got up.

13. Caesar. Commentaria Caesaris prius a Iocundo impressioni

14. Chaucer (Geoffrey) The Woorkes of ... Newly Printed,

15. (Chess.) PHILIDOR (François André Danican)

William Stopford Kenny (1787/8–1867) was a

16. (Coventry Mechanics Institute.)

17. D’Arcet (Jean-Pierre-Joseph)

18. (Darwiniana). [TEESDALE (Maria)] Poems by

19. Demosthenes. Selectae Demosthenis Orationes: Quarum Titulos

A tidy little copy of a pocket edition of selected orations of Demosthenes

21. (French Revolution.) [MARIE ANTOINETTE]

24. Gibbon (Edward) The History of the Decline and Fall

Three classic school texts of ancient history, bound

The third work is by Francis Rous (1580/1-1659), a

An excellent trade association copy

The text is formed of letters to and from

28. Heliodorus. Aethiopicorum libri

29. Hero of Alexandria. De gli automati, ouero machine

3 works in 1 vol. First edition of this translation of Hero,

Bernardino Baldini, the translator of Hero, was a pupil

30. Herodotus. Herodotou Logoi ennea hoiper epikalountai

These two editions, published a year apart, are often found

Marked up for the part of the Queen, with cuts, emendations

‘An historical account of the policy and trade of Great-Britain’, pp.

This virulent satire on the Le Régent was printed in Amsterdam in

Lagrange-Chancel was a child prodigy, producing dramas from

Robert de Billy, 1869-1953, French diplomat and friend of Marcel

37. Lang (Leonora Blanche, Mrs. Andrew) Letters

The vast bulk of the MS is in Mrs. Lang’s hand, with a

‘Little is known of Michael Gottlieb Hansch. A

39. (Lima. Church History.) [ECHAVE Y

Echave y Assu’s text does not begin until the

41. Lockman (John) A New Roman History, by question and answer.

42. Lope de Vega y Carpio (Félix) Arcadia, Prosas, y Versos.