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ILLUSTRATED. JACKSON, A. E. Alice's Adventures in Wonderland by Lewis Carroll, London: Henry Frowde/Hodder & Stoughton, [1915], 1st edition, orig. pictorial cloth gilt, teg, 4to; KEMP-WELCH, Lucy. Black Beauty by Anna Sewell, Dent & Sons 1915, col. plts., orig. blue cloth gilt, small 4to; CANNELL, W. Ottway. Legens & Romances of Brittany, Harrap 1907, colk. plts, orig pictorial cloth, 4to; GOBLE, Warwick, The Book of Fairy Poetry edited by Dora Owen, Longmans 1920, tipped in col. plts., grey cloth dec. in blue, 4to; and VARIOUS ARTISTS. King Albert's Book, Hodder & Stoughton for Daily Telegraph et al [1914], col. plts., cream cloth, dec. green, large 4to (5)

A mixed library to include vol 1 of The Gardener (1843), The Book of Arran Archaeology (1910), poetry collection (Tennyson, 1923) A Book About Roses (1870) and WWI magazines (1917) & Naval Sketches (24)

Collection of reference books and catalogues to include Chinese, Tibetan and Japaneseto include 'Hiroshige Birds and Flowers', introduction by Cynthea J. Bogel, commentaries on plates by Israel Goldman, poetry translated from the Japanese by Alfred H. Marks, George Braziller, Inc., New York in association with The Rhode Island School of Design, USA, 1988,'Highly Important Japanese Prints from the Henri Vever Collection: Final Part', London, Thursday 30 October 1997, Sotheby's, Sale LN7648 "Vever",'The Essence of Chinese Paintings', Roger Goepper, translated by Michael Bullock, Boston Book and Art Shop, Boston, Massachusetts, Library of Congress Catalogue No. 63-17534, Percy Lund, Humphries & Co Ltd, 1963 and'Wisdom and Compassion The Sacred Art of Tibet', Marylin M. Rhie, Robert A. F. Thurman, photographs by John Bigelow Taylor, published on the occassion of Wisdom and Compassion: The Sacred Art of Tibet, an exhibition organised by the Asian Art Museum of San Francisco in conjunction with Tibet House, New York, Thames and Hudson, London, 1991 (13) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

POETRY INTEREST: RESPONSES (Various authors), The National Book League and Poetry Society, 1971, red printed paper wrap, limited edition 392/500; V. SACVILLE-WEST: SISSINGHURST, Hogarth Press, 1931, Limited editon 41/469, autopen signature within; HUMBERT WOLFE: THE MOON AND MRS. SMITH, The Favil Press, 1928, fold-out out sheet in tan cloth slipcase, Number One in the 'Christmas Cards Series', Ex libris (3)

BEAU TAPLIN (inscribed): HERE AT DAWN, POETRY AND PROSE. Inscribed by the social-media-star author to those who purchased the book to raise funds during the 2019-2020 Australian Wildfires, 'For sheltering precious lives, thank you'. Black linen boards with gilt pictorial cover and title to spine, leaf-design endpapers and black ribbon page marker. Andrews McMeel, 2020

Assorted volumes, to include a half-leatherbound copy of Old Clocks & Their Makers by F.J. Britain (Fourth Edition, B.T. Batsford, London, 1919), Jackson's English Goldsmiths and Their Marks (Second Edition, MacMillan and Co., London, 1921), collated legal documents bound under the title Notes on Titles, C.R. & Co., a large unused note book/ledger, a Victorian handwritten book of poetry transcriptions etc. Condition Report:Available upon request

TWO BOXES AND LOOSE BOOKS, CHESS SET, SCALEXTRIC TRACK AND SUNDRY ITEMS, to include twenty two antiquarian and vintage books, mainly poetry and literature, a bone chess set, in a folding chess board/backgammon board case, with partial antiquarian book and Chess Key, thirty eight pieces of Scalextric track with a few small connecting pieces (no cars included), a brass oil lamp with shade and chimney, and a Tala metal cash box with painted initials 'J. A. A.' and key, etc (2 boxes + loose) (sd)

⊕ DIA AL AZZAWI (BRITISH / IRAQI B.1939) AL-JAWAHIRI VERSESsigned, stamped and dated Azzawi 1989 lower right; numbered 71/89 lower lefthand coloured lithograph on Velin Cuve BFK Rives Blanc mould-made 250gsm paper65 x 50cm; 25 1/2 x 19 1/2in73 x 56.7cm; 28 3/4 x 22 1/3in (framed)Property from a Private Collection, LondonProvenanceAcquired from the artist by the present ownerAl-Azzawi began creating art at a young age, drawing illustration reproductions from magazines and scenes from his family life. This natural talent was encouraged and developed in his time at al-Markaziyyah high school from which he graduated in 1958. He then attended the College of Arts, Baghdad, completing his degree in archaeology in 1962. While there, al-Azzawi was encouraged by friends in the al-Marsam al-Hurr group (the Free Studio) to attend night classes at the Institute of Fine Art to continue his art studies, which he completed in 1964. His early work drew from many sources of inspiration, including the Sumerian figurine, visual motifs from popular culture and everyday life, and legends and folklore such as Gilgamesh and Imam Hussain. After Al-Azzawi moved to London in 1976 to expand his practice and escape the increasingly oppressive Ba'thist state, he moved towards exploring the interaction of visuals and the written word through experimentations with poetry, such as the al-qaseedah al-marsumah or 'drawn poem'. In 1979, he continued to create visual representations for poetry using al-qaseedan al-marsumah. After 1983, Al-Azzawi returned to earlier motifs like colour through the form of the Arabic letter and the influences of classic literature such as One Thousand and One Nights but now through the medium of prints. Al-Azzawi continued to explore the convergence of visuals and the written word by producing dafatir, or artists books, which reflected the poetry of the great Arab poets. Beginning in 1989, Al-Azzawi produced over 40 dafati and it became a place for him to reflect on political events such as the start of the Gulf War in 1991.Al-Azzawi's Al-Jawahi verses were based on the poems by Iraqi poet Muhammad Mahdi Al-Jawahiri, born in 1899 in Najaf. Al-Jawahiri's father, 'Abd al-Husayn was a religious scholar among the clergy in Najaf who wanted his son to be a cleric as well. So he dressed him in a cleric's 'Abaya and turban at the age of ten. The origin of Al-Jawahiri goes back to his Najafi, Iraqi family. Since the 11th century Hijri (15th century CE), the most famous people have inhabited Najaf, and individuals named al-Najafi have earned the title 'Bejeweled' (or al-Jawahiri) for their relationship to the book of fiqh values (religious scholarship), which one of his family's ancestors, Shaykh Muhammad Hasan al-Najafi, had written.

Poetry & Children – Potter (Helen Beatrix, Mrs. William Heelis, 1866-1943), The Tale of Mr. Tod, London, Frederick Warne 1912, 18mo, 94pp coloured plates and vignettes, cream embossed boards and titles mounted colour print, cover a little dirty; Nodier (Charles) illus. Fraser (Claud Lovat), The Woodcutter’s Dog, London, Daniel O’Connor 1922, 8vo, 20pp, colour printed vignettes, printed yellow boards mounted titles; Nodier (Charles), illus. Fraser (Claud Lovat), The Luck of the Bean Rows: A Fairy Tale, London, Daniel O’Connor 1921, tall 12mo, 60 pp, colour printed vignette illus., harlequin boards, titles yellow printed, blue cloth spine; Perrault (Charles), Tales of Passed Times Written for Children, 1st edn., London, Selwyn & Blount, 1922, 8vo, 63pp, colour frontis and vignettes by John Austen (MS signature), no. 84 of an edition of 200 copies, armorial bookplate Frederick John Handcock Lloyd, buff boards, colour printed vignette and titles; Perrault (Charles), trans. Gant (Roland), illus. Clauss, The Vindication of Wives, 1st edn., London, Rodale, 1954, 12mo, 27pp, coloured illus., cream printed boards, red cloth spine, gilt titles; Regnard (Jean-François, 1655-1709), trans Gant (Roland), illus. Clauss, Satire against Husbands, a poem, 1st edn., London , Rodale, 1954, 12mo, 30pp, numerous coloured illus., colour printed boards buff spine, gilt titles; Cassiodorus (Fl. Magnus Aurelius Senator, c. 490-585), trans Merton (Thomas), A Prayer of Cassiodorus from the treatise de Anima, Worcester, Stanbrook Abbey, 1967, tall 12mo, 16pp, handset 12pt monotype, marbled boards, gilt titles, cellophane d.w.; various authors, Granny’s Glasses and a Peep Through Them, London, Ernest Nister/New York, E. P. Dutton, 1892, royal 8vo, unpaginated, colour lithographs and vignettes, chromolithographic boards, green spine; de la Mare (Walter, OM, CH, 1873-1956), illus. Fraser (Claud Lovat), Peacock Pie: a Book of Rhymes, London, Constable, 1924, large 8vo, 128pp, 16 coloured prints, blue boards embossed with gilt peacock, gilt titles to spine (9)

A quantity of good books with tooled leather bindings, to include George Elliots Novels x 7; The Art of Reading by Quiller-Couch; Theatre Compt by J Racine; P Bnoit Pour Don Carolos, Chiswell Book of English POetry, Bridges; Short Stories Hardy; CHosen Letters Maria Edgworth; Schliemann of Troy C Ludwig, etc, see images

Fifteen books including poetry and nature, many with decorative bindings: William Blake - The Marriage of Heaven and Hell (Oxford University Press 1975); John H. Ingram (ed.) - The Poetical Works of Elizabeth Barrett Browning from 1826 to 1844 (Ward, Lock & Bowden, London); Alfred Lord Tennyson - Idylls of the King (Hodder and Stoughton); Longfellow's Poetical Works (George Routledge and Sons, London); Rev. Robert Aris Willmott (ed.) - The Poets of the Nineteenth Century (George Routledge & Co, London 1857); Michael Fairless - The Roadmender (Duckworth & Co, London 1909); George Saintsbury (ed.) - Poetical Works of Robert Herrick, vol. 1 (George Bell and Sons, 1900); Robert Blatchford - A Book about Books (Clarion Press, London); Lilian Gask - Folk-Tales from Many Lands (George Harrap & Co., London 1929); Lucy M. J. Garnett - Greek Wonder Tales (A & C Black, London, 1920); Julia Luard - Royal Children (Groombridge and Sons 1887); Mary Entwistle - Children of Other Lands (Humphrey Milford OUP, London 1923); Mrs Brightwen - Inmates of My House and Garden (T. Fisher Unwin, London): T. Carreras - Rambles among the Flowers (S. W. Partridge, London); W. Percival Westell - Nature's Wonderland (The Pilgrim Press, London).

Gothic poetry.- Lewis (Matthew Gregory) and others. Tales of Wonder; Written and Collected by M.G. Lewis, Esq. M.P., 2 vol., first edition, advertisement leaf at end, bookplate of Viscount Halifax dated 1887, book-label of J.O. Edwards, contemporary ink ownership inscription to head of titles, occasional light spotting or soiling, else very good, contemporary calf, rebacked but covers detached, rubbed and worn in places, [Summers, p.525-27], W. Bulmer & Co. for the author, 1801; and another, a parody of Lewis, large 8vo & 8vo (3) *** Contributors to Tales of Wonder include Robert Southey, Robert Burns, and Sir Walter Scott. Some of Scott's earliest writings appear in the volumes, which by virtue of their high cost of publication, were nicknamed "Tales of Plunder". Also included in the lot is "The Old Hag in a Red Cloak", a contemporary parody of M.G. Lewis' "The Grim White Woman" included in Tales of Wonder. 

Provincial Imprint.- Mudge (R.C.) Poem on Masonry, Masonic Hymns and Songs, 6pp. list of subscribers at end, errata slip loosely inserted, disbound, Weymouth, J. Commins, for the Author, 1819 § Howe (John) Trifles, Light as Air; Dedicated to his Grace the Duke of Devonshire, lacking N2 (divisional title), bookplate of Anne & F.G. Renier, book-label of J.O. Edwards, contemporary ownership inscription to pastedown, occasional correction or annotation in a contemporary hand ?the author's, G2-3 horizonal tear into text without loss, N3 working loose, endpapers stained, abrasion marks to pastedowns, original boards, spine with portions lacking and vertical split, soiled and quite worn, Sheffield, Wm. Todd, 1816, first editions, some spotting and light soiling; and others, 19th century poetry, imprints including Banbury, Ipswich, Sunderland, Hull, Windsor &tc, 8vo & 12mo (c.20) *** Of the first mentioned, WorldCat and Library Hub record only four copies. 

[?Temple (Henry John, Viscount Palmerston)] "Editor of the New Whig Guide". The Fudger Fudged: or, The Devil and T***y M***e [Thomas Moore], title in red and black with wood-engraved vignette, without 2ff. publisher's advertisements at end, bookplate of JNO. M. Lochhead, bookplate of Norman & Janey Buchan to rear free endpaper, occasional spotting, mainly to endpapers, olive half morocco over marbled boards by J. Larkins, spine a touch sunned, slight rubbing to joints and corners, t.e.g., for William Wright, 1819 § [Quillinan (Edward)] "Rusticus". Ball Room Votaries; or, Canterbury and its Vicinity, lacking half-title, some omitted names supplied in pencil in a contemporary hand, old stab-holes to inner margin, a few short tears to gutter repaired, some spotting, final f. creased, soiled and with lower corner repaired, modern wrappers, edges touch frayed, for Henry Colburn, 1810, first editions, book-label of J.O. Edwards; and others, 19th century poetry, 8vo & 12mo (c.20)

Scottish poetry.- [Beattie (George)] John o'Arnha'. A Tale, second edition, hand-coloured etched frontispiece and 6 plates, plates trimmed at fore-edge, most causing loss to headline and a few just within image, a few ff. with short tears neatly repaired or marginal repairs, p.23 causing loss to couple words, light browning and offsetting, plates soiled and little rubbed, some soiling elsewhere, modern half calf, spine gilt, Montrose, 1818 § Mitchie (John) The Vices of the Tavern Dissected: or, Drunkenness Laid Open: A Poem, ninth edition, a few minor chips to upper margin, light browning and some light spotting, title and verso of final f. little soiled, later morocco backed-cloth, little rubbed, Edinburgh, for the Author, 1819, book-label of J.O. Edwards; and others, 19th century Scottish poetry, including a copy of "The Craniad: or, Spurzheim Illustrated" (1817), 8vo (10) *** The first mentioned rare, with WorldCat and Library Hub recording only six copies of this edition. 

Irish poetry.- O'Kelly (Patrick) The Hippocrene: A Collection of Poems, etched portrait frontispiece, list of subscribers at end, ex-library with red ink-stamp to title and few other ff., frontispiece with bookseller's ink-stamp to verso, frontispiece with some abrasion marks at gutter and tiny chip to lower outer corner, some soiling, particularly to title and first few ff., some light browning and spotting, modern calf-backed boards, g.e., Dublin, T. and S. Courtney, 1831 § Lysaght (Edward) Poems, by the Late Edward Lysaght, Esq., half-title, portrait frontispiece, 20pp. list of subscribers, frontispiece fore-edge trimmed just shaving a letter of description, occasional light soiling or spotting, later half calf over marbled boards by Henderson & Bisset, little rubbed, chip to lower joint, upper joint starting at head, Dublin, Gilbert and Hodges, 1811, first editions, book-label of J.O. Edwards; and others, 19th century poetry of Irish interest or imprint, 8vo (6)  *** The second mentioned with the poem at pp.100-103 printed in the Irish language and phonetically transcribed into Roman characters.

[Brown (Thomas)] The Paradise of Coquettes, a Poem, half-title, bookplate of Anne & F.G. Renier, ink ownership name and inscription of Herbert G. Norman, half-title with contemporary ownership inscription of J.R. Macky to verso, a few leaves near start roughly opened, a few short tears to p.xlv affecting text but without loss, some foxing and light browning, final few leaves with light damp-staining to head, later boards, rubbed and stained, uncut, for John Murray, 1814 § Cox (James) The Wanderings of Woe, or Conjugal Affection. A Tribute to the Memory of a Beloved Wife, half-title, fine stipple-engraved portrait of the author's wife, lightly browned, some spotting, uncut in original boards, remains of printed spine label, spine ends chipped, corners worn, lower joint split at foot, Mawman, Cadell and Davies, 1813, first editions, book-label of J.O. Edwards; and others, 19th century poetry, 8vo (c.25)

Evans (C.S.) The Sleeping Beauty, illustrated by Arthur Rackham, original cloth-backed pictorial boards, dust-jacket, a little frayed at edges, 1920 § Farjeon (Eleanor) The Town Child's Alphabet, illustrated by David Jones, 1924; The Country Child's Alphabet, illustrated by Michael Rothenstein, 1924, together 2 vol., first editions, light browning at beginning and end, original pictorial boards, slightly soiled, spines worn and frayed, Poetry Bookshop § Shakespeare (William) As You Like It, illustrated by Hugh Thomson, original pictorial cloth, gilt, a few marks to upper cover, spine faded, [c.1909] § Crane (Walter) Queen Summer or The Tourney of the Lily & the Rose, first edition, hinges weak, original cloth-backed pictorial boards, soiled, spine worn at head, 1891 § Hill (Oliver) & Hans Tisdall. Balbus: A Picture Book of Building, first edition, original cloth-backed pictorial boards, 1944, plates and illustrations, many colour, a few tipped in, all rubbed; and c.35 others, children's and a bundle of Girl comics, 4to & 8vo (c.40)

Scottish poetry.- [Macneill (Hector)] Bygane Times, and Late Come Changes..., final advertisement f., contemporary ownership inscriptions to front free endpaper and foot of title, occasional light spotting or soiling, endpapers lightly browned, upper hinge weak, wear to spine, lightly rubbed and soiled, joints split, 1811; Town Fashions, or Modern Manners Delineated, a Satirical Dialogue..., bookplate of Percival F. Hinton, small spot/stain to half-title and title, some very light browning, occasional light soiling, printed spine label, soiled and worn, 1810, first editions, half-titles, book-label of J.O. Edwards, uncut in original boards, Edinburgh, for William Blackwood; and others, 19th century Scottish poetry, including the first collected edition of James Hogg's Poetical Works, 8vo (c.20) *** The first mentioned written in Scottish dialect. 

Scottish poetry.- Hetrick (Robert) Poems & Songs, 14pp. list of subscribers at end, half-title with two small chips to head, title little chipped at head and with tear into text (no text loss), foxing, some soiling, modern half calf over marbled boards, gilt, Ayr, for the Author, 1826 § Ranken (William) Poems, on Different Subjects, half-title, wood-engraved tail-pieces, bookplate of Percival F. Hinton, spotting, quite heavy at points, original boards, old reback, rubbed and soiled, Leith, Archibald Allardice, for the Author, 1812 § M'Laren (William) Isabella; or, The Robbers..., some toning and light spotting, contemporary red half morocco, spine darkened and with small chip to head, wear to corners, spine and extremities rubbed, Paisley, J. Neilson, 1827, first editions, book-label of J.O. Edwards; and others similar, Scottish regional imprints including Dundee, Montrose, Jedburgh, Irvine, Kilmarnock &tc, 8vo & 12mo (11)

BINDINGS A quantity of attractively leatherbound volumes, to include A Thousand and One Gems of English Poetry selected and arranged by Charles MacKay in full gilt-tooled tree calf; a collection of Ministry of Reconstruction Reconstruction Problems pamphlets bound together by Zaehnsdorf, 1922; The Picture of Glasgow; or, Strangers' Guide, new edition, 1812, rebound; The Book of Common Prayer fully bound in tan calf with upper cover embossed "The Gift of Philip, Late Lord Wharton, Distributed by His Lordship's Trustees. 1843", assorted works of the great poets etc.; with many prize bindings Condition Report:Available upon request

Rockcliffe (J R), (pseud Louis Douglas, Sheffield based entertainer): His first music and writings book, with handwritten and printed poetry and monologues; mention of being sole proprietor of “Happy Moments”, an entertainment periodical, these poems, jottings and monologues were sometimes performed in the Surrey Theatre, Sheffield and other Sheffield venues, with cuttings tipped or pasted into this, small quarto leather album, this is worn with loss. Mainly his sketch and act material, many initialled, 148pp, all filled, c1860-70s. 

Now We Are Sick and other independent Comic related collections.Now We are Sick. Dream Haven Publishing, 1991, Signed limited Hardcover.An extremely rare, limited anthology of Nasty verse prose and poetry limited to 1000 copies edited by Neil Gaiman, and signed by many creators including David Garnett, Jo Fletcher, Steve Galger, John Grant and Stephen Jones and many more. Hardcover bound in black leatherette material. Edited by iconic author Neil Gaiman, listed in the Dictionary of Literary Biography as one of the top ten living post-modern writers and a prolific creator of prose, poetry, film, journalism, comics, song lyrics, and drama.A chance to own an extremely limited slice of macabre prose in a beautifully presented package.Excellent condition. Book appears unread. Binding in good order, pages are crisp, white and well-formed without any storage bending. Very slight foxing to top of pages. Angels & Visitations. (Neil Gaiman). A collection of Neil Gaiman's short fiction; an odd assortment of enigmatic and wonderful tales.Barefoot Gen: A Cartoon Story of Hiroshima, sealed set, volumes 1-4 in factory sealed set, rare and hard to find.(6)Condition Report: Now we are Sick. Excellent condition. Book appears unread. Binding in good order, pages are crisp, white and well-formed without any storage bending. Very slight foxing to top of pages.Angels & Visitations. Excellent like-new condition.Barefoot Gen: Excellent like-new condition.

Poetry and literature, 20th century. DAVIES (William H) Later Days 1925, signed limited edition [125]; The Soul's Destroyer, 1907; HODGSON (R) The Last Blackbird and Other Rhymes, 1907, 1st edition, with an original poem to first free end paper and signed; 3 others, signed, by K K Khatak, Jenny Joseph and John Waller; and several others by Heaney, Kipling etc. with a Walter Scott portrait cover Mauchline Ware book

A collection of eight mid 19th century & later Victorian works of poetry, all in a contemporary binding and many decorative. Comprising The Poetical Works of Thomas Hood, first series publ. Ward, Lock & Co., 1901 Lyrics from the Dramatists of the Elizabethan Age ed. & publ.  A. H. Bullen, 1870 The Book of Ballads ed. Ron Gaultier and illus. Doyle, Leech and Crowquill publ. William Blackwood and Sons (11th ed.), 1913 The Collected Poetry of Francis Thompson publ. Hodder & Stoughton, and 1859 Hood's Own, or, Laughter from Year to Year (2vol) publ. Edward Moxon & Co., 1854 A Bundle of Crowquills, dropped by Alfred Crowquill, publ. G. Routledge & Co., and 1887 Poems by Elizabeth Barrett Browning publ. Smith, Elder, & Co. 8vo.

Literature/Poetry. T. S. Eliot. Old Possum's Book of Practical Cats. London: Faber and Faber Limited, 1939 - 2nd impression. Original yellow cloth, no dust jacket. (1)

ROBERT BURNS (1759-1796), ‘Stewart’s Edition of Burns’ Poems, including a number of Original Pieces not hitherto published’, Thomas Stewart, Glasgow, 1802 A rare early edition of Burns’ poetry, including an appendix consisting of correspondence with Clarinda. Calf, with strengthened spine, including engravings. Another copy of this book can be found in The Dick Institute: Accession number BU_C.0031

ROSSETTI (CHRISTINA)Time Flies: A Reading Diary, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Lisa Mary Wilson with Christina G. Rossetti's love', and dated 'May 27 1885' by Lisa on front free endpaper, ANNOTATED WITH 16 FINE BOTANICAL WATERCOLOUR ILLUSTRATIONS and ink and pencil annotations by Lisa Wilson, 2 four-leaf clovers mounted with paper tabs beside the entry for April 2, other actual pressed flowers or fauna loosely inserted, together with additional loose leaf with autograph inscription 'Lisa M. Wilson with Christina G. Rossetti's grateful love. St Valentine's Day 1888', publisher's decorative gilt cloth, hand-stitched jacket in white and gold-coloured thread over cream silk, presumably made by Lisa Wilson, the upper cover with design incorporating the initials 'C.G.R.[Christina Georgina Rossetti]' and 'I.H.S.', 8vo, S.P.C.K., 1885; Annus Domini: A Prayer for Each Day of the Year, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Dear Lisa M. Wilson with Christina G. Rossetti's love, New Year 1889' on the front free endpaper, 3 small silver gelatin print photographs captioned 'Convent of Annunciata' on verso, publisher's cloth, spine detached, split and with loss, 12mo, Oxford and London, James Parker & Co., 1874; The Face of the Deep: A Devotional Commentary on the Apocalypse, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'With much love to my Lisa* Christina G. Rossetti's dear friend May 4 1892' on the front free endpaper, 8pp. advertisements at end, pressed flower with ribbon pasted to a sheet of paper loosely inserted, publisher's cloth, 8vo, S.P.C.K., 1892; Verses, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Dear Lisa Wilson from Christina G. Rossetti, September 25 1893' on the front free endpaper, publisher's blue buckram, t.e.g., 8vo, S.P.C.K., 1893 (4)Footnotes:POIGNANT ASSOCIATION COPIES INSCRIBED BY ROSSETTI TO LISA WILSON, Christina's 'Fior-de-Lisa', an aspiring poet who was Rossetti's 'most important admirer... close friend and companion' (Jan Marsh, Christina Rossetti. A Literary Biography, 1994, p.538). Having been deeply moved on reading Rossetti's poetry Wilson struck up a correspondence with her in the early 1880s before, on 27 May 1885, paying a visit to the poet at Torrington Square to collect an inscribed copy of Time Flies from the author. 'From that point on, Wilson came to call quite often. Concerning the last years of his sister's life, the years following her mother's death in 1886, William Michael Rossetti writes, 'In these painful years one of the friends whom Christina saw with most satisfaction was Miss Lisa Wilson; a lady accomplished in verse and sketching who had been drawn to my sister by her poetry, and viewed her with deep affection and reverential regard' (Diane D'Amico, 'Lisa Wilson: 'A Friend of Christina Rossetti'', The Journal of Pre-Raphaelite Studies, Vol. 10, Fall 2001, p.112). In 1896 Wilson published her own volume of lyric poetry, titled Verses, which she dedicated to 'To the sweet and gracious memory of Christina G. Rosetti, who honoured me with the name of friend', and in which the poem 'First Meeting' recalls lovingly the May day on which they first met. Our copy of Time Flies, the very book that brought them together, is handsomely decorated with botanical watercolours by Wilson (see lot 120). Besides many of the poems Wilson has put dates, presumably of meaning to her, including for instance 'C.G.R. 1885' beside the poem for 27 May commemorating the first meeting, and '1894' with 17-lines of poetry ('In the octave of my Christmas my love fell asleep...') beside the poem for 29 December, the date of Christina's death. Other annotations include a pencil correction to a poem (May 1) on the Feast of St. Philip, noting 'Philip the Evangelist - not the Apostle dear Christina!', and beside the entry for 4 April two four-leaf clover 'pressed specimens gathered in Cornwall, which Christina inserted into the volume' (Marsh, ibid, p.538).Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ROSSETTI (CHRISTINA)The Poetical Works... With Memoir and Notes &c. by William Michael Rossetti, EDITOR'S PRESENTATION COPY, with an autograph note 'Presented to Miss Lisa Wilson 'my Fior-di-lisa' of Christina's little poem with affectionate regard by W.M. Rossetti Jan. 1904' on paper headed '3 St. Edmund's Terrace...' pasted on front free endpaper, chemise made from embroidered fabric, Macmillan, 1904; For Remembrance. Daily Selections from the Poems of Christina Rossetti. Compiled by Frances Maclean. With a Preface by Lisa Wilson, EDITOR'S PRESENTATION COPY, inscribed to Lisa Wilson (who wrote the preface) 'Lisa from Frances. Dec. 5 1913' above 2-line poetry quotation, annotated by Wilson in margins with the names and dates of friends (i.e. 'Christina 1894' beside the poem for 29 December), Winchester, Warren & Son, and London, Simpkin & Co., [1913]; Sing-Song. A Nursery Rhyme Book... illustrations by Arthur Hughes, inscribed by Lisa Wilson 'Christina Maude Evelyn Corkran with her Godmother's love, Feb 24th 1903', Macmillan, 1893; Speaking Likenesses... with Pictures Thereof by Arthur Hughes, FIRST EDITION, Lisa Wilson's copy inscribed 'Lisa from Jessie, Christmas 1883' on front free endpaper, spine soiled, Macmillan, 1874--ROSSETTI (DANTE GABRIEL) Ballads, PRESENTATION COPY FROM W.M. ROSSETTI, inscribed 'To Miss Lisa Wilson with best regards W.M. Rossetti, Novr. 1899', Ellis & Elvey, 1899--Of the Imitation of Christ... New Edition, PRESENTATION COPY FROM CHRISTINA TO WILLIAM MICHAEL ROSSETTI, inscribed in William's hand 'W.M. Rossetti from Christina 1890' inside upper cover, 3 CUT SIGNATURES OF CHRISTINA ROSSETTI, a 2-page note probably by Maria Rossetti and photograph of her loosely inserted, lacks front free endpaper, contemporary half calf, rubbed, Oxford, J.H. Parker, 1845--WILSON (LISA) Verses, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'Maude Corkran from Lisa Wilson with her love, Oct. 12. 1900', sprig of leaves loosely inserted (resulting in light off-setting to 2 pages), Bliss, Sands & Co., 1896--BELL (MACKENZIE) Christina Rossetti. A Biographical and Critical Study, FIRST EDITION, presentation copy with note 'To Miss Lisa Wilson with the good wishes of her friend Mackenzie Bell, Jan 1898' pasted onto the half-title, FLOWERS FROM THE WREATH PLACED ON CHRISTINA'S COFFIN loosely inserted within paper wallet folder inscribed by Lisa Wilson 'Flowers & leaves from the wreath which was laid on my beloved Christina's coffin, and buried with her - Jan 2 1892 - Highgate', a postcard from Mary Rossetti to Lisa Wilson (29 December 1930), a 4-page programme for a dedication service for the Memorial of Christina Rossetti held at Christ Church, Woburn Square on 1 November 1898, and a couple of other items loosely inserted, 2 small pencil annotations by Wilson, Hurst and Blackett, 1898--SANDARS (MARY F.) The Life of Christina Rossetti, FIRST EDITION, AUTHOR'S PRESENTATION COPY, inscribed 'To Miss Lisa Wilson with many thanks for her kind help from Mary F. Sanders, Oct. 10 1930' on the half-title, 3 autograph letters signed by the author to Wilson (12 pages, dated between August to September 1930, discussing the book) loosely inserted, APPROXIMATELY 25 PENCIL ANNOTATIONS AND CORRECTIONS BY LISA WILSON in the margins, Hutchinson, 1930, 8vo; and 13 others, biographies and reference works about Christina Rossetti, including the 4-volume Letters, works inscribed by Jan Marsh and Diane D'Amico, and 3 with the ownership inscription of Lisa Wilson (22)Footnotes:'SHE WOULD NOT HEAR OF FATE!': A group of books by, about and associated with Christina Rossetti belonging to Lisa Wilson, her closest friend in later years, and as her brother William Michael Rossetti notes in one of the volumes, 'the Fior-de-Lisa of Christina's little poem'. Two books are inscribed by William Michael, another has 3 cut signatures by Christina loosely inserted, whilst a third has dried flowers taken from the wreath laid upon her coffin. Christina Rossetti died on 29 December 1894 and Lisa was one of only a handful of guests accompanying the burial party on a snowy day at Highgate Cemetery on 2 January 1895, following a ceremony during which two hymns by Christina were sung. Also between the pages of this book can be found an order of service for Rossetti's memorial service on 1 November 1898. The editor of Rossetti's letters notes that in the last years of her life she was more aware of her growing fame and even joked to her brother William Michael that an annotated copy of Sing-Song would one day be 'priceless', warning him not to disperse her library without looking carefully for inscriptions (Antony H. Harrison, ed., The Letters of Christina Rossetti, Vol. 4: 1887-1894, 2004, xii). Lisa Wilson was consulted by Christina's early biographers, including Mackenzie Bell and Mary F. Sanders, in whose book Lisa has made some 25 revealing comments, such as 'Horrid', 'But she believe in the infinite mercy of God', 'I am sure she never thought this', and 'She would not hear of Fate!'. To Sanders' statement that Lisa was her 'most intimate friend to whom she poured out all her thoughts', Lisa responds tartly 'her thoughts were only poured out to her God'. As Lisa and Christina's correspondence was destroyed, these notes form a rare insight into their relationship. Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ROSSETTI (CHRISTINA)Autograph poem 'On Occasion of her Book to my Fior-di-Lisa' signed ('Christina G. Rossetti'), 8 lines beginning 'The Rose is Love's own flower – And Love's no less/ The Lily's loftiness...', affixed to the flyleaf of a volume of thirteen manuscript poems dedicated to Christina Rossetti, composed, written and illustrated by her close friend Lisa Wilson, beginning 'To Christina, My Dearest Friend', and including the poems 'Consecrations', 'Of My Lady', 'Her Birthday', and 'For Love's Sake', finely decorated in watercolour throughout with flowers such as forget-me-nots, honeysuckle and blossoms, 13 leaves of watercolour paper, printed gilt floral endpapers, vellum, ruled in gilt with initials 'C.G.R.' on upper cover, 8vo (178 x 125mm.), [1892]; with a separate autograph fair copy of Rossetti's poem titled 'In honour of her Book, and still/ more of my own/ Fior-di-Lisa' signed with initials ('C.G.R.') on a bifolium, one page, 8vo (175 x 111mm.), [?1892]; and group of associated ephemera including a cabinet photograph of Lisa Wilson and two botanical watercolours signed 'Helen Rossetti' (small group)Footnotes:'TO MY FIOR-DI-LISA': A VOLUME OF ILLUSTRATED POEMS DEDICATED TO CHRISTINA ROSSETTI BY HER CLOSE FRIEND, WITH TWO COPIES OF ROSSETTI'S VERSE WRITTEN IN RESPONSE. This beautifully decorated vellum-bound volume was presented by Lisa Wilson to Christina Rossetti in 1892, soon after Rossetti's operation for breast cancer in May of that year, and bound in haste when it was thought that she had not long to live. The women had corresponded since the 1880's when Lisa Wilson '...a very invalidish girl, obliged to lie down a great deal...' (Mary F. Sanders, The Life of Christina Rossetti, London, 1930, p.254) wrote Rossetti an admiring letter. They finally met in 1885 when Christina offered to send her a copy of her new book Time Flies (see lot 118). Grasping the opportunity to meet in person, Lisa collected the book herself, thus beginning a close lifelong friendship, becoming her '...most important admirer... close friend and companion...' (Jan Marsh, Christina Rossetti, a Literary Biography, 1994, p.538). The moment is captured in her poem 'The Meeting' included here ('...let me recall the time when we first met... you came and let my hands clasp yours... Your lips, with their sweet melancholy curve and rare swift smile. Your musical low voice Thrilled through me...'). Rossetti herself was less poetic at the prospect of their meeting: 'Don't expect me to be as nice as my poems or you will be disappointed', she had written (Marsh, p.538).The collection of intense love poems, religious verses and thoughts on death has been described as '...the most public statement Wilson made of her love for Rossetti...' (Diane D'Amico, 'Lisa Wilson: 'A Friend of Christina Rossetti'', The Journal of Pre-Raphaelite Studies, Vol. 10, Fall 2001, p.118). D'Amico argues that the poems must, however, be read in the context of female friendship at a time when intense expressions of love between women were allowed without being interpreted as sapphic, and that they can also be seen in the concept of a spiritual friendship that brought them closer to God, with Rossetti as Lisa's spiritual guide: '...Wilson's love for Rossetti and her poetry inspired by this love are influenced by a religious faith that allowed for such a concept of friendship...' (D'Amico, p.121). After Rossetti's death, Lisa requested William Michael Rossetti return the volume, in which Christina had inscribed a short verse dedicated to her, and inserted at the front of the book. 'Fior-Di-Lisa' casts Lisa as a lily and herself as a rose, and the book is full of the symbolic language of flowers through which their friendship was communicated. The poem was published in New Poems by Christina Rossetti, edited by William Michael Rossetti in 1896.As well as requesting the return of our volume, she also burned all Christina's correspondence and, apart from publishing these poems, never commented about a friendship she considered sacred, thinking it was enough, and indeed a privilege, to be remembered merely as Rossetti's friend. All the poems inscribed here, apart from the preface 'To Christina' were included in Lisa Wilson's only published work, Verses, of 1896, in which she revealed her pseudonym Christina Grey, under which she may have published other work. Whilst their close relationship is acknowledged by biographers, and our volume consulted by them, further detail is scarce and she is depicted as a rather shadowy figure of whom little is known. Diane D'Amico has put this deficiency right in her comprehensive essay 'Lisa Wilson: 'A Friend of Christina Rossetti'', (ibid, pp.109-129), where she talks about Lisa and our volume in detail. D'Amico identifies her as Mary Louisa Wilson (1850-1934), the daughter of a solicitor from Oundle. She remained unmarried and lived with her widowed mother and brother as companion and housekeeper in Gilston Road, London. A devout Christian, she was a regular attendee at her local church, St Mary's The Boltons, and devoted much time to visiting the poor and sick. She moved to Cornwall after the death of her sisters and her good friend Maude Corkran, and spent the last years of her life in Penzance. The book was passed on to her god-daughter Christina Corkran, and has remained in the family since then.Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

• EDMOND XAVIER KAPP (BRITISH 1890-1978) Edmond Xavier Kapp (lots 60-71) Oh to be silent! Oh to be a painter! Oh (in short) to be Mr. Kapp (Virginia Woolf) Introduction Widely remembered for his portraiture, in particular his distinctive form of character types (he did not like his work to be describe as caricature), Kapp was a highly versatile artist with an enquiring mind and a love of music. Appreciated in his lifetime also for his poetry and his evolving interest in abstraction, he aspired to write, mixed with the leading artists of the day and attracted the attention of critics and the cognoscenti. The following twelve lots from his estate capture the singularity of his artistic vision and his constant thirst for innovation. Born in Islington, London, the son of Jewish-German parents, Kapp studied in Berlin, Paris and Cambridge, where he had his first exhibition, wrote for Granta and the Cambridge Magazine and attracted the attention of Max Beerbohm. While a 2nd Lieutenant with the Royal Sussex Regiment in the First World War, he sketched portraits of his fellow soldiers to amuse them in the trenches, including the young poet Edmund Blunden, and crossed paths with William Rothenstein at Amiens, a meeting Rothenstein recalls in his autobiography Men and Memories. After the Armistice Kapp held his first one man exhibition at the Little Art Rooms, Adelphi, London, the catalogue introduction written by Beerbohm. Commissions followed, together with the publication of his first book: Personalities published in 1919 and reviewed by Virgina Woolf in her essay Pictures and Portraits. Prominent figures who featured in his early work included Edwin Elgar, Percy Wyndham Lewis and Richard Strauss. Later, after the War, subjects ranged from Albert Einstein (1923) to the Duke of Windsor, the future King Edward VIII (1932); of leading personalities in the arts he captured the characters of Aldous Huxley and Noël Coward. Kapp typically rejected supplying caricatures to newspapers, preferring to choose his own subjects. But he did take on commissions, such as his series Ten Great Lawyers published in 1924 in the Law Society Journal. And his work appeared in a wide variety of periodicals, most notably Time and Tide, output that resulted in the publication of further volumes of his collected portraits, and an exhibition of his work at The Leicester Galleries, the leading contemporary gallery in London of the day. In 1922 Kapp married Yvonne Meyer, journalist, photographer, translator and writer, now best known for her biography of Eleanor Marx. On their honeymoon the young couple visited Beerbohm in Rapallo and settled the following year in Rome where Kapp studied at Sigmund Lipinsky’s art school and under Antonio Sciortino at the British Academy. There too he met the American painter Maurice Sterne who encouraged him to paint in oil. Kapp also developed his interest in lithography as a means to sell limited editions of his more well-known sitters. It led in 1935 to a commission for portraits of twenty-five delegates to the League of Nations in Geneva. Publication of the series brought him to the attention of Pablo Picasso, and the beginning of a close friendship between the two artists. Kapp captured Picasso’s profile in a sketch of him in his studio at 23 Rue La Boetie, Paris in 1938, purportedly the only likeness for which Picasso agreed to sit (collection of the Victoria & Albert Museum). And there are relaxed and informal photos of Picasso in bathing trunks snapped by Kapp in 1948 outside the restaurant Chez Nounou and the Hotel de la Mer in Golfe Juan when holidaying with Picasso in the South of France. During the Second World War Kapp was an Official War Artist; after the War he worked as an Official Artist to UNESCO. He kept a studio at 2 Steeles Studios, Haverstock Hill in Hampstead, North London (lots 67 & 71) and in Beausoleil, near Monaco in the Alpes Maritimes (lot 61), and explored abstraction. String Quartet (lot 71) suggests his interest in synaesthesia and the work of Kandinsky; his playful Dragon Flight (lot 69) invokes the wit of Paul Klee, while the exploration of his medium in Abstract Composition (lot 69) is suggestive of fellow experimental artist Max Ernst.60EDMOND XAVIER KAPP (BRITISH 1890-1978)PORTRAIT OF A LADYsigned Kapp lower left; dated 1958 lower rightoil on canvas92 x 60.5cm; 36 1/4 x 23 3/4in (unframed)

French Poetry and Plays: a collection of leather bound books, 18th - 19th centuries, to include: Oeuvres Complettes de M. de Belloy, de L'Académie Françoise, Citoyen de Calais., 6 Vols., full leather bound with gilt tooling and lettering to spine, book plates to marbled end pages, Paris: Chez Moutard, 1779;  Oeuvres de M. Boileau Despréaux, par M. De Saint-Marc, new edition, 5 Vols., full leather bound with gilt tooling, Paris: Chez David et Chez Durand, 1747; Oeuvres de Molière, avec un commentaire Historique et Littéraire, par M. Petitot., 6 Vols., three quarter leather and cloth bound, Paris: J. P. Aillaud, 1821; and various other books (49)

Poetry & Children – Potter (Helen Beatrix, Mrs. William Heelis, 1866-1943), The Tale of Mr. Tod, 1st edition, London, Frederick Warne 1912, 18mo, 94pp coloured plates and vignettes, cream embossed boards and titles mounted colour print, cover a little dirty; Nodier (Charles) illus. Fraser (Claud Lovat), The Woodcutter’s Dog, London, Daniel O’Connor 1922, 8vo, 20pp, colour printed vignettes, printed yellow boards mounted titles; Nodier (Charles), illus. Fraser (Claud Lovat), The Luck of the Bean Rows: A Fairy Tale, London, Daniel O’Connor 1921, tall 12mo, 60 pp, colour printed vignette illus., harlequin boards, titles yellow printed, blue cloth spine; Perrault (Charles), Tales of Passed Times Written for Children, 1st edn., London, Selwyn & Blount, 1922, 8vo, 63pp, colour frontis and vignettes by John Austen (MS signature), no. 84 of an edition of 200 copies, armorial bookplate Frederick John Handcock Lloyd, buff boards, colour printed vignette and titles; Perrault (Charles), trans. Gant (Roland), illus. Clauss, The Vindication of Wives, 1st edn., London, Rodale, 1954, 12mo, 27pp, coloured illus., cream printed boards, red cloth spine, gilt titles; Regnard (Jean-François, 1655-1709), trans Gant (Roland), illus. Clauss, Satire against Husbands, a poem, 1st edn., London , Rodale, 1954, 12mo, 30pp, numerous coloured illus., colour printed boards buff spine, gilt titles; Cassiodorus (Fl. Magnus Aurelius Senator, c. 490-585), trans Merton (Thomas), A Prayer of Cassiodorus from the treatise de Anima, Worcester, Stanbrook Abbey, 1967, tall 12mo, 16pp, handset 12pt monotype, marbled boards, gilt titles, cellophane d.w.; various authors, Granny’s Glasses and a Peep Through Them, London, Ernest Nister/New York, E. P. Dutton, 1892, royal 8vo, unpaginated, colour lithographs and vignettes, chromolithographic boards, green spine; de la Mare (Walter, OM, CH, 1873-1956), illus. Fraser (Claud Lovat), Peacock Pie: a Book of Rhymes, London, Constable, 1924, large 8vo, 128pp, 16 coloured prints, blue boards embossed with gilt peacock, gilt titles to spine (9)

The remaining personal effects of Major General Sir Samuel Benfield Steele (Medonet, Canada 1848- London 1919), Boer War and World War One interest: four album of signatures, birthdays, songs and poetry, the first made up by Flora Steele between 1906-1913, including Winston Chruchill-cut out-F.C. Selous, Fredrick Roberts (bobs) on War Office paper, an interesting humorous sketch 'The Joy Riders', various house guests and family members, the second 1916-18 mostly of sketches made by Canadian, Australian and New Zealand artists, a the third a gift from her mother- mostly poems and signatures relating to Flora's travels1918-1922, the fourth hardly used mostly dated 1916- Eastwell Park visitors book?, in a cardboard box addressed to Lieutenant Colonel Harwood Steele, (4).

Coppard, Alfred Edgar: Yokohama Garland and other Poems, Vignettes by Wharton Esherick, The edition of this, the third book of the Centaur Press is limited to five hundred copies for America and Great Britain made by the Pynson Printers of New York in the year nineteen-twenty-six, This is number 157, signed by the artist and author, yellow bukram spine over blue boards, quartto, together with Rummy That Noble Game Expounded In Prose, Poetry, Diagram And Engraved By A.E. Coppard And Robert Gibbings With An Account Of Certain Diversions Into The Mountain Fastness Of Cork And Kerry, This book was printed by Robert and Moira Gibbings, assisted by George Churchill, at the Golden Cockerel Press, Waltham Saint Lawrence, Berkshire, and completed on the 25th day of October, 1932. Compositors: F. Young and A.H. Gibbs. Pressman: A.C. Cooper. This first edition consists of 250 numbered copies on hand made paper signed by the author and artist, and 1,000 unsigned copies on machine made paper. God Save Ireland! Number 22, bound in quarter green morocco over decorative cloth boards with yellow dust jacket, 8vo. (2)

λ&nbspPAUL FRYER (BRITISH B. 1963) ECCE HOMO, 2006 Vitrine, Japanese lacquered cabinet, black thorn crown, goose egg, black cellulose paint, Kevlar thread and epoxy resin 45.5 x 41 x 41cm (17¾ x 16 x 16 in.) Overall (including plinth): 145 x 41 x 41cm (57 x 16 x 16 in.)Provenance: Private Collection, UKExhibited: London, Fire Station, 1 Chiltern Street, Paul Fryer: Potential and Ground, February - March 2007 Winchcombe, Sudeley Castle, Phillips de Pury & Company, Reconstruction 3, June - October 2008 Florence, Gucci Museo, Paul Fryer: Lo Spirito Vola, March -November 2012 After attending Leeds College of Art in the 1980s alongside Damien Hirst, Paul Fryer became an electro-pop singer and transvestite DJ, founding the famous Kit Cat Club in Leeds. After moving to London he started designing books and other printed materials for artists, fashion houses and record labels, and his book of poetry, Don't Be So..., was illustrated by Damien Hirst and published by Trolley Books in 2001. His art engages with Christian Gnosticism and cutting-edge scientific research - ideas which come together in one of Fryer's most important works: Ecce Homo.

* Blake (William, 1757-1827). So the Lord blessed the latter end of Job more than the beginning, 1825, engraving on Chine collé off-white wove paper, a fine crisp impression, marked Proof to lower right corner, published by the artist, March 8, 1820-1825, the full sheet, plate size 215 x 166 mm (8 1/2 x 6 5/8 ins), sheet size 380 x 252 mm (15 x 9 /78 ins), tab-mounted with archival tissue to top margin, window-mounted, framed and glazedQTY: (1)NOTE:Provenance: Private collection, Ross-on-Wye, Herefordshire.Bindman 646; Binyon 126, iii; Russell xxii. Published in an edition of 215 impressions, by Blake and John Linnell.Plate 21 from Blake's remarkable series of engravings entitled Illustrations of the Book of Job.This final plate in the sequence represents Job's forgiveness by God. The long night is over and the sun rises. The whole family is reunited in harmony, and sing the praises of the Lord with musical instruments which were formerly on the tree. The three arts join in celebration. One daughter on the right plays a lyre (representing music), another daughter in the centre sings from a scroll (representing poetry), and a third holds a drawing book (representing painting).

RILKE RAINER MARIA: (1875-1926) Austrian poet and novelist. A.L.S., R M Rilke, one page, 8vo, Venice, 10th August 1912, to [Axel] Juncker, in German. Rilke acknowledges receipt of his correspondent's letter and their cheque for DM 179.20 'for the annual accounts of Das B[uch] d[er] B[ilder]' and concludes by expressing his gratitude and sending his best regards. With blank integral leaf. About EXAxel Juncker (1870-1952) Danish bookseller and publisher who worked in both Germany and Denmark. Das Buch der Bilder ('The Book of Images') is a collection of Rilke's poetry from 1899 onwards and was first published by Juncker in 1902. It would be the last of Rilke's works that Juncker published, despite the two men enjoying a good relationship based on intellectual exchanges and meticulous typographic recommendations, before the poet moved to the Insel publishing house.

STEADMAN RALPH: (1936- ) British illustrator, best known for his collaboration with the American writer Hunter S. Thompson. An extensive correspondence collection of forty-two A.Ls.S. (the majority to the versos of postcards, many featuring images of Steadman's work) and nine T.Ls.S., Ralph, sixty-six pages (total), 4to and smaller, various places (Maidstone, Kent, France and Italy), March 1980 - January 1997, all to Tom Maschler. The substantial, and often amusing, correspondence covers a wide range of subjects, including Steadman's work, in part, 'Many thanks for your letter and your marvellous enthusiasm. I am very happy that Cape & your good self are prepared to take me on with a project that hardly has any bones yet.....I doubt if I will begin Leonardo for 2 or 3 months but that does not prevent me reading about my subject and making notes which is how I set about the book on Freud' (18th March 1980), 'It's fascinating sitting in spots where the old boy [Leonardo da Vinci] might have sat. I was unable to lie on his bed or use the secret tunnel used by Francois I to visit him daily' (25th April 1981), ' "Bloody good!!" he said when he caught sight of the first drawing. "How many more are there?" "How many do you want?" "That depends" "On what?" "How many disciples turn up - can you manage another eleven - No problem' (31st August 1982), 'If he can sell 5000 copies there must be another 50,000 who would buy it if they only knew about it - at least. There is a huge army of committed fans over there [America] but I don't think they know the book exists. All I know is when I did a signing the queue went down the street - New York & West coast. Maybe they were all my fans and there aren't any more but do you believe that. Anyway, one of these days we'll blast through the bullet proof barrier & wonder why we worried' (21st December 1984), 'When Glasgow Art Gallery asked for copies of "I Leonardo" to sell during the course of my exhibition there, they were informed that you are now completely out of the 2nd edition. Surely it is worth a reprint even for this country only' (3rd May 1985), '...[I] have been asked to front a T.V. show on our attitudes to animals (J. G. Ballard, Brian Aldiss etc to be interviewed) I've just been to a bullfight, so I'm on dodgy ground' (28th September 1995). 'I will be researching the ways of cannibals - where they were - who they ate - who tasted best and what their favourite sauces are. Did they have head chefs - table manners - religious symbolism & belief in the powers allotted to various parts of the body......Are we in fact missing a vital part of our diets which no amount of lamb or pig can assuage?.....It's a wide & wonderful subject Tom, and in the metaphysical sense we act like cannibals today in this dog eat dog society of ours' (19th October 1995), 'I have read The Mildenhall Treasure - it is a fine TRUE tale of trust and paranoic avarice. Though, Butcher's wife knew. I love the descriptive atmospherics as much as [Roald] Dahl's grasp of human nature. It could be special, but why, I ask myself am I illustrating Dahl, when I could be hurling myself into Rabelais' (16th June 1996), 'I was thrilled to hear from you again. We have now reorganised the answering machines especially for you so that if you want to sing a song, tell me a story, or recite a piece of concrete poetry, you know I will hear it in future' (n.d., although 1996), 'Two things in defence of the "Snags". Defence one: Children love repetition. Defence two: Childrem don't recognise sophistication; only the inherent spirit of fun, the game itself played out between parent & child. I know. It has been tried out on a nursery school full of children and they ask for more. Defence three even: It is a great way to learn punctuation & a wonderful way to read pictures....' (18th June 1996), 'I am in search of magic - in search of Roald Dahl. What made him tick?' (26th November 1996), 'Over the last few months I have been doing some strange but intriguing, and funny!, pictures in the evenings on my knee (on paper of course) which I call my knee jobs. They seem like the basis for a book though I don't quite know how or why' (6th January 1997), 'Cannibals at the moment are rife in the world of publishing, literart meat-eaters, retail/wholesale packagers, remainderers of books which are in their prime, even 'Animal Farm' which is No. 3 in the best 100 books of the 20th century - trashed because 'its sale has gone down to a trickle' and who, I wonder, is prepared to admit blame?......Unless the book smells like a Body Shop and leaps off the shelf to bite you up the arse, what chance do new books have, except one on cannibals who might like a piece of arse for supper' (19th January 1997), 'I hope that our chat yesterday settled the final touches for our collaboration to reincarnate one of Roald Dahl's wonderful true stories' (29th April 1999), 'Here is something to get your teeth into. The spider's mouth is the hole at the back of Dahl's chair - it needs my cryptic explanation' (n.d.), 'I have avoided planning new booksm but I have not been idle.....I have been involved in a modern dance based on the last years of Picasso....I have done the centenary portrait of T. S. Eliot for The Poetry Society celebration in September. That led to a curiosity to see how I could portray his face in paint & I completed 6 paintings of his visage. He has a strange face......Channel 4 are keen to do a film about my Welsh speech based on the 'BOYO' tapestry and I am making a 10 minute short based on a conversation I invented between Marcel Duchamp & Luis Bunuel......I have always felt that the people who do well out of my book signings are the book shops since I give more of a performance that a mere 'Jeffrey Archer' type signing' (n.d., although 1993). Several of the letters are illustrated with a small caricature alongside the signatures. Some very light, minimal age wear, VG, 51Tom Maschler (1933-2020) British publisher who, from 1960, was head of the publishing company Jonathan Cape for more than three decades. Maschler was also instrumental in establishing the Booker Prize in 1969.

Bindings, mainly poetry, including: Lamb [Charles], Essays of Elia, Arthur L. Humphreys, 1911, half morocco binding, gilt; Burns (Robert), The Poetical Works, W. P. Nimmo, Hay, & Mitchell, no date, full calf binding, gilt, marbled edges; with nine others and four volumes of the Oxford Book of Verse (15)

Mid to late 19th century Cornish poetry. Five works. Charles T. Bath. 'Poems and Prose,' printed thin card wraps detached, rust to staple bind, graphite notes to title page, vg text block, a very scarce work with a humerous preface '...I was always a backward child, a gift that I have no control over......I may say in conclusion I have never read a book in my life, not even a novel. This book is written from my own experience and observation', Camborne Printing and Stationary Company, [1909]; W. Herbert Thomas. 'The Socialist's Longing and Other Poems,' card backed canvas wraps with gilt tooled lettering, sun bleached and rubbed, pp.85, vg, F. Rodda, Penzance, 1893; 'Poems of Cornwall by Thirty Cornish Authors,' original cloth with gilt lettering, photographic frontispiece, short bio of each author, vg to fine, F. Rodda, Penzance, 1892; Rev R. S. Hawker. 'the Cornish Ballads and Other Poems,' original green cloth with bevelled edges and gilt decorations, rubbed and bumped, ex libris label, in joint splitting, vg text block, James Parker and Co, Oxford and London, 1869; Henry Sewell Stokes. 'The Voyage of Arundel,' signed by the author to title page, new edition, original cloth, later dj, vg, Longmans, Green, & co, London, 1884. (5)John Stengelhofen (1939-2020). Please see lot 1 for provenance.

BLAINE, Julien 'Quinzieme Ou Pour En Finir Avec Le Preseneiotisme...' Edition 210 of 400, containing loose sheets, some double, this being the concrete poet’s first book mixing more traditional forms of poetry alongside concrete works and also illustrations by Blaine in b/w, some loose pages maybe missing, Paris: Les Carnets de L’Octeor, 1966; together with two signed John Furnival prints dated 1966 and Roy Fisher, 'Interiors', 1966.

CUALA PRESS: YEATS (W B & JOHNSON, Lionel): 'Poetry and Ireland: Essays by W B Yeats and Lionel Johnson': Churchtown Dundrum, Cuala Press, 1908: original linen backed blue paper covered boards, matching endpapers, edges rough trimmed, slight browning to spine else a very good copy, 8vo. The first book published under the Cuala Press imprint. (1)

ORIGINAL MANUSCRIPT VERSE BY A GEORGIAN LADY: 'Original m.s Poetry..Nugae Canorae' (so titled in gilt to upper board): commonplace book of original manuscript verse by one Sophia Middelton, her morocco gilt label dated 1824 to upper pastedown, approx 120pp filled with poetical offerings including 'On the Death of the Princess Charlotte': 'Lines to the Moon': 'Our God is a Consumer of Fire': 'To My Mother on her Recovery, 1821', etc., neatly presented in commonplace book of period, blind tooled burgundy covers ornately gilt, aeg, extremities a little rubbed, 8vo. (1)

CUALA PRESS: Lady Gregory: 'The Kiltartan Poetry Book..': Churchtown, Cuala Press, 1918: one of 400 copies printed: original linen-backed blue boards, lettered in black to upper, glassine wrapper, a very clean copy partially unopened, 8vo. (1)

A BAMBOO ‘CRAB’ BRUSHPOT, BITONG, BY LIU SONGSEN, DATED 1756 劉松森款竹雕詩文筆筒Please note this Lot is to be sold at No Reserve. 本拍品不設底價Published: Galerie Asboth, Tusche und Weihrauch, page 22, no. 37.China. Of cylindrical form, carved in low relief, a crab sits among reeds and stones next to an eight-column inscription which includes a poem, the artist Liu Songsen’s signature, and a date, the year of Bingzi.Inscriptions: A unique folk poem by the 13th century poet Ma Zhiyuan, depicting the sequestered life of a poet. It says, ‘Wine and fish I have freshly bought, now I watch the clouds above the mountains and write poetry in the moonlight. I am an idle man and have no ability to serve the state and govern. Liu Songsen carved in […] the Year of Bingzi (corresponding to 1756).’Provenance: Ute Asboth, Galerie Asboth, Vienna, May 2000. Collection of Maria and Johannes Nickl, acquired from the above and thence by descent in the same family. The base with an old label, ‘1P’. A copy of an expertise written and signed by Ute Asboth, with a stamp from Galerie Asboth, confirming the dating above, accompanies this lot. Ute Asboth (c. 1927-2018), owner of Galerie Asboth, began her career in the Asian art trade at Galerie Zacke in the early 1980s before eventually founding Galerie Asboth in Vienna, Austria. The gallery specialized in East Asian art and published extensively. Several noted exhibitions were curated in close cooperation with Luigi Bandini from Eskenazi gallery in London, United Kingdom. Some pieces from Ute Asboth’s private collection reside now in the Museum of Ethnology, Vienna (today the Weltmuseum). Maria (1926-2022) and Johannes Nickl (d. 2020) lived in Vienna, Austria, and were ardent collectors of Asian, Buddhist, and Egyptian works of art. They were highly active in Vienna’s tightknit Asian art trade and assembled most of their collection during the 1980s and 1990s, frequently buying from Galerie Zacke and later Galerie Asboth. The couple were also noted museum patrons and their names are still found on the Ehrentafel (‘Roll of Honor’) of the Egyptian and Near Eastern Collection at the Kunsthistorisches Museum Wien (Museum of Fine Arts Vienna) today. Condition: Very good condition with minor old wear and expected age cracks, traces of use, few tiny nicks to edges.Weight: 190.7 gDimensions: Height 12.9 cm The present brushpot is carved with a poem by Ma Zhiyuan (c. 1250-1321), a poet and playwright who lived during the Yuan dynasty. Famous for popularizing a lyrical style known as sanqu, his poems were collected in the book Dongli Yuefu which includes 104 of his sanqu. His most famous poem is Autumn Thoughts.Auction result comparison: Type: RelatedAuction: Sotheby’s New York, 18 March 2008, lot 39Price: USD 49,000 or approx. EUR 65,000 converted and adjusted for inflation at the time of writingDescription: A large bamboo brushpot (bitong), Qing dynasty, 19th centuryExpert remark: Compare the related motif. 劉松森款竹雕詩文筆筒中國。圓柱體筆筒，淺浮雕蟹圖詩文。出版: Galerie Asboth，Tusche und Weihrauch，第 22頁，圖 37。 銘文: 酒旋沽，魚新買，滿眼雲山畫圖開。清風明月還詩債。本是個懶散人，又無甚經濟才，歸去來。丙子春劉松森製於?師來源：Ute Asboth，維也納Asboth藝廊，約2000年；Maria與Johannes Nickl收藏，購於上述藝廊，在同一家族保存至今。底部有一舊標籤 ‘1P’。隨附一份由Ute Asboth出具的鑒定書複印件，上還可見 Asboth藝廊印章，確認斷代。Ute Asboth (約1927-2018年) 於 1980 年代初在 Zacke藝廊開始了她在亞洲藝術貿易的職業生涯，之後在奧地利維也納創立了 Asboth藝廊。該藝廊專門從事東亞藝術並廣泛出版，她與英國倫敦 Eskenazi 畫廊的 Luigi Bandini 密切合作，並策劃了幾個著名的展覽。Ute Asboth 的一些私人收藏品現在收藏在維也納民族學博物館（現為世界博物館）。 品相：狀況極好，有輕微磨損和老化裂縫，使用痕跡，邊緣有一些微小的劃痕。 重量：190.7 克 尺寸：高12.9 厘米 拍賣結果比較： 形制：相近 拍賣：紐約蘇富比，2008年3月18日，lot 39 價格：USD 49,000（相當於今日EUR 65,000） 描述：十九世紀清代竹雕筆筒 專家評論：比較相近的主題。

Women Poets.- Barbauld (Anna Letitia) Eighteen Hundred and Eleven. A Poem, half-title, advertisement leaf at end, bookplate of Greenock Library, the odd spot or very light marginal dust-soiling, but overall very good, contemporary half calf over marbled boards, printed paper label to upper cover, spine and extremities worn, upper joint split with cover just holding, for J. Johnson and Co., 1812 § Smith (Charlotte) Beachy Head: with Other Poems, half-title, title with contemporary ownership name "Mary Holmes" to head, the odd spot, mainly to first few leaves, contemporary marbled calf, gilt, rubbed, upper cover detached, for the Author, 1807, first editions, book-label of J.O. Edwards; and others, 19th century poetry by women, including Mary Russell Mitford's Poems (1810), 4to & 8vo (12) *** The rare first mentioned a criticism of Britain's participation in the Napoleonic Wars, arguing for the declining influence of Great Britain and waxing importance of the United States.

[Heber (Reginald)] Palestine. A Poem; in Blank Verse. Written for the Prize at Oxford in 1803, very light browning, modern wrappers, for the Author, 1806 § H[oare]. W[illiam]. Amusement of Leisure Hours, first edition, presentation inscription "With W. Hoare's best respects and compliments" to head of title (a touch trimmed at fore-edge), a couple very small marks to title, some marginal foxing to title and final f., modern wrappers, Christiana Rickaby, [?1803] § [Hardinge (George)] The Editor, the Booksellers, and the Critic, an Eclogue. From No. XIII of...Chalmeriana, presentation inscription "For J. Annesley Esq. From the Author" to head of title, some foxing, later wrappers, 1800, all but last with book-label of J.O. Edwards; and others, 19th century poetry, disbound or in wrappers, 4to & 8vo (c.20)  *** The first mentioned a very scarce edition. WorldCat records only two institutional copies. 

Ireland.- [Smedley (Edward)] Erin. A Geographical and Descriptive Poem, 2 parts in 1, first edition, hand-coloured folding engraved map of Ireland, engraved title vignettes and tail-pieces, 16pp. list of subscribers, contemporary ink ownership name to pastedown, some spotting, some light browning and damp-mottling, uncut in original boards, rebacked, corners worn, boards rubbed and soiled, Hamblin and Seyfang, for the Author, 1810 § [Croker (John Wilson)] The Amazoniad; or, Figure and Fashion: a Scuffle in High Life, second edition, scattered light foxing, modern boards, Dublin, John King, 1806 § Robinson (Thomas Romney) Juvenile Poems, first edition, half-title, engraved portrait (offset), 28pp. list of subscribers, contemporary ink ownership name to head of title, some foxing, mainly to half-title and endpapers, contemporary diced calf, gilt, neatly rebacked, Belfast, J. Smyth, 1806, all but first with book-label of J.O. Edwards; and others, 19th century poetry of Irish imprint or interest, v.s. (7)  

Bayley (Peter) Poems, first edition, half-title, without errata leaf at end, bookplate of John Murphy Bishop of Cork dated 1815, circular ink-stamp of Minerva Rooms Cork to half-title, title and a few other ff. (ink-stamp to title with attempted removal), small ink shelf-mark to title, the odd spot or light dust-soiling, uncut in original drab boards, rebacked, corners repaired, covers rubbed, 1803 § Heber (Reginald) Palestine. A Poem. Recited in the Theatre, Oxford, MDCCCIII, half-title, Leigh armorial bookplate, book-labels of Simon & Judith Adams Nowell-Smith and J.O. Edwards, occasional spotting or very faint staining, contemporary half calf, spine label chipped, a few marks, rubbed, 1809; and others, 19th century poetry, 8vo & 4to (c.25) *** The first mentioned Bayley's first book, part parody and part plagiarism of Lyrical Ballads. Wordsworth and Coleridge reacted by assisting Southey in writing a ferocious review in the Annual Review. 

Provincial Imprint.- Anderson (Robert) Ballads in the Cumberland Dialect, foxing, modern boards, Carlisle, W. Hodgson, 1805 § Hayley (William) The Triumph of Music; A Poem, half-title, advertisement leaf at end, contemporary ink ownership name to head of title, contemporary and later ink ownership inscriptions to front free endpaper, some browning, uncut in original boards, rebacked, corners worn, covers rubbed and soiled, Chichester, by and for J. Seagrave, 1804, first editions, book-label of J.O. Edwards; and others, 19th century poetry, imprints including Wolverhampton, Manchester, Whitby, Alnwick, Glocester, Sudbury, Leeds &tc, 4to & 8vo (c.25)

Scotland.- Campbell (Alexander) The Grampians Desolate: A Poem, half-title, with 4pp. "Prospectus of a New Agricultural Institution or Fund of Aid for Waste Land Cultivators" dated April 1804 at end, book-label of J.O. Edwards, presentation inscription "To Hawkins Browne Esqr. M.P. from the Author" to half-title, occasional light spotting, 19th century half mottled calf over marbled boards, spine gilt and with red morocco label, corners rubbed, an attractive copy, Edinburgh, 1804 § Thomson (James, weaver in Kenleith) Poems, in the Scottish Dialect, engraved frontispiece, list of subscribers at end, frontispiece lightly offset and with 19th century ownership inscription to verso, scattered spotting, uncut in original boards, rebacked, rubbed and soiled, Edinburgh, 1801, first editions; and others, 19th century poetry of Scottish imprint or interest, including Hogg's Mountain Bard, 8vo (c.15) 

Scotland.- Cririe (James) Scottish Scenery: or, Sketches in Verse descriptive of Scenes chiefly in the Highlands of Scotland, engraved frontispiece view of Edinburgh, 19 further engraved views, most with tissue-guards, engraved bookplate of Jonathan Pytts, frontispiece very slightly offset, some light toning, occasional light foxing (heavier to tissue-guards), contemporary marbled calf, sympathetically rebacked, spine gilt and with morocco label, covers little rubbed, marbled endpapers, a handsome copy, 1803 § Bruce (George) Poems and Songs, on Various Occasions, wood-engraved vignettes, list of subscribers, foxing, some light damp-staining to foot, browning to last few ff., uncut in original drab boards, rebacked, covers quite worn, Edinburgh, for the Author, 1811, first editions, book-label of J.O. Edwards; and others, poetry of Scottish interest, 4to & 8vo (5) *** The second mentioned scarce, we can trace only a handful of institutional copies. Some of the poems are in Scottish dialect. 

Cottle (Joseph) Alfred, an Epic Poem, in Twenty-Four Books, half-title (with portion cut away at head, not affecting text), errata f. at end, without frontispiece (unclear if called for), light toning, occasional light spotting or soiling, modern half calf, spine richly gilt, extremities little rubbed, 1800 § Scott (Sir Walter) The Lady of the Lake, a Poem, half-title, stipple-engraved portrait frontispiece (lightly offset), armorial bookplate and library ticket of Gilbert Compton Elliot, some spotting and light toning, foxing to portrait and endpapers, attractively bound in green half calf by G.H. May, spine gilt with raised bands and repeating skull and cross bones and serpents motif, t.e.g., others uncut, spine lightly faded, little rubbed, marbled endpapers, Edinburgh, 1810, first editions, book-label of J.O. Edwards; and others, 19th century poetry, including Scott, William Sotheby, Thomas Moore &tc, as well as Cottle's scarce "New Version of the Psalms of David", 4to & 8vo (14) *** Joseph Cottle (1770-1853) was a Bristol bookseller and publisher; his epic poetry which was ridiculed by Byron. The first mentioned is scarce in first edition. 

Bloomfield (Robert) Wild Flowers; or, Pastoral and Local Poetry, 8 wood-engraved plates, H. Bradley Martin copy with his bookplate become detached and loosely inserted, book-label of J.O. Edwards, contemporary ink ownership inscription to front free endpaper, the odd spot but overall very good, uncut in original boards, old manuscript title to spine and price "4/6" to head of upper cover, rubbed and soiled, spine with vertical split, joints split, but stitching holding, for Vernor, Hood [&tc], 1806 § Mitford (John) The Poems of a British Sailor, half-title, 7pp. list of subscribers, occasional light soiling or spotting, uncut in original boards, early reback, manuscript title to spine, spine ends little chipped, rubbed and soiled, for the Author by W. Flint, 1818, first editions; and others, 19th century poetry, 8vo & 12mo (c.25)

Vance Gerry (illustrated); Lawrence Clark Powell: 'Madeleine', Pasadena, The Weatherbird Press, 1990, number 113 of 125 copies, numbered and signed by the author Lawrence Clark Powell, [6],32,[3]pp, stencil colour illustrations by Vance Gerry, original pictorial printed wraps; Robert M. Jones: 'Wood Engravings Being Impressions From The Original Blocks In The Collection At The Glad Hand Press', Stamford, Connecticut, Robert M. Jones, 1975, one of 100 copies, of which only 45 for sale, 254 illustrations from wood engraved blocks in the possession of Robert M. Jones, dating from the late 17th Century to 1940, loose leaves as issued in original blue card wraps, original prospectus, orig. blue card slipcase, printed paper label to spine; Russell Maret: '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], limited edition, "750 copies of this facsimile edition of 'Aethelwold Etc' have been printed in ?Canada by Friesens. The original book was photographed by 42-Line in Oakland, California...", comprising the complete standard edition of the original as well as the diary of ink colors that accompanied the deluxe edition, folio (37 x 25cm), original wraps, spine gilt lettered (3)

[ Scotland ] A quantity of mid 20th Century and later publications pertaining to the songs, poetry, dialect, etc of the Orkney Islands including David Horne, "Songs of Orkney", and John Gunn, "The Orkney Book. Readings for Young Orcadians", etc

A 19th century inspired carved mahogany desk book trough with a late Victorian collection of writers' works books. The trough having a banister top over turned finials with acanthus leaves scrolled fronts. The collection in uniform leather binding comprising of Wordsworth's Works, Ballads Scottish & English, Pope's Works, Goldsmith's Works, Milton's Works, Scott's Works, & Humorous Poetry. Trough measuring approx. 16cm x 42cm x 19cm. 

ALBUM OF AUTOGRAPHS AND SKETCHES, EARLY 20TH CENTURY, ALONG WITH A PRINT AND A BOOK the album containing sketches in pen and watercolour, and poetry, along with a Japanese print and 'North American Indian Art', one volume by Peter and Jill Furst

Ex Sitwell family library. A collection of miscellaneous poetry and literary books . Including Hamilton - The Slaves of Solitude 1947, first edition with A.L.S. from author to 'Dr. Sitwell'; Bryher - Beowulf, a novel, and others. Condition Report: 'The Slaves of Solitude' has a letter written to Dr Sitwell tucked inside, the writer (Malcolm Rayment) is asking for Dr Sitwell to autograph a book on behalf of a friend. Some have 'A/C V4' written in pencil on the inside cover.