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The Library of Richard Adams 14 DECEMBER 2017


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Richard Adams in his library at Benwells, Whitchurch, Hampshire, 2015


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THE LIBRARY OF

RICHARD ADAMS Author of Watership Down 14 December 2017


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THE LIBRARY OF RICHARD ADAMS 14 December 2017 at 2pm VIEWING

Tuesday 12 December 9am-6pm Wednesday 13 December 9am-6pm Morning of sale from 9am

SPECIALISTS IN CHARGE:

Susanna Winters Nathan Winter Chris Albury For information on how to bid, please see sale information page at the rear of this catalogue.

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk www.dominicwinter.co.uk

Cover illustrations: Front cover: Richard Adams (©REX/Shutterstock) Inside front cover: Richard Adams in his library (©Graham Turner/Guardian News & Media Ltd 2017) Cover rear flap: lot 40


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FOREWORD It comes as no surprise that writers are often also committed and enthusiastic bibliophiles. Historically, one might think of Samuel Pepys, meticulously ensuring the preservation ‘for the benefit of posterity’ of his 3,000-strong collection at Magdalene College, Cambridge, or his contemporary and fellow diarist John Evelyn, whose enormous library required 8 days of sales at Christie’s between June 1977 and July 1978. Thomas Hardy, Evelyn Waugh, Hugh Walpole, Ian Fleming and J.R.R. Tolkien all built collections of important works, particularly those by fellow writers, the study of which can significantly enhance our understanding of their fiction. The same can now be said for Richard Adams (1920-2016), whose novel Watership Down, first published in 1972, is one of the most important and best-selling classics of modern imaginative literature. First brought to the screen in 1978, the recently announced new animated adaptation (forthcoming from the BBC and Netflix) serves to confirm its appeal for a contemporary readership. It is with great pleasure that Dominic Winter Auctioneers present this sale catalogue of the library of Richard Adams, as a memorial and guide to the book collecting and reading habits of this major author. Highlights include rare copies of the Shakespeare Second Folio of 1632, and the first edition of Milton’s pastoral epic poem Lycidas (1638, one of only 33 copies extant). Also present are 18th century English classics such as Johnson’s famous dictionary issued in large folio in 1755, and Boswell’s remarkable Life of Johnson (2 volumes, 1790). We then move on to find works by the English romantic poets, the great 19th century English novelists Jane Austen, George Eliot, Charles Dickens and Anthony Trollope, as well as many of the classics of 20th century children’s literature. We wish to acknowledge with gratitude the decision of the writer’s family to entrust this sale to our care, and to his daughter Juliet Johnson for kindly providing an introduction. The present catalogue is the outcome of careful research by various members of our specialist team, in particular my colleague Susanna Winters, without whose input it might never have come to fruition. Nathan Winter November 2017


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RICHARD ADAMS AND THE LOVE OF BOOKS

Richard Adams in his library: a previously unpublished family photograph

My father had become a passionate reader before he was eight. Not only prose, but poetry with its added delight of easy memorability. Some of the first things he read were poems by Thomas Hardy, Treasure Island, much of Charles Dickens, and Harriet Beecher Stowe’s Uncle Tom’s Cabin, a book which distressed him terribly and cast a long shadow forward to the evil slave trader Genshed in his own novel, Shardik. Ghost stories also appealed to him as a child - Algernon Blackwood, Edgar Allan Poe, and M.R. James, whose Ghost Stories was the very last book he read before his death last year. He was not restricted as to what he read by his parents; luckily, some of what he picked up was lighter, more child-appropriate fare such as Hugh Lofting’s The Adventures of Doctor Dolittle, which was read to him by his father and of which he remained very fond, Richmal Crompton’s William books, Winnie the Pooh, Little Lord Fauntleroy and The Secret Garden. As a child my father would read anything suggested to him by an adult, and it was in this way he also came across The Pilgrim’s Progress, which he read at the age of nine when his adult sister Katherine jokingly recommended it to him. Despite what he deemed its rather wearisome conversations, he retained an admiration for its unique qualities; he regarded it as a kind of forerunner of the English novel, and very influential.

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At school, the teenaged Richard began to carry off prizes in English literature, and this brought him the pleasure of actually earning and owning his own books. The family still has many of these, good solid hardbacks carrying the school prize book-plate, and I believe it was this that began his love of collecting books. At this period of his life he made the important and influential discovery of Walter de la Mare, and his novel The Three Mulla-Mulgars (my father preferred this title to the alternative The Three Royal Monkeys) remained his favourite children’s book to the end of his life. As for the poems: ‘ They flung open the door upon a numinous, night-blue world of incessant danger, wild beauty, loss, fear and death, deeply felt and sincere, and all cast in words of storm, rainbow and wave. They struck into my heart the full realization of humanity’s ultimate ignorance and insecurity in this world’. The sixth form brought more: ‘Edward II, Tamburlaine the Great, The Winter’s Tale, The White Devil and The Duchess of Malfi, Shakespeare’s sonnets, The Shoemaker’s Holiday, The Knight of the Burning Pestle, Philaster, Samson Agonistes and The Ascent of F6. At Oxford, Richard chose to read history, and not English Literature, as is frequently assumed. He thought he could read as much literature as he liked on his own - and history was a better training for the mind. But at Oxford he was fascinated by contemporary poets - W.H. Auden, Louis MacNeice, T.S. Eliot, Hal Prince, and Stephen Spender. With his undergraduate studies interrupted by war, he found the works of Jane Austen, and particularly Emma, a solace and mainstay - as did thousands of soldiers both before and after him. And so it went on all his life; to Richard, books were a consolation which broadened your horizons, told you truths about things most people in your life would brush under the carpet or have no experience of, and comfort you when things were bleak. When my sister and I were children, he would often bring us home a book full of pictures and stories, and he read to us constantly - The Hobbit, Paradise Lost, Moonfleet, Puck of Pook’s Hill, Hamlet and, indeed, most of Shakespeare’s plays, Oliver Twist and many more. He never quite succeeded in imparting to us his own overpowering love of poetry - and when I became a teenager, his overemotional poetry-reading was embarrassing and made me uncomfortable - but we shared his love of novels, and generally responded enthusiastically to these. What turned him into a collector of rare and first editions? I believe it was a combination of his love of literature and his love of history. If you loved both, what could be more exciting than to hold and own that first edition of Emma which Jane herself had perhaps picked up, in the typeface which she herself had no doubt perused with such pride? And with the success of his own work, my father could at last afford to indulge himself and become a true bibliophile. He built himself a truly beautiful library overlooking the Irish sea, in the house he owned outside Peel, in the Isle of Man, and when he and my mother returned to England, fitted out another at their house in Whitchurch, near Watership Down itself. Almost all his library was purchased from the booksellers Henry Sotheran. They came to know what might please him, and would often give him a ring when something came in that he might like. Much of what he collected remained unknown to us until we found it on the shelves after his death. I think it is fair to say we had no idea he had so much. Collecting became almost an obsession. It is sad to see so much of it go, but my father would no doubt have taken comfort from his beloved Thomas Hardy, and perhaps have been pleased that after his death these great books will pass to others who will love and treasure them. Juliet Johnson November 2017

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1 Bible [English]. The Bible: That is, the Holy Scriptures Conteined in the Olde and New Testament: Translated According to the Ebrew and Greeke, and conferred with the best translations in divers languages..., Imprinted at London by the Deputies of Christopher Barker, 1598, general and New Testament titles with head pieces and printer’s device (general title lined to verso, NT title dated 1597), Apocrypha present, with Junius’ Revelation (1594) inserted after text & before tables, double-column roman text, several woodcut illustrations, decorative initials, head & tailpieces, wanting leaf before title (as in Herbert and Darlow & Moule), leaf AA1 of Old Testament (list of Second Part of the Bible) torn to lower blank margin and repaired, some cropping to running titles, includes four leaves of genealogical manuscript entries at front of volume commencing with the children of Thomas Estcourt 1728, general toning and dust-soiling throughout, occasional marks and spotting, endpapers replaced with cream laid paper, bookplate of Richard Adams, late 17th/early 18th century panelled calf, neatly rebacked, morocco labels to spine, 19th century plain brass clasps, 4to Herbert 244. Darlow & Moule 185. STC 2172. (1)

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£400-600


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2 Bible [English]. The Holy Bible Containing the Old Testament and the New: Newly translated out of the originall Tongues, and with ye former translations diligently compared and revised, by his Majesties speciall command, Appointed to be read in Churches, Cambridge: Printed by Tho. Buck & Roger Daniel, Printers to the University of Cambridge, [1638], general engraved title by William Marshall containing small central device ‘Alma Mater Cantabrigia’, letterpress New Testament title with printer’s oval woodcut device and typographic decorative border, Apocrypha present, double-column roman text, numerous woodcut decorative initials, titles and borders double red-ruled throughout, lower outer blank corner of leaves X4, 3E2 & 3F1 neatly repaired and with red-ruled borders redrawn, closed tear at foot of final leaf of Apocrypha and New Testament title, marbled endpapers with repaired hinges, bookplate of Richard Adams, and small book label of A. Eyre - Grove, all edges gilt, contemporary crimson morocco by the Samuel Mearne bindery, decorative gilt panelled boards with double-line border, and crowned cypher of Charles II between palm leaves to each corner, skillfully rebacked preserving the original elaborate gilt decorated spine with Charles II royal cypher to the centre of each panel, board corners neatly repaired, lacking ties, folio, leaf dimensions 383 x 245mm Herbert 520. Darlow & Moule 403. STC2331. With loosely inserted typed information regarding the volume on Henry Sotheran Ltd. letterheaded paper, ‘Bound for Charles II at the bindery of Samuel Mearne (1624-83) the Royal warrant holder for use in the Chapels Royal at either Windsor or St. James’s Palace. A similar but less decorative example of a Mearne royal binding is illustrated in H.M. Nixon - English Restoration Bookbinding, No. 6. The Bibles and prayer books in the royal chapels were usually renewed every three to five years, when they became the prerequisites of those who had served the King.... Col. John Eyres M.P. was one of Charles II’s privy counsellors’. (1) £4000-6000

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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3 Browne (Thomas). Hydriotaphia, Urne-Buriall, or, A Discourse of the Sepulchrall Urnes lately found in Norfolk. Together with the Garden of Cyrus, or the Quincunciall, Lozenge, or Net-work Plantations of the Ancients, Artificially, Naturally, Mystically Considered. With Sundry Observations. 1st edition, printed for Hen. Brome, 1658, etched frontispiece of urns, and one etched illustration on letterpress, lacking second etched plate, separate title to The Garden of Cyrus, and three additional leaves at end all present (The Stationer to the Reader, Books Printed..., and Dr. Brown’s Garden of Cyrus, the latter printed perpendicularly), first few gatherings with some toning and spotting, gatherings B, C, and K with waterstaining to lower blank corners, marbled endpapers, bookplate of Richard Adams, upper hinge split, all edges gilt, 19th century red morocco, gilt decorated spine with extremities rubbed (and slight loss at head), corners rubbed, 8vo Keynes 93. Pforzheimer 110. Wing B5154. (1)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£200-300

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4 Walton (Isaak & Cotton, Charles). The Compleat Angler or the Contemplative Man’s Recreation. Part. I. Being a Discourse of Rivers, Fishponds, Fish, and Fishing. The Fifth Edition, much corrected and enlarged, printed for Richard Marriot, 1676, title-page with decorative engraved cartouche (lightly toned and marked, and close-trimmed to imprint), without general title, letterpress engravings, R1 supplied from another copy, bound with The Compleat Angler, Being Instructions how to angle for a Trout or Grayling in a clear Stream. Part. II., 1st edition, printed for Richard Marriott, 1676, title-page with printed monogram, imprimateur leaf with discreet marginal repairs, both parts with intermittent minor worming to blank lower margins (just touching date on second imprint), repairs to preliminary blanks, bookplate of Richard Adams, hinges neatly strengthened, early 20th century brown panelled calf, rebacked preserving original spine, and recornered, 8vo Coigney 6. Pforzheimer 1052. Westwood & Satchell pages 219-20. Wing W666. The Universal Angler was published with a third part, by Robert Venables, not included in this copy, but as stated on the general titlepage the work could be had ‘bound together, or sold each of them severally’. Angling was an important occupation for Richard Adams throughout his life. In his autobiography The Day Gone By, he describes his first sighting of a trout as a small boy, on a visit to the Kennet. On a subsequent outing to the river Adams came across Dr. Mottram, a well-known fisherman and friend of his father. He was so fascinated at watching the great man land a trout that he writes: “From that time on I knew I wanted to be a fly fisherman and bring home trout for supper”. Adams had the run of a large stretch of the Kennet during his teenage years, thanks to the generosity of one of his father’s patients. “Since those days I have fished in Connemara, Wales, New Zealand and Virginia, but never so idyllically and happily as during those far-off, pre-war, adolescent days on the Kennet below Greenham”. When home on leave for a fortnight during the war, it was to the Kennet Adams went for the solace that fishing provided, and whilst there he caught “the best trout I have ever yet taken from that happy river”. “I remember thinking’” he writes, “that while this would probably be the last trout I’d ever be likely to catch, nevertheless that evening couldn’t, now, be taken away.” (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 61-62, 174, 360-61). (1) £1000-1500

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5 Hawkins (Sir John). The Complete Angler, or Contemplative Man’s Recreation; Being a Discourse on Rivers, Fish-Ponds, Fish, and Fishing: in Two Parts; the First Written by Mr. Isaac Walton, the Second by Charles Cotton, Esq; with the Lives of the Authors, and Notes Historical, Critical, and Explanatory, 4th edition, with large Additions, printed for John, Francis, and Charles Rivington, 1784, engraved frontispiece to each part (portrait to second part), fourteen engraved plates, letterpress engravings, engraved head and tail-pieces, spotted and toned, B8 with 2” repaired closed tear to lower margin, 12 pages publisher’s catalogue at rear (final leaf with small piece missing from blank fore-margin), bookplate of Richard Adams, upper hinge split, contemporary sprinkled calf, sometime rebacked, rubbed, slight loss at head of spine, corners showing, 8vo (1)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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£100-150

Right: Lot 6


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6 [Shakespeare, William. Comedies, Histories and Tragedies; Published according to the true Originall Copies. Second Impression], London: John Smethwick, William Aspley, Richard Hawkins, Richard Meighen, and Robert Allot, 1632, woodcut headpieces and initials, roman and italic type, text in double column, 66 lines, headlines and catchwords, expertly and discreetly cleaned, three preliminary leaves: ‘To the Reader’, title-page with portrait and ‘Commendatory Verses’ (π A1, A2 & A5) all supplied in fine facsimile on old paper, dedication leaf (π A3) expertly restored with some loss of head-piece and several words in upper half of leaf to recto and verso, following leaf ‘To the great variety of Readers’ similarly restored with a little loss of lettering in three lines only, dust-soiling to initial five original preliminary leaves, pinhead burn hole to A1 with loss of one letter to recto only, further tiny burn holes to outer blank margin of S3 and affecting two letters to X1 verso, minor damage affecting 8 words with some textual loss to lower lines of Y4v and Y5r, skilful closed tear repairs into text without loss to lower margin of 2A3 and upper margins of a6, b1, b2, e1 and q3, scattered spotting, minor marks and light browning with a few darker spots or streaks to C5, C6, O6, 2A3 and 2A4, slightly indistinct 18th-century ink inscription at head of 2a1 verso giving the colophon information and noting that this was printed sixteen years after the author’s death, two old ownership name inscriptions to front pastedown, the first heavily inked out (possibly reading ‘Catherine Longford Her Book’) and dated 1773, the second name Baptist Smart, dated 1802, Richard Adams’s bookplate, contemporary blind-panelled calf, neatly rebacked in calf gilt with five raised bands to match, old leather spine label retained (‘SHAKESPEAR’S / WORKS’), slightly rubbed, upper corners a little bruised and lower corners discreetly repaired, folio (336 x 227mm) The Second Folio edition of the most important work in English literature and a cornerstone of any rare book collection. The importance of the folio editions of Shakespeare cannot be overstated and without them as many as eighteen of his plays may never have survived. Produced in large format, and including laudatory poems and prefaces from his contemporaries, the folio editions provide a testament to the stature of Shakespeare in his own time. This second collected edition of Shakespeare’s plays is set page-for-page from a corrected copy of the First Folio, 1623. There are five variants of the Second Folio as identified by the imprint on the title-page; the text and colophon being identical in all variants. The facsimile title-page found here, with the Shakespeare portrait by Martin Droeshout, bears the John Smethwick imprint. Its conjugate leaf in the original, the ‘Effigies’ leaf, also present here in facsimile, has the text of John Milton’s (anonymous) verses in its integral first state (Todd 1b). These 16 lines of rhymed couplets, ‘An Epitaph on the admirable Dramaticke Poet, W. Shakespeare’, were the chief addendum to the First Folio and were the first of Milton’s English-language poems to be printed. When the Second Folio was reissued in 1641 it was these two conjugate leaves that were reprinted in two distinct settings and issued with the remainder copies. Without these two original leaves it is therefore not possible to establish which issue this copy belongs to. The three facsimile and two restored preliminary leaves aside this is a large and generally attractive and fresh copy in a pleasing and contemporary full calf binding. There is no evidence of leaves supplied from other copies, nor, unusually, is there any damage to the final leaf. It is estimated that no more than 1000 copies of the Second Folio were printed, and it is believed fewer than 200 copies are still in existence today, many of which are inevitably incomplete or defective. 451 (of 454) leaves. Collation: π A6 [-1,2,5, all supplied in facsimile] *4, A-2B6 2C2, a-y6, 2a-3c6 3d4. Gregg III, pages 1113-1116. Pforzheimer 906. STC 22274 or one of 22274b, c, d or e. Todd, ‘The Issues and States of the Second Folio and Milton’s Epitaph’, in Studies in Bibliography, volume V (1952-53), pages 81-108. Provenance: Determined to interest their daughters in Shakespeare, Richard and Barbara Adams took them to see the Royal Shakespeare Company in Stratford-on-Avon. The girls demanded a story for the long car journey and Adams, a great enthusiast for Greek literature, thought of Cassandra, cursed by Apollo always to prophesy the truth and never be believed. He applied this attribute to a rabbit called Fiver, who sees a field running with blood and warns his fellow rabbits that they must abandon their burrow and find somewhere else to live. Watership Down employs the use of epigraphs at the beginning of each chapter, including a total of five quotations from Shakespeare. (1) £40,000-60,000

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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7 Shakespeare (William). The Plays of Shakespeare, in Eight Volumes, with the Corrections and Illustrations of Various Commentators; To which are added Notes by Sam. Johnson, printed for J. and R. Tonson et al, 1765, half-titles present volumes 3-8, volume 1 with engraved portrait frontispiece (lightly offset to title), titles to all but first volume with ownership name ‘Kilworth’ dated 1819, occasional staining, volumes 7 and 8 with water-staining and mottling (with some consequent adhesion of endpapers), volume 7 with lower corner torn from rear blank, marbled endpapers and edges, first volume with bookplate of Richard Adams, and armorial bookplate of C. L’Epinasse, each volume with additional armorial bookplate of T.W. Barlow (to front free endpaper in first volume, and on front pastedown in remainder), some splitting to hinges, contemporary marbled calf, slightly rubbed and corners showing, modern rebacks, with gilt lettered red leather label to spines, 8vo The work of Shakespeare figured largely in the life of Richard Adams. He describes in detail some of the performances of Shakespeare plays in the famous open air theatre at Bradfield College during his schooldays. For example, he writes of the school’s 1938 production of ‘A Midsummer Night’s Dream’, “This was my introduction to the... play, and since then I have never seen a production informed by more sheer magic.” It was a volume of the complete works of Shakespeare that he took with him to while away a long hot day on anti-aircraft duty during WWII, and to ‘Macbeth’ that his thoughts turned when his beloved father died: “Thou hast no speculation in those eyes”. (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 185, 250, 384) (8) £200-300

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Right: Lot 8


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8 M[ilton] (J[ohn]). Lycidas [in] Justa Edouardo King naufrago, ab Amicis moerentibus, amoris Full description on next page


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8 M[ilton] (J[ohn]). Lycidas [in] Justa Edouardo King naufrago, ab Amicis moerentibus, amoris &..., 2 parts in one, 1st edition, Cambridge: Thomas Buck & Roger Daniel, 1638, [viii]+36+[ii]+25+[1] (blank), typographic head-pieces, woodcut initial letters and tail-pieces, title-page dust-soiled and with two closed marginal tears (one at gutter and one to fore-margin), tip of upper outer corner renewed, first part with intermittent water-staining (most prominent to fore-margin of first few leaves), second part with separate title-page and pagination (collation continuous), final two leaves with very short tears at blank gutter (emanating from stab holes), final leaf a little creased, bookplate of Richard Adams, free endpapers neatly replaced using laid paper, contemporary panelled calf, rebacked and one corner repaired, 4to (leaf size 18 x 13.5cm/7 x 5.25ins), housed in a green velvet-lined brown quarter morocco bookform solander box, lightly rubbed in one or two places, blind rule decorated raised bands, gilt lettered morocco label in second compartment, date lettered direct at foot Hayward 70. Pforzheimer 712. STC 14964. Provenance: Sotheby’s 12th December, 1991. Notably rare first appearance in print of Milton’s great pastoral elegy. Just thirty-three copies are thought to be in existence, with only a handful remaining in private hands. We have traced just five copies sold at auction in the last fifty years, including this copy. ‘Lycidas’ is John Milton’s second published work, his first being a commendatory poem on Shakespeare published in the 1632 ‘Second Folio’. It is the final poetical work in this collection of elegies published in commemoration of Edward King, a fellow of Christ’s College, Cambridge, who drowned when his ship sank off the coast of Anglesey on 10th August 1637. King had been a younger contemporary of Milton, who was evidently invited to make a contribution to the publication. In The Plague Dogs, by Richard Adams, the character of the Assistant Secretary, a partial portrait of the author, silently quotes Milton’s Lycidas to himself, ‘as often in moments of difficulty or depression’ (The Plague Dogs, Knopf, 1978, page 205). (1) £50,000-70,000

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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9 Johnson (Samuel). A Dictionary of the English Language: in which the words are deduced from their originals, and illustrated in their different significations by examples from the best writers. To which are prefixed, A History of the Language, and An English Grammar, 2 volumes, 1st edition, printed by W. Strahan et al, 1755, title-pages printed in red and black, printed in double-column, woodcut tailpieces, gathering 19H in volume 2 in duplicate, occasional light spotting and toning, some unexceptionable staining and marks to a few leaves, pencilled marginalia in a couple of places, several corners slightly creased, gathering 5G in first volume with vertical crease, volume 2 with 19Uii carelessly opened at upper blank corner and lower blank corner of 21Oi torn away, 24Tii and 25Hii in volume 2 each with a closed marginal tear (former affecting several lines of text, latter just clipping text), endpapers sometime renewed, hinges strengthened, bookplate of Richard Adams on front pastedowns, volume 1 with contemporary manuscript shelfmark to front free endpaper, contemporary marbled calf, sometime rebacked, preserving original gilt decorated contrasting leather labels, generally rubbed (with some minor surface wear), covers with gilt flower and bead roll border, and inner scalloped pelmet roll border in blind, folio Courtney & Smith, page 54. Printing and the Mind of Man 201. Rothschild 1237. Samuel Johnson’s ‘Dictionary’, which had taken nine years to complete, was finally published on 15th April 1755 in an edition of 2,000 copies. Containing 40,000 entries and over 116,000 quotations this monumental work remains “the most amazing, enduring and endearing one-man feat in the field of lexicography” (Printing and the Mind of Man). (2) £7000-10000

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 11

10 Milton (John). Paradise Lost: A Poem, in Twelve Books, printed for J. & H. Richter, 1794, engraved portrait frontispiece (spotted and detached), engraved dedication, 12 engraved plates by J. Richter after H. Richter, letterpress engravings, 4 pages list of subscribers at end, intermittent spotting, title-page dusty, first few leaves with some faint creasing, marbled endpapers, bookplate of Richard Adams, all edges gilt, contemporary calf gilt, rubbed and worn, spine lacking the label and with loss to ends, both covers detached, 4to (1)

11 [Johnson, Samuel]. The Prince of Abissinia. A Tale, 2 volumes, 1st edition, second state, London: R. & J. Dodsley, and W. Johnston, 1759, final blank in volume 2 present, browning to margins of first & last leaves, some dampstains and occasional spotting, gilt embossed oval morocco bookplate (“Omnia Pro Bono H.M.”) of Harold Murdock, contemporary calf, red morocco title labels to spines, joints cracked, upper board of volume 1 detached, worn, 8vo, together with The Idler, 2 volumes, 1st collected edition, London: J. Newbery, 1761, volume 1 dampstained & marked, last few leaves of volume 2 with worm holes to lower blank margins, volume 2 without free endpaper, bookplate of William Woods Weston, contemporary calf, red morocco title labels, joints cracked and slight wear to extremities, 12mo

£200-300

For first title see Courtney & Nicholl Smith, page 87. Fumagalli 2694. Rothschild 1242. Tinker 1314. The second state with “Contents of the Second Volume” on A2r of volume 2, and “indiscerpible” spelling on p.161. For second title see Courtney & Nicholl Smith, page 83. Rothschild 1248, Hazen page 142. Tinker 1342. (4) £500-800

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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12 [Johnson, Samuel]. The Rambler, Numbers 1-208 (complete), bound in 2 volumes, 1st edition, 1st issue, printed for J. Payne and J. Bouquet, 1751, 1st issue without Contents and Mottos, engraved headpieces and initial letters, minor spotting and toning, first two leaves of volume 1 with small offset stains at head and foot of gutter, bookplate of Richard Adams in first volume, both volumes with bookplate engraved by Silvain Guillot, Paris, bearing the name ‘L’Olivette’ below monogram ‘G.O.’ enclosed by olive branches with a crown above, all edges gilt, early 20th century tan crushed morocco by Vauthrin, signed on front turn-ins, some superficial scuffs and scratches, spines faintly faded, gilt dotted line decorated raised bands, gilt lettered direct in second and third compartments, remainder with central fleuron tool and volute cornerpieces, on a semé dot ground, date lettered at foot, covers with gilt triple fillet border and double fillet panel with fleuron at each corner, double fillets on edges, pelmet roll, triple fillets, and hound’s tooth roll on turn-ins, small folio Rothschild 1234. Tinker 1306. A handsome set. (2)

£1500-2000

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13 Johnson (Samuel). The Lives of the Most Eminent English Poets; With Critical Observations on their Works, 4 volumes, 1st separate edition, printed for C. Bathurst et al, 1781, engraved portrait frontispiece after Joshua Reynolds (spotted), volume 3 with terminal blank present, volume 4 without advertisements, intermittent light spotting and toning to text, first volume with bookplate of Richard Adams on front free endpaper, contemporary bookplate with crest and motto ‘Animum Rege’ on front pastedowns, volume 1 with manuscript ownership signature dated 1830 on front free endpaper, contemporary green half morocco, rubbed, and extremities a trifle worn in places, spine divided by gilt metope and pentaglyph rolls, oval red leather labels in second and fourth compartments, remainder with alternating gilt urn and urn within foliate frame tools, 8vo Rothschild 1265. Tinker 1365. (4)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£300-500

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14 [Johnson, Samuel]. A Journey to the Western Islands of Scotland, 1st edition, printed for W. Strahan and T. Cadell, 1775, errata leaf at end, page 296 misnumbered 226, occasional spotting, small water-stain at head of title-page, some faint corner creases, R8 badly opened with loss along blank fore-edge, bookplate of Richard Adams, modern sprinkled calf, with raised bands and gilt lettered red morocco spine label, 8vo Rothschild 1256. Tinker 1357. (1)

ÂŁ150-200

15 Johnson (Samuel). Letters to and from the late Samuel Johnson, LL.D. to which are added Some Poems never before printed. Published from the original mss. in her possession, by Hester Lynch Piozzi, 2 volumes, 1st edition, printed for A. Strahan and T. Cadell, 1788, volume 1 lacking preliminary blank, marbled endpapers and edges, bookplate of Richard Adams, cancelled bookplate of Cathedral Library, Ely on front pastedowns, hinges split, second volume with front free endpaper detached, contemporary sprinkled calf, edges rubbed, modern reback, 8vo Rothschild 1270. (2)

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ÂŁ150-200


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16 Boswell (James). The Life of Samuel Johnson, LL.D. comprehending An Account of His Studies and Numerous Works, in Chronological Order..., 2 volumes, 1st edition, printed by Henry Baldwin, for Charles Dilly, 1791, second state with ‘gve’ corrected to ‘give’ in line 10 on page 135 of first volume, stipple engraved portrait frontispiece to first volume, two engraved plates of facsimile handwriting in volume 2, some scattered spotting, marbled endpapers, bookplate of Richard Adams, yellow edges, modern Cambridge pane calf by Sotheran & Co., signed on front turn-ins, some minor rubbing to extremities, gilt line decorated raised bands, contrasting labels in second and third compartments, remainder with gilt fleuron tool surrounded by stars and crosses, and volute cornerpieces, covers with gilt triple fillet border, and gilt scalloped palmette roll panel with fleurons at corners, bead roll on edges, flower and seedhead roll on turn-ins, 4to Pottle 79. Rothschild 463. Tinker 338. Fine copy. (2)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£1000-1500

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Lot 18

Lot 20

17 Boswell (James). The Journal of a Tour to the Hebrides, with Samuel Johnson..., 1st edition, printed by Henry Baldwin for Charles Dilly, 1785, half-title with contemporary manuscript name at head (and top outer corner excised above), second state of leaves I5r (‘in-duced’), Q7r (‘Kings and subjects’) and of U6r (‘nor Mrs. Thrale...’ after ‘Beauclerk’), errata & notice of Boswell’s Life of Johnson leaf at rear, occasional light spotting, bookplate of Richard Adams, three 19th century ownership names on front free endpaper, contemporary quarter calf, with red morocco title label, rubbed, spine with slight loss at ends, vellum corners, 8vo Pottle 57. Rothschild 456. Tinker 333. (1)

19 Gibbon (Edward). The History of the Decline and Fall of the Roman Empire, 12 volumes, a new edition, printed for W. Allason et al, 1820, stipple-engraved portrait frontispiece, two large folding engraved maps (one with short handling tear paper-repaired on verso), occasional minor spotting, neat manuscript name at head of title-pages dated 1823, marbled endpapers, bookplate of Richard Adams, contemporary tan calf, rubbed, and some wear to extremities, gilt decorated spines lacking the majority of labels, 8vo A reissue of the 1818 edition, in which the number of maps appears to vary between two and three. (12) £100-150

£150-200

20 Sterne (Laurence). The Works... with a Life of the Author, written by himself, 10 volumes, printed for J. Dodsley et al, 1793, engraved portrait frontispiece to volume 1, eight engraved plates, marbled paper mounted on a leaf of letterpress in volume 2, some offsetting of plates to text, occasional spotting and corner creasing, marbled endpapers, bookplate of Richard Adams in volume 1, all edges gilt, late 19th century citron straight-grained morocco gilt, spines darkened and extremities rubbed, most covers with some water-staining to lower edge (in some volumes encroaching slightly into edges of textblock), 8vo

18 Boothby (Miss Hill). An Account of the Life of Dr. Samuel Johnson, From His Birth to His Eleventh Year, Written by Himself. To Which are Added, Original Letters to Dr. Samuel Johnson, by Miss Hill Boothby: From the MSS. preserved by the Doctor; and now in Possession of Richard Wright..., Printed for Richard Phillips, 1805, 36 pages publisher’s catalogue at rear, occasional spotting and marks, hinges strengthened, bookplate of Richard Adams, contemporary calf, modern reback with red leather spine label, small 8vo Tinker 1388. The Preface explains that this fragment of Johnson’s autobiography was taken by Francis Barber, his black servant, from the mass of papers which Johnson ordered to be burnt a few days before his death. (1) £150-200

(10)

27

£100-150


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21 White (Gilbert). The Natural History and Antiquities of Selborne, in the County of Southampton: with Engravings, and an Appendix, 1st edition, printed by T. Bensley, 1789, folding engraved frontispiece (reguarded, with expert strengthening on verso to folds, and with small handling nick), fly-title with oval engraving, six engraved plates, one folding (with fold expertly strengthened on verso), plates offset to text, bookplate of Richard Adams, hinges split, early 20th century olive green morocco by Douglas Cockerell, signed with his gilt monogram and date stamp (1902) on rear turn-in, joints and corners a little rubbed (rear joint beginning to split at foot), raised bands, gilt lettered direct in second and third compartments, remainder with double fillet panel and onlaid red triple dot cornerpieces, date lettered at foot, covers panelled with double and single fillets, entwined at corners, incorporating gilt and onlaid red dots, gilt fillets on edges and turn-ins (offset to free endpapers), 4to British Bee Books number 143. Rothschild 2550. Letter XXVII, 12 December 1775, is about an idiot boy who ate bees, (pages 200-201). Fine copy, bound by leading Arts and Crafts binder Douglas Cockerell. (1) £800-1200

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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22 Bewick (Thomas). A General History of Quadrupeds, 1st edition, Newcastle Upon Tyne: printed by and for S. Hodgson, R. Beilby, & T. Bewick, 1790, numerous wood-engraved illustrations, some minor spotting and marks, marbled endpapers, bookplate of Richard Adams, untrimmed, modern brown half morocco, spine with raised bands and gilt lettering, 8vo (1)

24 Coleridge (Samuel Taylor). Christabel: Kubla Khan, A Vision; The Pains of Sleep, 1st edition, printed for John Murray, 1816, halftitle and part-titles present, without 4 pages advertisements sometimes found at end, scattered spotting, final few leaves with light crease to lower outer corner, front free endpaper with early manuscript signature ‘Lillias Craig, 6 Carlton Street, Edinr.’, bookplate of Richard Adams, hinges splitting, some soiling to foreedges, late nineteenth century cloth-backed limp boards, a little rubbed and marked, 8vo, housed in a cloth folder in a quarter calf bookform slipcase, gilt decorated spine with raised bands, spine and part of lower return faded

£150-200

23 Broadside Ballads. A collection of 19th century broadside ballads, mostly London published, 33 printed ballads by various publishers, a few spotted or toned, one defective, each approximately 25 x 9cm (10 x 3.5ins), contained together in an adhesive photograph album, together with a defective sheet music copy of Tom Bowling by Dibdin, circa 1830s

Hayward 207. Tinker 693. Miss Lillias Craig (1811-1883) was an early and energetic member of the Edinburgh Women’s Suffrage Society. (1) £800-1200

Titles include: Thurot’s Defeat, printed [by G. Pigott] at 60 Old Street, with woodcut vignette; Greenland Whale Fishery (anonymous); The Crafty Ploughboy, or Highwayman Outwitted, printed by J. Pitts, 6 Great St. Andrew Street; Lamentation of Poor Mechanics, printed by J. Pitts, Toy Warehouse, Great St. Andrew Street; Times are Altered or the Grumbling Farmer, printed by T. Birt, 10 Great St. Andrew-Street; England for ever Shall Weather the Storm, with Brandy for ever Shall Cheer up the Heart, a Celebrated Parody on “Old England...”, printed by T. Birt; The Mouth of the Nile, printed by J. Catnach; Grog, printed by J. Pitts, 14 Great St. Andrew Street; The Light Bark, printed by J.V. Quick, 42 Bowling Green Lane, with woodcut vignette; Harry Hawser, printed by Batchelar, Long Alley. (2) £70-100

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25 Wordsworth (William). Poems, in Two Volumes, 2 volumes in one, 1st edition, printed for Longman et al, 1807, half-titles present, erratum leaf at end of volume 1, B2 in volume 2 a cancel as usual, but D11 and D12 in volume 1 uncancelled, page 98 in volume 2 with “Thy fnuction”, some spotting and marks, two blank leaves excised at rear, bookplate of Richard Adams, early ownership name on verso of front free endpaper and facing preliminary blank, red sprinkled edges, near contemporary brown half calf gilt, lower joint splitting, drab paper sidings somewhat dusty and marked, large 12mo

26 Wordsworth (William). The River Duddon, a Series of Sonnets: Vaudracour and Julia: and other poems. To which is annexed, a Topographical Description of the Country of the Lakes, in the North of England, 1st edition, printed for Longman et al, 1820, one or two leaves spotted, bookplate of Richard Adams, free endpapers stained by turn-ins, top edges gilt, late 19th century polished marbled calf by Sangorski & Sutcliffe, signed on front turnin, extremities rubbed, and joints splitting, new gilt lettered red morocco labels in second and third compartments, remainder gilt panelled, with gilt flower tool in centre, date lettered at foot, covers with gilt single fillet and dotted roll border, three gilt dots at corners, single fillet on edges, double fillet border on turn-ins, 8vo

Tinker 2334. Wise 8. Only 500 copies printed. Much of Wordsworth’s most memorable verse is first printed in this collection, including ‘I wandered lonely as a cloud’. (1) £500-800

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

Tinker 2344. (1)

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£200-300


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27 Shelley (Percy Bysshe). Prometheus Unbound, a Lyrical Drama in Four Acts with other Poems, 1st edition, C. and J. Ollier, 1820, second issue, with “miscellaneous” corrected on contents page, half-title present (with advertisements on verso), without advertisement leaf at rear (as often), marbled endpapers, bookplate of Richard Adams, top edges gilt, remainder rough-trimmed, 20th century green crushed morocco by Riviere & Son, signed on front turn-in, extremities rubbed, dotted line roll decorated raised bands, gilt lettered direct in second and third compartments, remainder gilt panelled and with drawer handle cornerpieces, date lettered at foot, covers with gilt triple fillet border, double fillets on edges, turn-ins with gilt border of palmette roll, fillets, and dotted line roll, 8vo Hayward 228. Tinker 1898. (1)

£1000-1500

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28 Clare (John). The Shepherd’s Calendar; with Village Stories, and Other Poems, 1st edition, published for John Taylor, 1827, half-title present, advertisement leaf at rear, endpapers partially toned and with hinges splitting, bookplate of Richard Adams, and book ticket bearing initials ‘AHA’, front free endpaper with ink inscription dated 1831, and later manuscript note below dated 1869, untrimmed, original boards with printed paper spine label (latter toned), spine extremities rubbed, 8vo in 12s, housed in a cloth folder, in a brown quarter morocco slipcase, raised bands, gilt lettered in second and fourth compartments and at foot Tinker 638. A wonderful association copy in the publisher’s original binding. Inscribed by Eliza Emmerson (1782-1854), John Clare’s friend, patron and editor, to distinguished scholar and author Derwent Coleridge (1800-1883), the third child of Samuel Taylor Coleridge: ‘To The Revd. Derwent Coleridge. with the perfect esteem & regard of the Author’s Lady friend Eliza L. Emmerson. January 17th 1831’. The manuscript note below reads ‘Bequeathed to Tom Lallison Decr. 1869’. Eliza Emmerson was a key figure in the life of John Clare, and she was also a patron of Derwent Coleridge, amongst others. She corresponded and socialised with both writers, and circulated their works, thereby contributing to the proliferation of new literary ideas. The British Library holds approximately 1200 letters received by John Clare, 300 of them from Eliza; the two of them corresponded over a period of seventeen years (although the whereabouts of Clare’s letters to Eliza is sadly unknown, if indeed they are still extant). She was an important mediator between John Clare and his patron Lord Radstock, frequently having to navigate her way through the latter’s demands on the poet to avoid radicalism and uphold social mores (or what Clare referred to as “false delicasy” [sic]), and often giving a woman’s perspective on Clare’s verse. She was also heavily involved in the various disputes between Clare’s publisher, John Taylor, and Radstock, whose association was characterised by a mutual dislike for one another. Eliza’s relationship with the poet was not just on a professional level; it became a personal friendship, so much so that Clare and his wife named their daughter after her, and appointed her the child’s godmother. Eliza probably began corresponding with Derwent Coleridge after hearing he that he was ill, having previously already moved in the same circles as the Coleridge family. She is known to have given Derwent Coleridge at least one other volume of Clare’s poetry, when he visited her at her home in Oxford Street in June 1823. Eliza boasted to Clare about her relationship with Derwent, and this led to some jealousy on Clare’s part. However, under Eliza’s influence, Derwent did help to introduce Clare’s work to a new generation of readers. Eliza wrote poetry herself, some of it on the subject of John Clare: ‘Lines on receiving the Bust of the Northamptonshire Poet, executed by Henry Behne, Esq.’ (Morning Post, 14th April 1829), and ‘Lines to the Northamptonshire Poet’ (Morning Post, 5th May 1830). In later years, when John Clare’s mental health declined, Eliza Emmerson became increasingly reclusive. Whilst her poet friend lived out his final years in an asylum in Northampton, she shut herself away, receiving few visitors, and immersing herself in writing poetry and studying Dante. (1) £1000-1500

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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29 Clare (John). The Village Minstrel, and Other Poems, 2 volumes, 1st edition, 1st issue, printed for Taylor and Hessey, 1821, half-titles present, engraved portrait frontispiece to volume 1 (offset to title), each with 4 pages publisher’s advertisements at rear, first and final leaves and endpapers spotted, bookplate of Richard Adams in volume 1, front pastedowns with book ticket bearing initials ‘AHA’, volume 1 with upper hinge split, and with faint oval ink stamp and evidence of label removed on front free endpaper, untrimmed, original boards with printed paper spine labels (Carter’s variant ‘A’), extremities rubbed, and some minor staining on rear covers, volume 2 with joints splitting, 8vo, each contained in a cloth folder, and housed together in a brown quarter morocco slipcase, raised bands, gilt lettered direct in second and fourth compartments and at foot Carter, ‘Binding Variants’, page 104. Tinker 637. Scarce in the original publisher’s binding, John Clare’s second publication is composed of three sections: the long, semiautobiographical poem which gives the work its title; Poems, comprising seventy-one songs, ballads, and poems, which make up the rest of the first volume and part of the second; and Sonnets, which contains sixty pieces of writing. (2) £700-1000

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 30

30 Clare (John). Poems Descriptive of Rural Life and Scenery, 1st edition, printed for Taylor and Hessey, 1820, half-title, errata slip, and 10 pages publisher’s catalogue present, first and final letterpress leaf and endpapers spotted, bookplate of Richard Adams, and book ticket bearing initials ‘AHA’, untrimmed, original boards, very slightly rubbed and mottled in places, printed paper spine label, large 12mo, housed in a cloth folder in a brown quarter morocco slipcase, raised bands, gilt lettered direct in second and fourth compartments and at foot

31 Clare (John). Poems Descriptive of Rural Life and Scenery, 2nd edition, printed for Taylor and Hessey, 1820, half-title present, 4 pages publisher’s advertisements at rear, spotted and toned, F2 with 3” closed tear to lower margin (sometime repaired with adhesive tape on both sides), front free endpaper lacking, rear pastedown renewed, bookplate of Richard Adams, untrimmed, contemporary green half cloth, slightly rubbed and marked in places, spine lightly faded, and with chipped manuscript paper label, 8vo, together with Crabbe (Rev. George) Poems, 1st collected edition, printed for J. Hatchard, 1807, half-title present (with contemporary inscription crossed through), early ownership signature at head of title-page, toned throughout, untrimmed, endpapers renewed, bookplate of Richard Adams, original boards, rebacked (preserving original paper spine label) and recornered, 8vo

Hayward 236. Tinker 636. An exceptionally good copy of the first edition of John Clare’s scarce first book, in the original publisher’s binding, complete with half-title, errata and advertisements. Born in 1793, the son of humble and almost illiterate parents, Clare grew up in the Northamptonshire village of Helpston. His formal education, such as it was, ended when he was eleven years old, but Clare had a thirst for knowledge and began writing poetry when he was thirteen. Although his poetical gift was considered inexplicable even to himself, he was astonishingly prolific. Like Roberts Burns, with whom he has been compared, Clare was profoundly influenced by his surroundings, and his poetry is enriched by the use of his native Northamptonshire vernacular. Sadly, despite his early success, he died ill and in debt in a lunatic asylum in 1864. As a poet of rural England he has few rivals. (1) £500-800

See: Hayward 236. Tinker 636 & 786. (2)

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£100-150


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32 Austen (Jane). A complete set of first editions by Jane Austen uniformly bound by Riviere & Son, 1811-1818, comprising Sense and Sensibility: A Novel. In Three Volumes. By a Lady, 3 volumes, 1st edition, printed for the Author, 1811, half-title present in each volume, terminal blank present in volumes 2 and 3 (absent in volume 1), volume 3 with some light toning and spotting, Pride & Prejudice: A Novel. In Three Volumes. By the Author of “Sense and Sensibility”, 3 volumes, 1st edition, printed for T. Egerton, 1813, half-title present in each volume (that to first volume with small repair to foot of gutter and two short closed tears in lower margin neatly repaired), occasional minor toning and spotting, Mansfield Park: A Novel. In Three Volumes. By the Author of “Sense and Sensibility,” and “Pride and Prejudice.”, 3 volumes, 1st edition, printed for T. Egerton, 1814, half-title present in each volume (that to first volume with small nick in upper margin), volume two with terminal blank, advertisement leaf at rear of third volume, gatherings E and F and G3-G6 in volume 1 with shorter leaf dimensions (apparently different paper stock), F11 and F12 repaired at gutter and with faint adhesive residue (F12 with horizontal repaired closed tear), small hole in upper blank margin of L3, final gathering with some short tears in fore-edge expertly repaired, volume 3 with several leaves lightly toned, and nick in upper edge of B5 and B6, Emma: A Novel. In Three Volumes. By the Author of “Pride and Prejudice,” &c. &c., 3 volumes, 1st edition, printed for John Murray, 1816, half-title present in each volume, occasional light spotting and toning, volume 1 with half-title and title-page re-guarded, volume 2 with nick in top edge of I6, and Northanger Abbey: and Persuasion: by the Author of “Pride and Prejudice;” “Mansfield-Park,” &c., with a Biographical Notice of the Author. In Four Volumes, 4 volumes, 1st edition, John Murray, 1818, half-title present in each volume, terminal blank P7 present in volume 4 (without P8), title-pages with faint early ownership signature at head, some water-staining to lower margins (D11-F6 and L8-O1 in volume 2; A1-C6 and M12-N8 in volume 3), dark blue endpapers, each set with bookplate of Richard Adams in volume one, hinges mostly split (some repaired), top edges gilt, remainder untrimmed, uniformly bound in late 19th century tan calf by Riviere & Son, with ink stamp on verso of front free endpaper, extremities rubbed, with some loss at spine ends, joints generally split, fourteen covers detached or near-detached, four volumes rebacked, second volume of Northanger Abbey with two scratches on upper cover, gilt rope roll decorated raised bands between hound’s tooth rolls and double lines, gilt lettered contrasting labels in second and third compartments (first volume of Mansfield Park with part of volume label missing), remainder with central gilt flower tool surrounded by dots and crosses, and flower cornerpieces, date lettered direct at foot, covers with gilt double fillet border, double fillet on edges, pelmet and hound’s tooth roll on turn-ins, 8vo in 12s Sense and Sensibility: Gilson A1, Keynes 1; Pride and Prejudice: Gilson A3, Keynes 3; Mansfield Park: Gilson A6, Keynes 6; Emma: Gilson A8, Keynes 8; Northanger Abbey and Persuasion: Gilson A9, Keynes 9. A unique opportunity to purchase Richard Adams’s complete set of six of the greatest works of English literature; an unusually tall set, uncut to fore and lower edges, with all half-titles, advertisements, and blanks (bar two) present, and bound in an early uniform binding by Riviere. Richard Adams had a great admiration for Jane Austen. He first read ‘Emma’, his favourite of Austen’s novels, when he was twenty-two and in the army. It was his first introduction to Austen, and he writes in his autobiography “It was like a revelation”, saying “I was glued to it a few hours later, when my posting came through [to Jerusalem]... It didn’t much matter to me where I was posted, as long as I could go on reading ‘Emma’.” Years earlier, when he was about ten, his family housed for a time a Steinway grand piano for a neighbour who was experiencing financial difficulties. This experience, wrote Adams, meant that on reading ‘Emma’ for the first time “I was able to respond exactly as Jane Austen would have wished to the moment when Jane Fairfax receives the mysterious piano.” As the author got older he increasingly turned to literature he had enjoyed before, re-reading old favourites, and ‘Emma’ was one of the very last books he read before he died. The penultimate chapter of ‘Watership Down’ is prefaced by a quotation from ‘Northanger Abbey’: “Professing myself, moreover, convinced that the General’s unjust interference, so far from being really injurious to their felicity, was perhaps rather conducive to it, by improving their knowledge of each other, and adding strength to their attachment, I leave it to be settled by whomsoever it may concern...” (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 37, 282-83). (16) £60,000-80,000

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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33 Bronte (Charlotte, Emily & Anne). Poems, by Currer, Ellis, and Acton Bell, 1st edition, 2nd issue, Smith, Elder and Co., 1846 [1848], title-page with contemporary initials and date to upper outer corner, single publisher’s advertisement leaf at rear, no errata slip, some splitting and minor staining to hinges, bookplate of Richard Adams, and armorial bookplate of William Marchbank, early ownership signature on front free endpaper, rough-trimmed, original blind-stamped olive green cloth, spine faded and slightly frayed at ends, light marginal stain on lower cover, 8vo Hayward 266. Parrish pages 82-85. Smith 1. Tinker 378. Wise 2. The Bronte sisters’ first venture into print was a failure, selling only a few copies of the 1,000 printed when it was first published by Aylott and Jones in 1846. Several copies were distributed by the Brontes to friends, but the balance of 961 copies was tranferred to Smith, Elder and Co., who, after the success of Charlotte Bronte’s ‘Jane Eyre’, reissued the volume in October 1848 with a cancel title-page. (1) £1000-1500

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 34

34 Bronte (Charlotte, “Currer Bell”). Villette, 3 volumes, 1st edition, Smith, Elder & Co., 1853, half-titles discarded, 12 pages publisher’s catalogue at rear of volume 1 (dated February 1853), title-pages re-guarded, some marginal repairs, including H6 in volume 2 and D1 in volume 3 both with closed repaired tear in blank fore-margin, marbled endpapers, bookplate of Richard Adams in volume 1, all edges gilt, modern green crushed morocco by Bayntun Riviere, signed on front turn-in, spines faded, and a few small blemishes on covers, roundel decorated raised bands, gilt lettered direct in second and fourth compartments and at foot, remainder with central floral lozenge, covers with gilt single fillet border, gilt bead roll on edges, gilt double fillets and fleuron cornerpieces on turn-ins, 8vo, housed together in a green cloth slipcase Parrish, page 95. Sadleir 349. Smith 6. Tinker 384. Wolff 828. (3)

£500-800

35 Eliot (George, i.e. Marian Evans). Felix Holt the Radical, 3 volumes, 1st edition, William Blackwood, 1866, half-titles present, 4 pages and 20 pages publisher’s catalogues at rear of third volume (last few leaves spotted), bookplate of Richard Adams in volume 1, original blindstamped terracotta cloth gilt, cocked, joints rubbed and spine ends frayed, covers with a few light marks, 8vo, together with The Mill on the Floss, 3 volumes, 1st edition, William Blackwood, 1860, half-titles discarded, toned and spotted, some marginal water-staining, B8 in volume 1 with repair to lower outer corner, bookplate of Richard Adams in volume 1, hinges split, near contemporary brown half morocco gilt, spines darkened, extremities worn, with slight loss to volume 2 at foot of spine, and rear cover of first volume near-detached, 8vo Sadleir 814 & 816. Wolff 2058 & 2060. (6)

£150-200

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36 Eliot (George, i.e. Marian Evans). Silas Marner: The Weaver of Raveloe, 1st edition, William Blackwood, 1861, half-title, 20 pages advertisements at end, partly unopened, a few minor spots, bookplate of Richard Adams, small section at head of front free endpaper excised, original brown blindstamped cloth gilt, spine slightly darkened, one or two small indentations and light marks, 8vo Sadleir 819. Wolff 2063. (1)

£300-500

37 Eliot (George, i.e. Marian Evans). Adam Bede, 3 volumes, 1st edition, William Blackwood and Sons, 1859, half-titles present, volume 3 with 16 pages publisher’s catalogue at rear, each volume with original brown cloth spines bound in at rear, green morocco pastedowns, that to first volume stamped in gilt ‘Ex libris Raymond ClaudeLafontaine’, brown silk free endpapers backed with marbled paper, bookplate of Richard Adams in first volume, all edges gilt, early 20th century crushed tan morocco by Marius Michel, signed on front turn-ins, spines rubbed and a little faded, two pairs of raised bands, the two compartments gilt lettered direct, a few superficial scratches to covers, volume 1 with rear cover slightly faded along top edge, edges rubbed in places, 8vo Provenance: Raymond Claude-Lafontaine, bibliophile and Secretary of the Normandy Society of the Illustrated Book. (3) £250-350

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 38

Lot 39

38 Eliot (George, i.e. Marian Evans). Daniel Deronda, 4 volumes, 1st edition in bookform, William Blackwood and Sons, 1876, 1st issue without Contents leaves, half-titles present, without advertisement leaf in volume 4, title-pages close-trimmed to lower edge, with ‘all rights reserved’ lost to volume 1 and clipped to volume 2, occasional light spotting, marbled endpapers and edges, bookplate of Richard Adams in volume 1, contemporary green half calf, gilt decorated spines, extremities rubbed, 8vo Sadleir 813. Wolff 2057 (2nd issue). (4)

39 Eliot (George, i.e. Marian Evans). The Mill on the Floss, 3 volumes, 1st edition, William Blackwood, 1860, half-titles present, volume 3 without publisher’s catalogue at rear, occasional light spotting and marks, C6 and C7 in third volume with stain to blank fore-margin (offset to several leaves either side), marbled endpapers and edges, bookplate of Richard Adams in volume 1, first volume with some splitting to hinges, near contemporary tan half calf by Geo. Winstanley, Manchester, with ink stamp on verso of front free endpapers, dotted line decorated raised bands, contrasting morocco labels in second and third compartments, remainder with central fleuron device and volute cornerpieces, 8vo

£200-300

Sadleir 816. Wolff 2060. Attractive copy. (3)

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£300-500


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Lot 40

40 Eliot (George, i.e. Marian Evans). Middlemarch, A Study of Provincial Life, 4 volumes, 1st edition, William Blackwood, 18711872, half-titles present, occasional light spotting, marbled endpapers and edges, bookplate of Richard Adams in volume 1, early 20th century green half morocco by Sotheran, with ink stamp on verso of front free endpapers in volumes 1 and 4, lightly faded spines with wide gilt decorated raised bands, gilt lettered direct in second and fourth compartments, some very light rubbing and marks in places, 8vo Sadleir 815. Wolff 2059a. (2)

41 Dickens (Charles). Master Humphrey’s Clock, 2 volumes, 1st edition, Chapman and Hall, 1840-1841, frontispieces and numerous wood engraved vignettes by George Cattermole & Hablot K. Browne, some spotting (mostly to first and final leaves), upper hinges split, front pastedowns with contemporary armorial bookplate of Richard Shuttleworth Streatfield, sprinkled edges, contemporary half calf with gilt decorated spines, rubbed, head of spines frayed with slight loss, large 8vo, together with Little Dorrit, 1st edition, Bradbury and Evans, 1857, 40 etched plates, including frontispiece and additional title-page, plates spotted and toned, and some with marginal water-staining, lower outer corner of C6 reattached with archive tape, hinges split, early 20th century black morocco, marked, extremities worn, with loss to spine ends and corners showing, 8vo, plus nine others by Dickens, first and early editions, some defective

£400-600

(12)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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£150-200


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42 Dickens (Charles). Oliver Twist, 3 volumes, 1st edition, 1st issue, Richard Bentley, 1838, first issue with ‘Boz’ on titlepages and with ‘Fireside’ plate in volume 3, half-titles to volumes 1 and 2 (all called-for), twenty-four etched plates by George Cruikshank, including frontispieces, first volume with 4 pages publisher’s advertisements at rear, volume 3 with advertisement leaf preceding frontispiece, intermittent spotting, mostly to plates, and some offsetting of plates to text, N4 in volume 2 with lower outer blank corner torn away, bookplate of Richard Adams in first volume, two hinges slightly split at head, rough-trimmed, original blindstamped brown cloth gilt, some light marks, fading to spines and edges of some covers, spines torn and frayed in places, with some loss at ends, 8vo Smith I, 4. Richard Adams, writing of his love of books in his autobiography makes a special mention of ‘Oliver Twist’, saying “The Dodger’s dialogue throughout, culminating in his glorious appearance before the magistrates, has been a resource and a solace to me for years.” (The Day Gone By, An Autobiography, 1990, page 100). (3) £600-800

43 Dickens (Charles). The Personal History of David Copperfield, 1st edition, Bradbury & Evans, 1850, bound from the parts, half-title discarded, forty etched plates by H.K. Browne, including frontispiece and additional title, spotted, errata leaf removed following plate list, engraved title and one plate with repaired closed edge-tear, D1 soiled and trimmed to fore-edge, bookplate of Richard Adams, modern dark red half morocco, gilt decorated spine, 8vo Eckel, pages 77-78. Gimbel A121. Sadleir 686. Wolff 1797. (1) £100-150

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44 Dickens (Charles). A Tale of Two Cities, 1st edition, 1st issue, Chapman and Hall, 1859, 1st issue bound from the parts, with page 213 mispaginated 113, sixteen etched plates by H.K. Browne, including frontispiece and additional title, plate list present (often wanting), plates and title-page spotted, first text leaf with some offset letterpress, marbled endpapers and edges, bookplate of Richard Adams, contemporary brown half calf gilt, rubbed, spine faded, 8vo Eckel, pages 86-90. Gimbel A142. Sadleir 701. Wolff 1811. (1)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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£700-1000


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45 Dickens (Charles). Sketches by Boz Illustrative of Every-day Life, and Every-day People, New Edition, Complete, Chapman and Hall, 1839, first issue, with no comma after ‘illustrations’ on title-page and imprint address ‘186, Strand’, raised commas on page 429, and page 515 numbered, half-title discarded, eighty etched plates by George Cruikshank, comprising forty uncoloured and forty hand-coloured, including additional title, uncoloured plates with marginal toning, original hand-coloured front wrapper for part X dated 1837 laid down and bound in at front, marbled endpapers, bookplate of Richard Adams, and book ticket of Blatner, hinges split, all edges gilt, late 19th century scarlet morocco by Mansell, with his ink stamp on verso of front free endpaper, extremities rubbed in places, raised bands between gilt single rules, gilt lettered direct in second and third compartments, remainder with gilt fleuron tool, covers gilt panelled, dotted roll on edges, fillets on turn-ins, 8vo Gimbel A7, listing this and a later issue : ‘This issue in one volume may not derive from a new impression of the edition. Not only do the gatherings follow the structure of serial issue, but the copy shows all the minor errors of typesetting as in the preceding impression.’ Attractive copy, with the plates in two states. (1) £300-500

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Lot 46 46 Dickens (Charles). Bleak House, 1st edition, Bradbury and Evans, 1853, bound from the parts, half-title discarded, 40 etched plates by H.K. Browne, including frontispiece and additional title, plates spotted (with some offsetting to text), original printed blue front wrapper for part II bound in preceding printed title, a few leaves water-stained to upper outer blank corner, marbled endpapers, authorial inscription mounted on front pastedown, bookplate of Richard Adams, top edges gilt, 20th century brown morocco by Bayntun, signed on front turnin, dotted line decorated raised bands, gilt lettered direct in second and third compartments, remainder with gilt lozenge tool and volute cornerpieces, date lettered at foot, covers with gilt single fillet border, upper cover with gilt stamped portrait of Dickens within oval frame, lower cover with author’s signature in gilt, bead roll on edges, wide pelmet roll on turn-ins, 8vo Eckel, pages 79-81. Gimbel A130. Handsome copy, with inscription in the author’s hand mounted on the front pastedown: ‘Mr: Charles Dickens presents his compliments to Mr. Brooke, and’. (1) £400-600

47 Dickens (Charles). Dombey and Son, 1st edition, Bradbury and Evans, 1848, bound from the parts, half-title discarded, errata leaf present, 40 etched plates by Hablot K. Browne, including frontispiece and additional title-page, extra-illustrated with twelve additional plates related, occasional spotting (including to frontispiece and additional title), bookplate of Richard Adams, hinges split, red sprinkled edges, contemporary green half calf, slightly rubbed, gilt decorated spine, 8vo Eckel, pages 74-76. Gimbel A102. (1)

£150-200

Lot 47 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 48

48 Dickens (Charles). Little Dorrit, 20 parts in 19, 1st edition, Bradbury & Evans, 1855-57, forty etched plates, including frontispiece and additional title, toned and spotted, one plate in part I detached and slightly edge-frayed, numerous inserted advertisement leaves and slips, original printed blue wrappers, somewhat soiled in places and some minor edge-fraying (front cover of first part strengthened to margins on verso), all but three parts re-spined, front cover of final part with piece renewed at head of gutter (with ‘VOLS. XIX’ re-inked), one or two early ownership signatures, 8vo, housed together in a green half morocco solander box, bookplate of Richard Adams, spine and part of lower return faded, lower joint splitting at foot, raised bands, gilt lettered direct in second and fourth compartments and at foot Eckel, pages 82-85. Gimbel A140. Hatton & Cleaver, pages 305-330. (1) £300-500

49 Dickens (Charles). The Mystery of Edwin Drood, 1st edition, Chapman and Hall, 1870, portrait frontispiece, additional engraved title, and twelve engraved plates by S.L. Fildes, marbled endpapers, bookplate of Richard Adams, and armorial bookplate of William Wykeham Jacomb, hinges split, black half morocco, gilt decorated spine with red morocco label, some faint marks on covers, 8vo Eckel pages 96-98. Gimbel A154. (1)

£100-150

Lot 49 47


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50 Dickens (Charles). Our Mutual Friend, 2 volumes, 1st edition, Chapman and Hall, 1865, bound from the parts, half-titles discarded, forty engraved plates by Marcus Stone, including frontispieces, scattered spotting, bookplate of Richard Adams, some splitting to hinges, marbled edges, contemporary dark blue half calf, extremities rubbed, spines faded, 8vo Eckel, pages 94-95. Gimbel A149. (2)

£100-150

51 Dickens (Charles). The Life and Adventures of Martin Chuzzlewit, 1st edition, Chapman and Hall, 1844, bound from the parts, half-title present, forty etched plates, including frontispiece and additional title-page (with 100£), a few plates close-trimmed to fore-edge, some light toning, a number of short edge-tears expertly repaired, one plate with lower outer blank corner renewed, marbled endpapers, bookplate of Richard Adams, all edges gilt, blue crushed morocco by Bayntun, gilt dotted line decorated raised bands, gilt lettered direct in second and third compartments, remainder with gilt lozenge tool, surrounded by dots, and with volute cornerpieces, date lettered at foot, covers with gilt single fillet border, upper cover with gilt stamped portrait of Dickens within an oval frame, lower cover with Dickens’s signature in gilt, bead roll on edges, pelmet roll on turn-ins, 8vo Eckel, pages 71-73. Gimbel A71. Handsome copy. (1)

52 Thackeray (William Makepeace). Works of William Makepeace Thackeray, with Biographical Introductions by his daughter, Anne Ritchie, 13 volumes (complete), Smith, Elder, & Co., 1899-01, numerous black & white plates, including some portrait frontispieces, volume 8 with one fold (pages 439-442) detached, contemporary green half morocco gilt, extremities lightly rubbed, spines browned, 8vo

Lot 50

(13)

Lot 51 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£200-300

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£70-100


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53 Trollope (Anthony). A finely bound collection of first editions, various publishers, 1886-1883, most titles with engraved plates, a few expert repairs, very occasional spotting, marbled endpapers, bookplate of Richard Adams in first volume of Can You Forgive Her?, some volumes with Sotheran’s ink stamp on verso of front free endpaper, all edges gilt, uniformly bound in 20th century crimson crushed morocco by Bayntun (Riviere), signed on front turn-ins, spines faded (and a few with minor marks), first volume of Can You Forgive Her? with fading at head of lower cover, first volume of An Autobiography with marks on lower cover, triple gilt dot decorated raised bands, gilt lettered direct in second and fourth compartments, remainder gilt panelled with single fillet, covers with single fillet border, gilt bead roll on edges, turn-ins with gilt double fillet border and fleuron cornerpieces, small/large 8vo A handsome set of Trollope first editions, comprising: Can You Forgive Her?, 2 volumes, 1864; The Claverings, 2 volumes, 1867; Phineas Phinn, 2 volumes, 1869; The Vicar of Bullhampton, 1870; The Eustace Diamonds, 3 volumes, 1873; The Way We Live Now, 2 volumes, 1875; John Caldigate, 3 volumes, 1879; Kept in the Dark, 2 volumes, 1882; An Autobiography, 2 volumes, 1883. (19) £1000-1500

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54 Trollope (Anthony). The Last Chronicle of Barset, 2 volumes, 1st edition, 1867, bound from the parts, thirty-two wood engraved plates by George H. Thomas, letterpress vignettes, occasional spotting, bookplate of Richard Adams in first volume, hinges split, marbled edges, contemporary green half calf, some rubbing, gilt decorated spines with contrasting labels, spines and part of lower returns faded, 8vo, together with Orley Farm, with Illustrations by J.E. Millais, 2 volumes, 1st edition, Chapman and Hall, 1862, bound from the parts, forty wood engraved plates, spotted (offset to text), bookplate of Richard Adams in first volume, both volumes with armorial bookplate of Josslyn Francis Pennington, 5th Baron Muncaster, marbled edges, contemporary green half morocco gilt, spines slightly faded and rubbed (volume 2 with minor loss to tip of spine head), 8vo (4)

55 Browning (Robert). Men and Women, 2 volumes, 1st edition, Chapman and Hall, 1855, bookplate of Richard Adams, original blindstamped green cloth covers and spine bound into each volume at rear, each with ownership name on preliminary blank, top edges gilt, remainder rough-trimmed, 20th century green half calf by Bayntun, with ink stamp on rear pastedowns, faded spines gilt panelled and lettered direct, 8vo (2)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£100-150

50

£100-150


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56 Tennyson (Alfred). Poems, 2 volumes, 1st edition, Edward Moxon, 1842, half-titles discarded, volume one with fly-title waterstained, all edges gilt, marbled endpapers, bookplate of Richard Adams in volume 1, both volumes with armorial bookplate of Sir Charles Cayzer, Bart., late 19th century blue calf gilt, each with gilt lettered red morocco spine label, spines faded and scuffed, volume 1 with covers damp-stained (upper cover a little creased at head), 8vo Richard Adams used a quotation from Tennyson’s poem ‘The Lotos-Eaters’, contained here in volume one, at the beginning of chapter 13 in ‘Watership Down’: In the afternoon they came unto a land/In which it seemed always afternoon./All round the coast the languid air did swoon,/Breathing like one that hath a weary dream.’ The author talks, in The Day Gone By, of having a “great crush” on Tennyson during his time at Bradfield College, and describes how writing an essay on the Victorian poet helped him win the Denning, the hotly-contested and prestigious college prize for English literature. (The Day Gone By, An Autobiography, 1990, page 194). (2) £100-150

57 Hardy (Thomas). Jude the Obscure, 1st edition in bookform, Osgood, McIlvaine and Co., 1896 [1895], half-title present, etched frontispiece by H. Macbeth-Raeburn, with tissue guard, singlepage map, marbled endpapers, bookplate of Richard Adams, all edges gilt, modern green calf by Bayntun (Riviere), signed on front turn-in and with ink stamp on verso of front free endpaper, some faint mottling on covers, gilt triple roundel decorated raised bands, remainder gilt panelled with single fillet, gilt lettered direct in second and third compartments, date lettered at foot, covers with gilt single fillet border, bead roll on edges, turn-ins with double fillets and palmette cornerpieces, 8vo Purdy, pages 86-91. Sadleir 1108. (1)

£200-300

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Lot 59

58 Hardy (Thomas). Tess of the d’Urbervilles, A Pure Woman, 3 volumes, 1st edition, 2nd impression revised, Osgood, McIlvaine & Co., 1892, half-titles present, volume 1 with bookplate of Richard Adams, endpapers spotted and browned, some splitting to hinges, rough-trimmed, volume 3 with stitching partially broken, original tan cloth, with art nouveau decoration in gilt, cocked, somewhat rubbed and soiled, circulating library labels removed from upper covers, 8vo, together with Winter Words in Various Moods and Metres, 1st edition, Macmillan, 1828, free endpapers partially browned, roughtrimmed, original green cloth gilt, spine lightly sunned, in dustjacket, with rubbed and darkened spine, some water-stains and edgechipping, 8vo, plus Late Lyrics and Earlier with many other verses, 1st edition, 1922, spotted, free endpapers partially browned, untrimmed, original green cloth gilt, 8vo, plus thirty-one others by Hardy, including twenty-seven Wessex Novels pocket edition Purdy, page 74 (500 copies printed). (36)

59 [Jefferies, Richard]. Wild Life in a Southern County, 1st edition, Smith, Elder, 1879, half-title present, scattered spotting, hinges split, bookplate of Richard Adams on front pastedown, roughtrimmed edges spotted, original green cloth, decorated in black, blind, and gilt, some minor rubbing and marks, spines ends a little frayed, 8vo, together with Hodge and His Masters, 2 volumes, 1st edition, 1880, half-titles present, 4pp. publisher’s advertisements at rear of volume 2, each volume with bookplate of Richard Adams on preliminary blank, and with armorial bookplate of Harry Lawrence Bradfer-Lawrence FSA on front pastedowns, original brown cloth, decorated in black, blind, and gilt, extremities worn, with slight loss at spine ends, and lower joints split, 8vo, plus Field and Hedgerow, Being the Last Essays... Collected by His Widow, 1st edition, 1889, half-title present, 16pp. publisher’s catalogue at rear, scattered spotting, hinges split, early ownership name and a few ink marks on front free endpaper, rough-trimmed, original pictorial brown cloth, occasional light rubbing and marks, 8vo, plus four others by Jefferies, including three first editions (Round About a Great Estate, 1880; The Open Air, 1885; The Toilers of the Field, 1892)

£200-300

(8)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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£150-200


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60 Gilbert (W.S.). The “Bab” Ballads, 1st edition, John Camden Hotten, 1869; More “Bab” Ballads, 1st edition, George Routledge, [1873], engraved frontispiece to each, first volume with contemporary maunuscript name on title-page ‘Ex Libris John E. Walsh March 9th 1869’, half-title to second volume, both with letterpress vignettes throughout, each with publisher’s advertisements at rear, original gilt decorated cloth spine and covers bound in at rear of each volume (trimmed), marbled endpapers, bookplate of Richard Adams in each, all edges gilt, matching 20th century green crushed moroco by Bayntun Riviere, each signed on front turn-in, spines lightly sunned, roundel decorated raised bands, gilt lettered direct in second and third compartments and at foot, covers with gilt single fillet border, upper covers with an illustration from the book onlaid in coloured leathers, bead roll on edges, double fillets on turn-ins with fleuron cornerpieces, housed together in a green cloth slipcase, 8vo Fine bindings by Bayntun Riviere in excellent condition. (2)

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£500-700


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Lot 61

61 Gilbert (W.S.). The Bab Ballads with which are included Songs of a Savoyard, with 350 illustrations by the author, Macmillan and Co., 1932, half-title present, title-page printed in red and black, letterpress vignettes throughout, marbled endpapers, bookplate of Richard Adams, all edges gilt, contemporary scarlet crushed morocco by Riviere & Son, signed on front turn-in, spine with dotted line decorated raised bands, gilt lettered direct in second and third compartments, remainder with large gilt volute tool, and dotted line border incorporating triple dot cornerpieces within single fillet border, covers with gilt double fillet border, and inner double fillet scalloped panel, with volute tool repeated at corners, each with an illustration from the book onlaid in coloured leathers, with gilt lettering above and below, single fillet on edges, fillets and bead roll on turn-ins, 8vo, contained in a red cloth slipcase Fine onlaid binding by Riviere in exceptionally good condition. (1)

£400-600

62 Reade (Charles). The Cloister and the Hearth, 4 volumes, 1st edition, Trubner & Co., 1861, contemporary ink initials on title-pages, intermittent spotting, mostly to first and final leaves and endpapers, occasional minor marks, bookplate of Richard Adams, some splitting to hinges, sprinkled edges, near contemporary half brown calf gilt, some rubbing, darkened spines with contrasting labels, 8vo Sadlier 1999. Wolff 5704 (third edition). (4)

Lot 62 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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£200-300


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Lot 63

63 Kingsley (Charles). The Water-Babies: A Fairy Tale for a LandBaby. With Two Illustrations by J. Noel Paton, R.S.A., 1st edition, Macmillan, 1863, two engraved plates, including frontispiece, list of author’s work preceding half-title (latter with 2.5” expertly repaired closed tear), single advertisement leaf at rear, without suppressed “L’Envoi” leaf, marbled endpapers, bookplate of Richard Adams, all edges gilt, 20th century green crushed morocco by Bayntun (Riviere), signed on front turn-in, spine very faintly sunned, triple dot decorated raised bands, gilt lettered direct in second and third compartments, remainder with gilt stylised water lily tool within decorative border, date lettered at foot, covers with gilt single fillet border and large central gilt blocked illlustration of fish in a lily pond, gilt bead roll on edges, scalloped flower roll, gilt fillets, and foliate scrolling roll on turn-ins, small 4to in 8s (1)

64 Kingsley (Charles). The Water-Babies: A Fairy Tale for a LandBaby. With Two Illustrations by J. Noel Paton, R.S.A., 1st edition, Macmillan, 1863, two engraved plates, including frontispiece, halftitle present, single advertisement leaf at rear, without list of author’s work and suppressed “L’Envoi” leaf, occasional spotting and marks, marbled endpapers and edges, bookplate of Richard Adams, hinges strengthened with fabric tape, contemporary brown half calf, extremites rubbed, some markings to rear cover, blind decorated raised bands, gilt lettered label in second compartment, small 4to in 8s (1)

£300-500

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£100-150


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65 Kingsley (Charles). The Heroes: or, Greek Fairy Tales for My Children, 1st edition, Cambridge: Macmillan, 1856 [1855], eight engraved plates, half-title present, some light spotting to first few leaves, green endpapers, bookplate of Richard Adams, and armorial bookplate of Glenconner, hinges split, all edges gilt, contemporary tan polished calf by F. Bedford, with ink stamp on verso of front free endpaper, lightly rubbed in places, gilt rope roll decorated raised bands, gilt lettered green morocco label in second compartment, remainder with central flowers in urn tool, surrounded by dots and stars, and with volute cornerpieces, covers with gilt triple fillet border, double fillets on edges, pelmet roll on turn-ins, 8vo Attractive copy, once part of the Tennant family library. (1)

66 Marryat (Captain Frederick). Masterman Ready; or, The Wreck of the Pacific, 1st edition, 1841-1842, wood engraved frontispiece to each (that to first volume with short tear and small chip in foreedge), wood engraved vignettes to text, without publisher’s advertisements in volumes 1 and 3, marbled endpapers, volume 1 with bookplate of Richard Adams, each volume with armorial bookplate of Manuel M. Terrero. Assoc. R.S.M., top edges gilt, remainder rough-trimmed, late 19th century red half morocco gilt, a little rubbed and marked in places, spines slightly darkened, 8vo Sadleir 1583. Wolff 4522. (3)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£100-150

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£100-150


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67 Stevenson (Robert Louis). Strange Case of Dr Jekyll and Mr Hyde, 1st edition, Longman’s, Green & Co., 1886, publisher’s advert leaf at rear for the second edition of a Child’s Garden of Verses, floral patterned endpapers, with some light spotting, ownership signature to half-title, and bookplate of Thomas Pearce Jacomb to front pastedown, original salmon cloth, lettered in black, a little rubbed and some marks, minor fraying to extreme head and foot of spine (generally a good copy), 8vo Prideaux 17. Beinecke 346. One of 1250 copies bound in cloth. A lateVictorian update on Mary Shelley’s Frankenstein of 1818, Stevenson’s most famous work foreshadows the discoveries of psychoanalysis and the notion of the double personality or alter ego. (1) £500-700

68 Stevenson (Robert Louis). New Arabian Nights, 2 volumes, 1st edition, Chatto & Windus, 1882, half-title to each volume, contemporary ownership signature of J. Muzio to head of title of first volume, 32-page publisher’s catalogue at rear of second volume (partially uncut), dated May 1882, page 155 of second volume misnumbered ‘55’, and ‘Maletroit’ misspelt ‘Maledroit’ on page 179, original green cloth decorated in red and black, spines lettered in gilt, rubbed and some marks, with spine to first volume faded, 8vo Prideaux 8. Scarce first edition, first issue of Stevenson’s collection of short stories, including The Suicide Club and The Pavilion on the Links. Purchased by Richard Adams from Henry Sotheran of London in January 1979 (original receipt loosely inserted). (2) £200-300

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Lot 69

Lot 70

69 Stevenson (Robert Louis). Kidnapped being Memoirs of the Adventures of David Balfour in the year 1751, 1st edition, 1st issue, Cassell & Company, 1886, half-title, without the folding map, first issue text, with ‘business’ for ‘pleasure’ on page 40, line 11, single page advertisement to verso of final leaf at rear for the illustrated edition of Treasure Island, and 16 pages publisher’s list (first issue state, with 5 G. 4.86 at foot), some light spotting to preliminary leaves, original brown cloth gilt, rubbed and some marks, 8vo, together with The Merry Men and Other Tales and Fables, 1st edition, 1887, original decorated blue cloth gilt, rubbed and some marks, with slight fraying to extremities, plus The Master of Ballantrae. A Winter’s Tale, 1st edition, 1889, 4 pages of adverts, and 16-page publisher’s catalogue at rear (dated 5 G. 7.89), original pictorial red cloth gilt, slightly rubbed, with another copy of the same work, also a first edition of 1889, rebound in modern blue half morocco by Sotheran, and Stevenson (Robert Louis, and Lloyd, Osbourne), The Wrong Box, 1st edition, 1889, The Wrecker, 1st edition, 1892 & The Ebb Tide, 1st edition, 1894, adverts to each volume at rear, original red, blue and gold cloth respectively, rubbed, all 8vo, plus 8 other R.L. Stevenson volumes, mostly first editions, all 8vo

70 Morris (William). The Earthly Paradise: A Poem, 12 volumes, Longmans, 1905, minor spotting to endpapers, contemporary ownership inscription of Jennie Walker to front endpaper of first volume, dated November 1907, bookplate of Richard Adams to front pastedown of first volume, original cloth-backed pale blue printed boards, spines somewhat faded with some mottled marks, 8vo

(15)

£200-300

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(12)

£70-100


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71 Dodgson (Charles Lutwidge, ‘Lewis Carroll’ ). Alice’s Adventures in Wonderland, 1st published edition, Macmillan, 1866, halftitle present, frontispiece and numerous illustrations by John Tenniel, some light spotting and marks, F4 and M4 with crease to upper blank corner, N1 with short closed tear in lower fore-margin, blue chalk-glazed endpapers, bookplate of Richard Adams, upper hinge split, all edges gilt, stitching slightly strained, original red cloth gilt, generally dust-soiled and spine darkened, extremities slightly rubbed, loss at head of spine repaired (‘A’ of ‘Alice’ and part of first three letters of ‘Adventures’ relettered), 8vo in 4s, together with Through the Looking Glass, and What Alice Found There, 1st edition, Macmillan, 1872, half-title present (with small mark to lower margin), frontispiece and numerous illustrations by John Tenniel, a few minor marks (including small stain to I7), bookplate of Richard Adams, rear hinge split, all edges gilt, stitching slightly strained, original red cloth gilt, some edgerubbing and soiling, spine a little darkened and a trifle frayed at ends, a few tiny holes in lower joint, 8vo, housed together in velvet-lined red half morocco double bookform solander box, lightly faded spine with gilt dotted line decorated raised bands, gilt lettered direct in second and third compartments, remainder with alternating gilt rabbit and playing card tools, date lettered at foot, cloth sidings spotted Printing and the Mind of Man 354. Williams, Madan, Green 46; 84. The first edition of ‘Alice’s Adventures in Wonderland’ was printed in 1865 at the Oxford University Press. Charles Dodgson cancelled it at the last moment due to Sir John Tenniel’s dissatisfaction with the printing quality of his illustrations: “The few early copies sent out were recalled; seemingly with fair success, since less than a score are known to survive today. The book was then reprinted, by Clay, with the title page re-dated 1866, and this consitutes the first regularly published edition” (Printing and the Mind of Man) Richard Adams uses a quotation from ‘Through the Looking Glass’ for his very last chapter heading in the Epilogue to ‘Watership Down’: “He was part of my dream, of course - but then I was part of his dream, too.” Adams was irritated at the debate over the intended readership age of ‘Watership Down’. He believed very firmly that a work of fiction should be “first and foremost, a work of artistic integrity, by its subjects and merits appealing to readers of all ages, including children”, going on to say “the two ‘Alice’ books probably head the list here, with ‘The Wind in the Willows’ in honourably high place.” (Richard Adams, Some Ingredients of Watership Down, in The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, 1977, page 163) (2) £2500-3500

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Lot 72

Lot 73

72 Dodgson (Charles Lutwidge, ‘Lewis Carroll’). The Hunting of the Snark, an Agony in Eight Fits, 1st edition, Macmillan, 1876, halftitle present, frontispiece and full-page black & white illustrations by Henry Holiday, advertisement leaf at rear, frontispiece and titlepage toned from tissue guard, bookplate of Richard Adams, all edges gilt, original pictorial buff cloth, spine darkened and with some fraying to extremities (slight loss at ends), covers spotted in places, 8vo

73 [Hughes, Thomas]. Tom Brown’s School Days, by an Old Boy, 1st edition, Cambridge: Macmillan & Co., 1857, half-title discarded, marbled endpapers, bookplate of Richard Adams, all edges gilt, 20th century blue crushed morocco by Bayntun Riviere, signed on front turn-in, faded spine gilt panelled and lettered direct, covers with gilt single fillet border (faintly mottled), gilt bead roll on edges, double fillets on turn-ins, 8vo

Williams, Madan, Green 115. (1)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

Sadleir 1235. Wolff 3332. (1)

£100-150

60

£300-500


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74 Lear (Edward). The Book of Nonsense, 28th edition, 1891, half-title, illustrated title, dedication leaf, 109 black & white illustrations, occasional light spotting, armorial bookplate of Sir David Salomons Bart, Broomhill, Tunbridge Wells, later half red calf, gilt decorated spine, original pictorial blue cloth (front and back covers and backstrip) bound-in at front & rear, slightly marked with light dampstain at foot of spine area, spine faded, oblong 4to, together with More Nonsense, 3rd edition, 1889, half-title, title with vignette illustration, numerous black & white illustrations, some light spotting, front pastedown of marbled endpapers with armorial bookplate of Sir David Salomons Bart, later half red calf, gilt decorated spine, with original pictorial red cloth (front and back covers and backstrip) bound-in at front & rear, slightly marked with light dampstain at foot of spine area, spine faded, oblong 4to (2)

£150-200

75 Kipling (Rudyard). The Jungle Book, 1st edition, Macmillian, 1894 & The Second Jungle Book, 1st edition, Macmillan, 1895, b & w illustrations, some full-page, half-titles present, second volume with advertisement leaf at rear, intermittent spotting, first volume with early ownership name at head of title-page, second volume with upper hinge split, bookplate of Richard Adams in each volume, all edges gilt, original gilt decorated blue cloth, each with some rubbing and marks, first volume with gilt dulled on darkened spine, 8vo, housed together in a blue cloth slipcase

Lot 74

Richard Adams was a huge admirer of Kipling, writing “... Kipling unimitated, inimitable Kipling, how shall I describe thee? Beyond argument, no one has ever written books more full of enjoyment for children.” He goes on to describe Kipling’s influence on his own work, saying “Kipling has his finger firmly in the ‘Watership Down’ pie, and without him those lines would never have been written....” (Richard Adams, Some Ingredients of Watership Down, in The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, 1977, pages 171-72) (2) £500-800

Lot 75 61


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76 Grahame (Kenneth). The Wind in the Willows, 1st edition, Methuen, 1908, frontispiece by Graham Robertson, half-title with contemporary inscription at head (and small ink blot), hinge split between preliminary blank and half-title (former a little torn at head and becoming detached), endpapers toned and spotted, bookplate of Richard Adams, and ticket of Henry Sotheran, top edges gilt, remainder untrimmed, original gilt decorated blue-green cloth, spine with gilt dulled and slight fraying to ends, light mark on lower cover, corners rubbed, 8vo, housed in a velvet-lined blue cloth solander box Watership Down has been called the best story about wild animals since ‘The Wind in the Willows’, and although very different, both masterpieces take their place as classics of anthropomorphic writing. Richard Adams used a quotation from ‘The Wind in the Willows’ at the beginning of Chapter 33 in ‘Watership Down’, entitled ‘The Great River’: “Never in his life had he seen a river before - this sleek, sinuous, full-bodied animal... All was ashake and a-shiver - glints and gleams and sparkles, rustle and swirl, chatter and bubble.” In his autobiography The Day Gone By, Adams draws parallels between Mole’s response to the river, and his own, when taken to see a river for the first time as a small boy: “The reaction of a simple creature - or a child - on first seeing a true river has already been unforgettably expressed by Kenneth Grahame... I certainly felt everything that the Mole felt and was carried away with delight as I held my father’s hand across the plank bridge.” (Richard Adams, The Day Gone By, An Autobiography, 1990, page 60). Adams compared himself to Grahame in an interview, when considering the relative lack of success of his subsequent works: “I’m not the only man who has - I wouldn’t say suffered - Kenneth Grahame wrote plenty of other things but they’re under the shadow of The Wind in the Willows” (The Telegraph, 8th November 2014). (1) £1000-1500

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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77 Grahame (Kenneth). The Wind in the Willows, 2nd edition, Methuen, 1908, frontispiece by Graham Robertson, preceded by half-title, some spotting and toning, contemporary ink ownership name on preliminary blank, bookplate of Richard Adams, top edges gilt, remainder untrimmed, original gilt decorated blue-green cloth, spine and rear cover lightly rubbed, spine ends a trifle frayed, 8vo (1)

78 Wain (Louis & Bingham, Clifton). The Dandy Lion, 1st edition, Nister, [1900], mounted colour frontispiece, black & white illustrations throughout, generally toned and some marks, a few short edge-tears, several leaves detached, foliate patterned endpapers, bookplate of Richard Adams, original cloth-backed pictorial boards, rubbed and marked, slight wear to extremities, 4to, together with Louis Wain’s Animal Show, 1st edition, James Clarke & Co., 1905, black & white illustrations throughout, some full-page, one with juvenile colouring, ownership name at head of title-page written in a childish hand, some edge-tears, one leaf with 5.5” closed tear repaired with adhesive tape, endpapers renewed, bookplate of Richard Adams, original glazed pictorial boards, spine renewed, 4to (2)

£100-150

63

£300-500


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79 Gibson (Charles Dana). Other People, 1st edition, New York: Charles Schribner’s Sons & London: John Lane, 1911, portrait halftitle with artist’s ink presentation inscription to Princess Patricia, numerous black & white illustrations from drawings, half-title and corresponding first illustrated leaf detached, some pale marginal discolouration, stitching strained, original quarter cloth with pictorial boards, generally soiled and some surface rubbing, oblong folio, together with 10 other books from the same series, mostly 1st editions, 1898-1905, three with some dampstaining, majority with stitching strained, all original quarter cloth with pictorial boards, rubbing to extremities (and minor wear in places), some soiled and toned, oblong folio Titles are: Pictures of People; London as seen by C.D. Gibson; The Education of Mr. Pipp (2 copies); Americans; A Widow and her Friends; The Social Ladder; Eighty Drawings including The Weaker Sex; Everyday People; Our Neighbours. Princess Patricia of Connaught (Victoria Patricia Helena Elizabeth, later Lady Patricia Ramsay, 1886-1974) was a granddaughter of Queen Victoria. She was an accomplished artist herself, specializing in watercolours, and became an honorary member of the Royal Institute of Painters in Water Colours in 1959. One of the most beautiful and eligible princesses of her generation, she caused a sensation when she gave up her royal titles to marry a commoner. (11) £150-200

Lot 79

80 Harris (Joel Chandler). Uncle Remus, or Mr. Fox, Mr. Rabbit, and Mr. Terrapin, Chatto & Windus, 1916, colour and black & white illustrations, some full-page, occasional light spotting, mostly at front and rear, hinge split after half-title, preliminary blank with ink presentation inscription to Richard Adams, all edges gilt, modern brown calf gilt, lightly marked, spine with raised bands and contrasting labels, each compartment with central rabbit tool, gilt rolls on edges and turn-ins, 8vo Inscription reads: ‘Aug 19 1974 To Richard Adams with admiration and affection Martin Rosen’. Martin Rosen, a good friend of Richard Adams, directed and produced the 1978 film of Watership Down, in addition to writing the screenplay. It is possible that without Rosen’s influence, Richard Adams may never have agreed to a screen adaptation of his most famous book; after reading Watership Down for himself, Rosen met the author and convinced him it could be made into a film. Later, in 1982, Rosen brought another Richard Adams book ‘The Plague Dogs’ to the big screen and was also involved in the more recent TV series of Watership Down (1999) as executive producer. Richard Adams discusses the relevance of the Uncle Remus stories, in particular the way that these stories, like those of Elahrairah in Watership Down, are derived from folk-tales. Adams also connects his careful use of local Hampshire dialects (as used by, for example, Lucy, her father and the farmhands) with the meticulous care in which Joel Chandler Harris renders dialect in the Uncle Remus stories. (Richard Adams, The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, Kestrel Books, 1977, page 171). (1) £100-150

Lot 80

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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81 Lang (Andrew, editor). The Crimson Fairy Book, 1st edition, Longmans, Green, 1903, eight colour plates, including frontispiece, numerous full-page letterpress illustrations, pictorial endpapers, bookplate of W.J. Harris on front pastedown, all edges gilt, original gilt decorated red cloth, spine faded and rubbed at ends, front cover with upper corner bumped, 8vo, together with The Book of Princes and Princesses, by Mrs. Lang, 1st edition, Longmans, Green, 1908, eight colour plates, including frontispiece, numerous letterpress illustrations, some full-page, 6pp. publisher’s advertisements at rear, endpapers spotted, upper hinge splitting, early ownership name on front free endpaper, all edges gilt, original gilt decorated blue cloth, some light rubbing and faint marks, but overall a bright copy, 8vo, together with The Violet Fairy Book, 1st edition, Longmans, Green, 1901, eight colour plates, including frontispiece, numerous full-page letterpress illustrations, some fullpage, one with juvenile colouring, all edges gilt, original gilt decorated purple cloth, spine faded and frayed at ends, some markings on lower cover, 8vo, plus The Orange Fairy Book, 1st edition, Longmans, Green, 1906, eight colour plates, including frontispiece, numerous letterpress illustrations, some full-page, endpapers toned, bookplate of W.J. Harris on front pastedown, all edges gilt, original gilt decorated orange cloth, spine faded and slightly rubbed at ends, lower cover with some light dust-soiling, 8vo, plus fifteen other Andrew Lang books, including eight first editions, all in original cloth, some worn and defective (19)

£300-400

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Lot 82

Lot 83

82 Rackham (Arthur, illustrator). A Midsummer Night’s Dream, by William Shakespeare, Heinemann, 1908, forty tipped-in colour plates, with captioned tissue guards, including frontispiece, letterpress illustrations, endpapers spotted, bookplate of Richard Adams on front pastedown, original gilt decorated tan cloth, darkened spine worn (split joints and ends frayed, 2” vertical crease), 4to, together with Lathrop (Dorothy P., illustrator), DownAdown-Derry, A Book of Fairy Poems by Walter de la Mare, 1922, three colour plates, including frontispiece, numerous letterpress illustrations, many full-page, some spotting (mostly to edges), free endpapers browned, front free endpaper with contemporary inscription, top edges gilt, remainder rough-trimmed, original gilt decorated blue cloth, spine ends slightly rubbed, and covers faintly mottled in places, large 8vo, plus Pogany (Willy, illustrator), Rubaiyat of Omar Khayyam, George G. Harrap, circa 1920s, sixteen tipped-in colour plates, first and final leaves spotted, lacking front free endpaper, untrimmed, original decorated brown cloth, in stained and chipped dustjacket (verso printed for a copy of Jane Eyre published by Harrap), plus five other illustrated children’s books, including a copy of A Child’s Garden of Verses, by Robert Louis Stevenson, illustrated by Charles Robinson, published by The Bodley Head, with bookplate of Richard Adams Riall, page 87. (8)

83 Rackham (Arthur, illustrator). The Ingoldsby Legends, or Mirth & Marvels, by Thomas Ingoldsby, Dent, 1907, twenty-four colour plates tipped-in on dark green paper, including frontispiece, captioned tissue guards, a few plates with one corner tip slightly creased, letterpress illustrations, occasional light spotting (mainly to title-page and edges), pictorial endpapers, front free endpaper with contemporary ownership signature on recto and bookplate of Richard Adams on verso, top edges gilt, remainder untrimmed, original gilt decorated olive green cloth, spine slightly rubbed and darkened, 4to Riall, page 83. (1)

84 Aldin (Cecil, illust.). Cecil Aldin’s Happy Family..., told by May Byron, 1912, 36 mounted colour plates (including six double-page), spotting to text, endpapers renewed, front pastedown with bookplate of Richard Adams, top edge gilt, original linen-backed boards, with colour illustrated panel to upper cover, rubbed and toned, rebacked, lower cover slightly bowed, corners showing, square 4to, together with Berkshire Vale, poems by Wilfrid HoweNurse, Oxford: Blackwell, printed at the Curwen Press, 1927, tinted lithographed illustrations, including endpapers, original cloth with large pictorial paper label to upper cover, a few marks, spine ends frayed, slim folio, with five others related

£100-150

(7)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£100-150

66

£70-100


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85 De La Mare (Walter). Poems 1901-1918, 2 volumes, Constable, 1932, spotted, including rough-trimmed edges, bookplate of Richard Adams on front pastedowns, and inscribed by Walter de la Mare on front free endpapers, original brown cloth gilt, each in dustjacket, spines darkened and frayed at head, together with a typed letter signed, on Hill House, Taplow, headed notepaper, loosely inserted, one blue leaf, folded, dated 8th June 1939, signed in ink ‘With all remembrances yours sincerely W.J. de la Mare’, plus Ding Dong Bell, 1st edition, Selwyn & Blount, 1924, free endpapers partially toned, untrimmed, original cloth-backed boards, in toned and dusty dustjacket, spine ends frayed with slight loss, 8vo, (limited edition, 178/300 copies, signed by the author), plus At First Sight, A Novel, 1st edition, New York: Crosby Gaige, 1928, partly unopened, original cloth-backed boards, with gilt decorated spine, dusty and edge-rubbed, small stain on front cover, 8vo, (limited edition, one of 650 copies signed by the author on the half-title) ‘Poems 1901-1918’ was first published in 1920. This copy is inscribed by the author to both volumes: ‘Walter de la Mare with all remembrances & best wishes April 20 1939’. The accompanying letter is addressed to Miss Price, expressing regret at the delay in writing and returning the two books, and mysteriously mentioning an “atrociously mean business”, hoping “that no further anxieties have followed after it”, before going on to thank her for all her “kindness on the Day”. Walter de la Mare was one of Richard Adams’s favourite authors, ‘The Three Mulla-Mulgars’ being seminal in the creation of ‘Watership Down’. In his autobiography Adams refers to first reading the poems of De La Mare as a young boy, saying “They flung open the door upon a numinous, night-blue world of incessant danger, wild beauty, loss, fear and death; no pretence or dressing-up... but deeply felt and sincere, and all cast in words of storm, rainbow and wave. They struck into my heart the full realization of humanity’s ultimate ignorance and insecurity in this world; and this has never left me...”. He goes on to say “I would like to think that Silverweed, the story of the Black Rabbit and the Epilogue are in some degree in debt to the atmosphere of de la Mare’s lyrics.” (Richard Adams, The Day Gone By, An Autobiography, 1990, page 156; Richard Adams, The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, Kestrel Books, 1977, page 165). (4) £100-150

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86 De La Mare (Walter). The Three Mulla-Mulgars, 1st edition, 1910, two colour plates, some spotting at front and rear, bookplate of Richard Adams, orignal pictorial cloth gilt, extremities lightly rubbed, spine darkened and gilt dulled, 8vo, together with three additional 1st editions of The Three Mulla-Mulgars, one with Richard Adams’s bookplate, plus Memoirs of a Midget, 1st edition, 1921, untrimmed and unopened, original quarter cloth with leather label to spine, corners showing, head of spine and covers toned, original glassine wrapper (torn with some loss), 8vo, (limited signed edition, 207/210 copies), with The Connoisseur and Other Stories, 1st edition, 1926, untrimmed, original quarter cloth with leather label to spine, some soiling, spine toned, 8vo, (limited signed edition, 208/250 copies), and The Fleeting and Other Poems, 1st edition, 1933, untrimmed, original quarter cloth with leather label to spine, spine toned, 8vo, (limited signed edition, 118/150 copies), and other Walter de la Mare and related including: The Wind Blows Over, 1st edition, 1936, with dustjacket; and Stories from the Bible, illustrated by Edward Ardizzone, 1961, with dustjacket Whilst still at school, Richard Adams found a copy of ‘The Three MullaMulgars’ and was entranced by it. Indeed, he describes it as “a milestone of profound importance” which opened his eyes and became “one of the most important influences” on his whole life. This tale, seeming to him to be the only real story compared to all others, which were merely attempts at stories, showed Adams that a great novel must create a world that is more real than reality: a world to which “the devoted reader can return again and again for delight and comfort”. It was chiefly from this book that Richard Adams took the idea of a journey as the basis for his landmark novel, and he also describes the parallels between De La Mare’s characters and scenarios and some of his own in ‘Watership Down’. ‘The Three MullaMulgars’ also taught Adams a vital life-lesson; namely that other people, even those closest to you, will not always understand or agree with your own tastes. When Adams became a devoted admirer of this book, some of his family, far from empathizing or understanding his passion, instead scoffed and jeered. Admitting that perhaps he was a bore in his obsession with the story, Adams also observes that one should never mock the love a child has for a book, in his words: “you never know what it may mean to him”. He writes of his favourite children’s book “A tear springs to my eye as I think of what I owe to it”, saying “Years later, I was able to meet Walter de la Mare and thank him - thank God.” (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 155-56. Richard Adams, The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, Kestrel Books, 1977, pages 168-69). (28) £100-200

Lot 86

87 Milne (Alan Alexander). A complete set of first editions of the Winnie-the-Pooh Stories, comprising When We Were Very Young, 1st edition, Methuen, 1924, illustrated throughout by E.H. Shepard, blank verso of fly-title with slight skinning at gutter, plain endpapers toned, bookplate of Richard Adams, top edges gilt, remainder rough-trimmed, original dark blue cloth gilt, spine slightly sunned and a little rubbed at ends, 8vo, and Winnie-the-Pooh, 1st edition, Methuen, 1926, illustrated throughout by E.H. Shepard, pictorial endpapers, verso of front free endpaper with bookplate of Richard Adams, facing blank with mounted photograph cutting of A.A. Milne with Christopher Robin and Pooh, top edges gilt, remainder rough-trimmed, original green cloth gilt, spine ends rubbed, cloth on lower outer corner of upper cover slightly wrinkled, 8vo, and Now We Are Six, 1st edition, Methuen, 1927, half-title and final page partially toned, pictorial endpapers, verso of front free endpaper with bookplate of Richard Adams, top edges gilt, remainder rough-trimmed, original red cloth gilt, spine a little faded and a trifle rubbed at ends, 8vo, and The House At Pooh Corner, 1st edition, Methuen, 1928, illustrated throughout by E.H. Shepard, pictorial endpapers (free endpapers a little toned), top edges gilt, remainder rough-trimmed, original salmon cloth gilt, spine slightly faded, 8vo, housed together in a blue cloth slipcase with morocco edge One of the authors strongly present in the formative years of Richard Adams was A.A. Milne: “This was the heyday of A.A. Milne - 1924 to 1928. Everyone read ‘When We Were Very Young’ and Pooh: everyone quoted them. Everyone knew that Christopher Robin went down with Alice, and that he said his prayers.” Although Adams thought that the stories were somewhat trivial he felt they were “redeemed by the marvellous characters... ‘Pooh’ will survive on the marvellous characters all right, no danger.” (Richard Adams, The Day Gone By, An Autobiography, 1990, page 22). He thought the relationship between Pooh and Piglet “splendid” and that Tigger was “unforgettable”, going on to note that Eeyore was “as far as I know, the first portrait in English literature of a type of neurotic we all know only too well.” From the Pooh books Adams said he learnt “the vital importance, as protagonists, of a group of clearly-portrayed, contrasting but reciprocal characters”, adding “though I wouldn’t claim that Hazel, Fiver and Co, come anywhere near Pooh and his friends” (Richard Adams, Some Ingredients of Watership Down, in The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, 1977, pages 167-68). (4) £1000-1500

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Lot 87

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88 Lofting (Hugh). Gub Gub’s Book, 1932; Doctor Dolittle’s Return, 1933; Doctor Dolittle and the Secret Lake, 1949, all 1st edition, Jonathan Cape, colour frontispiece to each, full-page black & white illustrations, occasional minor spotting and marks, pictorial endpapers, each in original cloth with dustjacket, latter toned, with darkened spines and some edge-fraying, 8vo, together with seven other Doctor Doolittle 1st editions in original cloth (one rebacked), and two reprints in original cloth and dustjacket Central to Richard Adams’s literary grounding as a child were Hugh Lofting’s works, which were first being published in the 1920s and 1930s as Adams was growing up. In his autobiography ‘The Day Gone By’ Adams writes of the many books his parents read to him when he was a small boy, saying “Above all, we read Dr Doolittle”, and it is a measure of his love for these childhood books that they remained in his library until the end of his life. Although he acknowledges that Lofting’s animals “are really just human beings”, he says that “Lofting wrote with warmth and humour... the characters are likeable and well-drawn... the narrative grip is powerful”. He goes on to say “Above all, the author obviously felt real compassion for animals. If I am up to the neck in the animal rights movement today, Dr Dolittle must answer for it.” He returns to the theme later on in his autobiography, praising the books’ “buoyant optimism” and their “consistency and integrity”. Again he alludes to the theme of animal abuse, saying that the Doctor’s passionate concern “turned me against circuses, fur coats and other such evil things - for life.” (Richard Adams, The Day Gone By, An Autobiography, 1990, pages 22, 106) (12) £200-300

Lot 88

89 Owen (Wilfred). Poems, With an Introduction by Siegfried Sassoon, 1st edition, Chatto & Windus, 1920, photogravure portrait frontispiece, with tissue guard (offset to frontispiece and titlepage), rough-trimmed, bookplate of Richard Adams, free endpapers partially toned (that at front with vertical crease), original red cloth, spine (with paper title label) faded and frayed at ends, with remains of frayed and spotted dustjacket (front panel and flap, and rear flap), slim 4to Hayward 337. Scarce first edition of arguably the greatest collection of First World War poetry ever published. Edited by Siegfried Sassoon and issued posthumously, ‘Poems’ contains some of the most poignant English verse, including ‘Dulce et Decorum Est’ and ‘Anthem for Doomed Youth’. The dustjacket rarely appears in any form. Richard Adams was no stranger to the horrors of war, having lived through the Second World War, interrupting his studies at Oxford University to serve in the Royal Army Service Corps. Although he didn’t himself come under enemy fire, he writes movingly in his autobiography of the hardships endured by many, and the loss of his closest friends when he returned to Oxford and found a changed world from the halcyon one he had left. (1) £300-500

Lot 89 Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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90 Sassoon (Siegfried). Memoirs of a Fox-Hunting Man, 1st edition, Faber & Gwyer, 1928, free endpapers toned, front pastedown with pictorial bookplate of Richard Adams, top edge gilt, remainder untrimmed, original blue cloth, fading to spine and some of front cover, 8vo, (limited edition, 28/260 copies, signed by the author), together with Memoirs of an Infantry OfďŹ cer, 1st edition, Faber & Faber, 1930, top edge gilt, remainder untrimmed, original blue cloth, spine toned, 8vo, (limited edition, 631/750 copies, signed by the author), and Sherston’s Progress, 1st edition, Faber and Faber, 1936, free endpapers toned, top edge gilt, remainder untrimmed, original blue cloth, spine a little toned, 8vo, (limited edition, 94/300 copies, signed by the author) (3)

ÂŁ500-800

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91 Golden Cockerel Press. A Ballad Upon a Wedding, by Sir John Suckling, with Engravings by Eric Ravilious, 1927, half-title, wood-engravings, untrimmed, original quarter cloth gilt, in dustjacket, lightly browned and marked, some fraying to edges, with a small loss to lower edge of front panel, slim 8vo, (limited edition 279/375 copies), together with Thelwell (Norman), A Plank Bridge by a Pool, Methuen, 1978, black & white illustrations throughout, first leaves with a few pale spots, front free endpaper with decorative bookplate of Richard Adams to verso, original brown morocco gilt, spine faded, contained in original slipcase (partially faded), 4to, (limited edition 34/200 copies, signed by the author), plus eight others including: Lycidas - a Monody by John Milton, Nene Press, 1904; Seven Winters, by Elizabeth Bowen, Cuala Press, 1942, (limited edition 103/450 copies); Moss and Feather, by W.H. Davies, drawings by William Nicholson, Faber & Gwyer, 1928, (limited edition 375/500 copies, signed by the author) (8)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£200-300

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92 Housman (A.E.). A Shropshire Lad, 1st edition, 1896, half-title present, title-page printed in red and black, generally lightly toned, bookplate of Richard Adams, contemporary ownership signature on front free endpaper, untrimmed, original Japanese vellum-backed boards with printed paper spine label, somewhat rubbed and marked, darkened spine a little frayed at head, 8vo Carter, Sparrow & White 2 (variant ‘A’ with ‘Shropshire’ on spine label measuring 33mm). Hayward 305. One of 500 copies printed. Richard Adams speaks of his early admiration for Housman in his autobiography: “... when I first came across A.E. Housman’s lyric ‘Tell me not now, it needs not saying’, I was at once struck by the lines ‘Or marshalled under moons of harvest,/Stand still all night the sheaves”. I drew it to the attention of my father. ‘Pooh!’ he said. What d’you expect them to do - run about?’. It didn’t hurt my feelings. He loved poetry. I felt he had a point; but I felt Housman had one, too. I knew exactly what he meant.” (Richard Adams, The Day Gone By, An Autobiography, 1990, page 16). (1) £700-1000

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Lot 93

Lot 94

93 Eliot (Thomas Stearns). Triumphal March, Faber, Ariel Poems Number 35, [1931], two wood-engravings by E. McKnight Kauffer, original wrappers, 8vo, together with After Strange Gods. A Primer of Modern Heresy, 1st UK edition, Faber, 1934, a few light spots to endpapers, original cloth, small nick to spine, 8vo, plus The Four Quartets: East Coker, 1940; Burnt Norton, 1941; The Dry Salvages, 1942 and Little Gidding, 1942, 1st editions, water stain to East Coker endpapers, previous owner inscriptions to Burnt Norton & Little Gidding, original wrappers, light stains to East Coker & Little Gidding, 8vo, with 12 others by Eliot including The Rock, 1934, The Music of Poetry, 1942, Poetry and Drama, 1941 and The Use of Poetry and the Use of Criticism, 3rd printing, 1937, signed by Richard Adams

94 Faulkner (William). The Wild Palms, 1st edition, Random House, New York, 1939, bookplate of Richard Adams, original cloth (light toning and a few spots to head of spine and upper extremities), top edge green, dustjacket, spine ends a little rubbed, waterstain at foot of rear panel, 8vo

(17)

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(1)

£200-300

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£100-150


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95 Woolf (Virginia). The Captain’s Death Bed and Other Essays, 1st UK edition, Hogarth Press, 1950, free endpapers partially toned, fore-edges slightly spotted, original cloth, spine lightly faded, price-clipped dustjacket with design by Vanessa Bell, spotted and some edge-fraying, spine darkened, 8vo, together with A Writer’s Diary, 1st edition, Hogarth Press, 1953, endpapers lightly spotted, contemporary ink monogram on front free endpaper, original orange cloth, spine faded (especially at ends), in price-clipped dustjacket with design by Vanessa Bell, toned (especially to spine), and some fraying and chipping to edges, 8vo, plus Woolf (Leonard, and Strachey, James, editors), Virginia Woolf & Lytton Strachey, Letters, 1st edition, Hogarth Press, 1956, frontispiece, original orange cloth, in price-clipped dustjacket with design by Vanessa Bell, toned (especially to spine), flap folds rubbed, one or two short edge-tears, 8vo, plus nine others by or about Virginia Woolf, including two Hogarth Essays by Robert Graves (12)

£100-150

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96 Yeats (William Butler). The Winding Stair, 1st edition, New York: Fountain Press, 1929, bookplate of Richard Adams, top edges gilt, remainder roughtrimmed, original blue cloth gilt, two small red labels to spine, slim 8vo Wade 164. Limited edition, 459/642 copies, signed by the author on the half-title. (1) ÂŁ500-800

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 97

Lot 98

97 Yeats (William Butler). Poems, 1899-1905, 1st edition, 1906, some spotting at front and rear, untrimmed, original cloth gilt with gilt-decorated spine, extremities very slightly rubbed, 8vo, together with Last Poems & Plays, 1st edition, 1940, half-title toned, endpapers spotted, original cloth gilt, front cover with embossed design, a couple of minor marks, dustjacket (clipped), lightly spotted and partially toned, a few short closed tears with slight fraying to top of spine, 8vo, plus The Collected Poems, 2nd edition, 1950, portrait frontispiece, free endpapers toned, front free endpaper with ink ownership signature ‘Richard Adams 1950’, bookplate of Richard Adams, original cloth gilt, extremities rubbed, 8vo, with a copy of The Winding Stair and Other Poems, 1st edition, 1933 (4)

98 Yeats (William Butler). The Tower, 1st edition, 1928, publisher’s advertisement leaf at rear, a few spots, mainly to fore-edges, preliminary and last printed page lightly toned, untrimmed, original green cloth with gilt design by Thomas Sturge Moore, lightly rubbed, 8vo, together with The Winding Stair and Other Poems, 1st edition, 1933, endpapers lightly spotted, untrimmed, original green cloth with embossed design, spine gilt, 8vo, plus one other related: A Full Moon in March, 1st edition, 1935 (3)

£150-200

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Lot 100 99 Betjeman (John). Collected Poems, Compiled and with an Introduction by The Earl of Birkenhead, John Murray, 1958, marbled endpapers, bookplate of Richard Adams, top edges gilt, original red morocco gilt, with marbled slipcase, 8vo

100 Blythe (Ronald). A Treasonable Growth, 1960; Immediate Possession and Other Stories, 1961; Akenfield. Portrait of an English Village, 1969, 1st editions, a few light spots and stains to Immediate Possession, original cloth (Immediate spine ends faded), dust jackets, a little rubbed with small chips, 8vo, Immediate Possession jacket verso with annotations by Richard Adams relating to passages in the book, together with five others by Blythe including The View in Winter. Reflections on Old Age, 1979, inscribed to Richard Adams “with gratitude for all those superb Hampshire scenes, June 1983” from the author, The Stories of Ronald Blythe, 1985, inscribed to Adams by Blythe “... with much gratitude for being taken to the Greek theatre - for the first time! 1985”, and Word From Wormingford, 1997, with a loose 2 page autograph letter to Adams from Blythe, dated 17 June 1997, discussing his recent travels to Scotland, Australia and America, recommending he read Captain Corelli’s Mandolin and the popularity of Word from Wormingford, which had sold out

Limited edition 38/100 copies, printed on Oxford India paper and signed by the author. (1) £70-100

(9)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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£150-200


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101 Braine (John). Room at the Top, 1st edition, Eyre & Spottiswoode, 1957, inscribed by the author to Richard Adams on the front free endpaper (below an earlier inscription), and with Richard Adams’s bookplate, some spotting to edges, original green boards, one or two minor marks, spotted dustjacket, edge-frayed and with a closed tear at head of spine (with several paper repairs on verso), 8vo With authorial inscription on the front free endpaper: “Inscribed for my friend Richard Adams - John Braine. Hampstead, Oct. 1985”. (1) £200-300

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102 Golding (William). Lord of the Flies, 1st edition, 1954, verso of halftitle with authorial ink inscription to Richard Adams and with mounted photograph cutting of William Golding (latter offset to title-page), Richard Adams’s ownership signature on front free endpaper, and his bookplate on front pastedown, original red cloth, spine lettered in white (a trifle faded at ends), dustjacket, dusty and spine toned, extremities rubbed and frayed in places, with some chipping (head of spine with partial loss of ‘Lord’), 8vo A wonderful association copy inscribed by the author: ‘For Richard Adams from William Golding’. Like Richard Adams, William Golding is chiefly known for his first novel, despite his subsequent literary output. Also like Adams, Golding’s masterpiece was at first rejected multiple times by publishers. In addition, both authors were avid and expert chess players. They played correspondence chess together, and both belonged to a wider literary chess circle which included the poet and Oxford academic John Fuller, and journalist and critic Anthony Curtis. Richard Adams, in his autobiography, draws a parallel between an event in Golding’s work and his own over-sensitive response to Schubert’s ‘Unfinished Symphony’: “The pizzicato opening seemed grim and dire. I felt (although, of course, it hadn’t yet been written) like Simon, in William Golding’s ‘Lord of the Flies’, confronted by the pig’s head on a stick. It assured him that life was a bad business.’ (Richard Adams, The Day Gone By, An Autobiography, 1990, page 37-38). (1) £1500-2000

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 103

103 Golding (William). The Spire, 1st edition, Faber and Faber, 1964, inscribed by the author on the title-page, bookplate of Richard Adams, front free endpaper with paperclip rust mark (offset from some loosely inserted newspaper clippings), rear endpapers with some water-staining to lower edge, original cloth, in dustjacket designed by John Piper, toned and some edge-rubbing in places, rear panel water-stained to lower edge, 8vo Association copy, the title-page with author’s name crossed through by Golding and inscribed by him: ‘William Golding to Richard Adams with best wishes 11/9/85’. (1) £300-400

104 Golding (William). Darkness Visible, 1st edition, Faber and Faber, 1979, bookplate of Richard Adams, and inscribed to him from the author on the front free endpaper, original maroon boards gilt, in dustjacket, a trifle rubbed at head of spine, 8vo, together with three other first editions in dustjacket by William Golding, comprising The Scorpion God, 1971; Rites of Passage, 1980; The Double Tongue, 1995 Association copy, inscribed by the author on the front free endpaper “For Richard Adams From William Golding with best wishes”, and with a sketch in ink of the back view of a rabbit. (4) £200-300

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105 Lee (Laurie). Cider with Rosie, 1st edition, Hogarth Press, 1959, signed by the author on the title-page, black & white illustrations by John Ward, some full-page, dedication leaf with mounted black & white photograph cutting of the author, front pastedown with bookplate of Richard Adams, and front free endpaper with inscription to Adams from Laurie Lee, top edges spotted, original green boards gilt, upper corner on lower cover bumped, in dustjacket, spine darkened, torn, and with adhesive tape repairs to spine (some loss at ends), edges, and flap folds, 8vo A wonderful association copy, with author to author inscription on the front free endpaper: ‘Inscribed for Richard Adams spell binder extraordinary, with best wishes from Laurie Lee’. (1) £500-800

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

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Lot 106 106 Lee (Laurie). As I Walked Out One Midsummer Morning, 1st edition, Andre Deutsch, 1969, vignettes to text by Leonard Rosoman, inscribed by Laurie Lee to Richard Adams on the front free endpaper, and with the latter’s bookplate on front pastedown, original orange boards, in dustjacket, edges slightly rubbed in places, 8vo Inscribed on the front free endpaper: ‘for Richard Adams - a true mid summer man - with greetings from Laurie Lee’. (1) £100-150

107 Murdoch (Iris). Henry and Cato, 1st edition, 1976, small Sotheran ink stamp to front endpaper, bookplate of Richard Adams, original cloth, dust jacket, 8vo, signed by the author and additionally inscribed to front endpaper: “For Richard Adams, with admiration and affection, Iris, November 1979”, together with Byatt (A.S.), The Virgin in the Garden, 1st edition, 1978, original cloth (slight lean), dust jacket, small stain to rear panel, 8vo, inscribed to title: “For Richard Adams, with very best wishes, A.S. Byatt, December 10th 1987”, plus Winterson (Jeanette), The Passion, 1st edition, 1987, original cloth, dust jacket, 8vo, signed by the author and additionally inscribed “For Richard Adams, with thanks for his friendship by post”, with ten others inscribed to Richard Adams from the author, including Edna O’ Brien, A Pagan Place, 1970, Ruth Rendell, An Unkindness of Ravens, 1985 & The Bridesmaid, 1989, and Sebastian Faulks, The Girl at the Lion d’Or, 1989, plus nine other books signed by the authors, including Ian McEwan, Margaret Atwood, P.D. James and Jonathan Raban (22)

£200-300

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Lot 111 108 Adams (Richard). The Legend of Te Tuna, Los Angeles: Sylvester & Orphanos, 1982, decorative border to title, original blind embossed cream cloth, small 4to, contained in original slipcase (limited signed edition of 330 copies), together with The Girl in a Swing, 1st edition, Allen Lane, 1980, original cloth in dust jacket, 8vo, with The Bureaucats, 1st edition, 1985, black and white illustrations, original pictorial boards in price-clipped dust jacket, slim 8vo, with Maia, 1st edition, Viking, 1984, original cloth in dust jacket, large 8vo, plus other titles by Richard Adams, including some duplicates, mostly original cloth in dust jackets, 8vo (29)

110 Adams (Richard). The Girl in a Swing, 1st edition, 1st issue, Allen Lane, 1980, corrected copy of the first (suppressed) issue, with numerous pencil (and a few red ink) annotations throughout, including Kathe corrected to Karin throughout, bookplate of Richard Adams, front free endpaper with ink stamp and various annotations, stitching broken, and textblock loose in original green boards, 8vo Richard Adams’s own copy of his fourth novel. In ‘The Girl in a Swing’ Adams named his lead character Käthe Geutner. However, a woman of the same name threatened a libel action and so the book was subsequently issued with her surname variously changed to Forster or Wassermann, and her first name sometimes altered to Karin. (1) £100-150

£150-200

109 Adams (Richard). The Girl in a Swing, 1st edition, Allen Lane, 1980, original cloth in dust jacket, 8vo, together with Tales from Watership Down, Hutchinson, 1996, black & white illustrations by John Lawrence, original cloth in dust jacket, 8vo, with The Plague Dogs, New York: Alfred A. Knopf, 1978, black & white illustrations, original cloth in dust jacket, some fraying and wear, 8vo, with The Bureaucats, 1st edition, 1985, black & white illustrations, original pictorial boards in price-clipped dust jacket, 8vo, and The Iron Wolf and Other Stories, 1st edition, 1980, colour and black & white illustrations, front free endpaper signed by Richard Adams, original cloth in dust jacket, plus other titles by Richard Adams, mostly original cloth in dust jackets, 8vo (28)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

111 Adams (Richard). The Plague Dogs, 1st edition, Allen Lane, 1977, illustrations and diagrams to text by Alan Wainwright, some fullpage, bookplate of Richard Adams, all edges gilt, together with Shardik, Allen Lane, reprinted 1975, map endpapers, front hinge splitting, bookplate of Richard Adams on verso of front free endpaper, the two volumes uniformly bound in contemporary olive green morocco, each with gilt lettered spine label, both rubbed in places, Plague Dogs with some damp-mottling to covers, 8vo The author’s specially bound copies. (2)

£150-200

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Lot 114 112 Anon. An Easy Introduction to the Game of Chess; containing one hundred examples of games, and a great variety of critical situations and conclusions; including the whole of Philidor’s analysis..., to which are added Caissa: A Poem, by Sir William Jones; The Morals of Chess, by Dr. Franklin..., new edition, printed for Baldwin, Cradock, and Joy, 1816, lacking the folding plate, untrimmed, contemporary boards, with remains of paper label to spine, soiled and some wear to joints and extremities, 8vo, together with Baxter (C.M.), Chess Problems by the late C.M. Baxter, collected and arranged by C.R. Baxter, 1st edition, Dundee, 1883, mounted photographic portrait frontispiece, monochrome illustrations, inner hinges partly cracked and loosened, original green cloth gilt, rubbed, 8vo, with autograph letter signed by Charles R. Baxter, addressed to John S. Millar, and dated Dundee, 20 April 1885, tipped-in at front of volume, plus other 20th century publications on chess, including M. Euwe, Strategy & Tactics in Chess, 1st edition, 1937, C.H. O’D. Alexander, Alekhine’s Best Games of Chess 1938-1945, 1st edition, 1949, Alex Hammond, The Book of Chessmen, 1st edition, 1950, Znosko-Borovsky, The Middle Game in Chess, 1938, Fred Reinfeld, Tarrasch’s Best Games of Chess, 1947, etc., all original cloth, many in dust wrappers, rubbed and occasional fraying, 8vo (30)

£100-150

113 Ashton (John). Real Sailor-Songs Collected and Edited by John Ashton, Leadenhall Press, 1891, title printed in red and black with decorative device, numerous black & white illustrations, decorative initials, head and tail-pieces, edges rough trimmed, original half vellum printed boards, some slight dust-soiling, light rubbing to extremities, folio, together with Rollins (Hyder Edward), The Pepys Ballads, 7 volumes, Cambridge, Massachusetts: Harvard University Press, 1929, a few black and white plates and illustrations, top edge gilt, remainder untrimmed, original cloth-backed marbled boards, slightly faded to spines, 8vo, with Child (Francis James, edited), The English and Scottish Popular Ballads, 10 volumes, Boston: Houghton, Mifflin & Co., Cambridge: The Riverside Press, 1882-1894, interleaved with blanks some with manuscript notes, occasional dampstaining to margins, bookplate of Milton Waldman, top edge gilt, remainder untrimmed, contemporary half morocco gilt, slightly rubbed, 4to (limited edition 579/1000), and Auden (W.H. & Kallman, Chester, editors), An Elizabethan Songbook, Lute Songs, Madrigals and Rounds, 1st edition, Faber & Faber, 1957, decorative vignette to title, musical notation throughout, occasional black and white illustrations, original cloth in somewhat worn dust jacket, 4to, and Karpeles (Maud, editor), Cecil Sharp's Collection of English Folk Songs, 2 volumes, 1st edition, Oxford University Press, 1974, musical notation and verse throughout, original green cloth gilt, contained in original slipcase, 8vo, and Humphreys (Arthur L.), The Berkshire Book of Song, Rhyme & Steeple Chime, Methuen and Company, 1935, edges rough trimmed, original cloth-backed boards, printed paper label to spine, slightly rubbed, contained in original slipcase, 8vo, plus others similar mostly relating to British and American folk songs and traditional tunes, etc. (38)

£200-300

114 Bindings. The Adventures of Huckleberry Finn, by Mark Twain, 1970, four colour plates including frontispiece, black & white illustrations to text, bookplate of Richard Adams, all edges gilt, modern red calf gilt by Bayntun-Riviere, lightly rubbed, spine with gilt decorated raised bands and panels, decorative gilt rolls to board edges and turn-ins, 8vo, together with Poems, by William Cowper, 2 volumes, 4th edition, 1788, volume 1 with contemporary ownership name to head of title (repeated on preliminary blank of 2nd volume), contemporary marbled calf, gilt decorated spines, each with red morocco labels in two panels, volume 1 rebacked, retaining original spine, volume 2 with minor splitting to joint ends, 8vo, plus Reliques of Ancient English Poetry; Consisting of Old Heroic Ballads, Songs..., 3 volumes, 1st edition, 1765, half-title to volume 3 (that to volume 2 discarded), engraved plate of music at rear of volume 2, lacking frontispiece and blank A1 to volume 1, letterpress vignettes, scattered spotting, some light dampstaining to blank margins, bookplate of Alexander Young, Writer, to each front pastedown, all edges gilt, contemporary calf gilt, rubbed, rebacked spines with contrasting labels and gilt decorated panels, 8vo, and Letters written by the Late Right Honourable Philip Dormer Stanhope, Earl of Chesterfield, to His Son..., published by Mrs. Eugenia Stanhope from the Originals now in her Possession, 4 volumes, 5th edition, 1774, half-title to each, volume 1 with engraved portrait frontispiece (offset to title), scattered spotting, half-titles (excepting volume 1) and titles with early ink ownership name at head, endpapers renewed, contemporary calf gilt, a little rubbed, rebacked (with raised bands and gilt decoration) and some corner repairs, 8vo, with eight others similar (18)

£200-300

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115 Borrow (George). Lavengro; The Scholar-The Gypsy-The Priest, 3 volumes, 1st edition, 1851, portrait frontispiece, halftitles, volumes 1 & 2 with publisher’s advertisement list at rear, scattered spotting, mainly at front and rear, contemporary cloth with paper spine labels (slight loss to volume 3 label), a little soiled, spines faded, 8vo, together with Thackeray (William Makepeace), The Virginians, 2 volumes, 1st edition, 1858-1859, 48 etched plates including frontispieces and additional title pages, spotting and occasional offsetting, contemporary half calf gilt, rubbed and a little worn, spines with contrasting labels, volume 1 with short tear at head of front joint, 8vo, plus Meredith (George), One of our Conquerors, 3 volumes, 1st edition, 1891, volume 1 with armorial bookplate of William Irving Winter to front pastedown, some endpapers with marginal dampstaining, original blue cloth with black design on front covers, a little rubbed and soiled, spines faded, volume 3 with dampstain to front cover, 8vo, and Arnold (Matthew), Poems, a New Edition [1st edition with this title], 1853, half-title, publisher’s advertisement list at rear, bookplate of Richard Adams, occasional marginal dampstaining, especially to endpapers, original cloth with embossed design to covers, a little soiled, spine toned with some fraying at ends and rear joint, 8vo, with Poems, Second Series, 1st edition, 1855, publisher’s advertisement list at rear, bookplate of Richard Adams, occasional marginal dampstaining, front free endpaper with circulating library list attached, original cloth with embossed design to covers, a little soiled, spine toned with slight fraying at ends, 8vo, and 25 others similar including Lewis Carroll, Christina Rossetti, Jerome K. Jerome, H. Rider Haggard, Robert Browning, and Arthur Conan Doyle (35)

117 Burton (Philip & Hayman, Peter). The Birdlife of Britain, A Dramatic New Way of Identifying and Understanding the Birds of Britain and Europe, reprint, 1976, colour illustrations throughout, presentation copy to Richard [Adams] from Ian inscribed to title and dated 1978, bookplate of Richard Adams, original laminated boards in faded and slightly soiled dust jacket, small folio, a group of 19 small notebook leaves loosely inserted, comprising nature notes in Richard Adams’s hand and mostly written to rectos only, largely concerning British birds, approximately 15 x 10 cm, together with Sheail (John), Rabbits and their History, Newton Abbot: Country Book Club, 1972, a few illustrations to text, bookplate of Richard Adams, original cloth in dust jacket, a little soiling and slight wear at head and foot of spine, 8vo, plus Samson (John G.), The World of Ernest Thompson Seton, 1st edition, New York, 1976, colour and black & white plates and illustrations throughout, bookplate of Richard Adams, original cloth in dust jacket, a little chipped, oblong folio, plus Caras (Roger), The Endless Migrations, Illustrations by Kimio Honda, 1st edition, New York, 1985, black & white illustrations, author’s signed presentation inscription to Richard Adams inscribed to front free endpaper and dated 1990, bookplate of Richard Adams, original cloth in slightly soiled dust jacket, plus other natural history including field guides, many with Adams’s bookplate and some author signed, various bindings and sizes (85)

118 Campbell (Joseph). The Hero with a Thousand Faces, Bollingen Series, XVII, 1st edition, New York, 1949, author’s presentation copy to Richard Adams, inscribed to title page ‘In celebration of our meeting in friendship, as well as in the spirit - to Richard Adams, in admiration, with my warm regards and best wishes, Joseph Campbell, NY City 4/20/81’, original cloth, rubbed, 8vo, together with Spirit and Nature, papers from the Eranos Yearbooks, edited by Joseph Campbell, 1st edition, 1955, original red cloth gilt in dust wrapper, rubbed, 8vo, plus The Mythic Image, 1st edition, Princeton University Press, 1974, numerous colour and monochrome illustrations, original cloth in slightly frayed dust wrapper, large 4to, and The Way of the Animal Powers, volume 1, Historical Atlas of World Mythology, 1st edition, 1983, numerous colour and monochrome illustrations, author’s presentation inscription to title page, ‘For Richard Adams, Animal Master Supreme, with warm good wishes. Joseph Campbell, 9/15/84’, and with a photocopy of Richard Adams’ letter of thanks to Joseph Campbell, dated 23rd November 1984 loosely inserted, bookplate of Richard Adams to front pastedown, original cloth in dust wrapper, folio, plus others by Joseph Campbell, together with related works on mythology, jungian psychology, etc., all 20th century publications, many in dust wrappers, mostly 8vo

£150-200

116 Bowness (Alan, editor). Ivon Hitchens, with an introductory essay by T.G. Rosenthal, 1st edition, Lund Humphries, 1973, numerous tipped-in colour plates, original cloth, slightly marked, large 4to, together with Phillips (Hugh), Mid-Georgian London, a topographical and social survey of central and western London about 1750, 1st edition, 1964, numerous monochrome plates, bookplate of Elizabeth Adams to front pastedown, original cloth in dust wrapper, 4to, plus Chilton (Meredith), Harlequin Unmasked, The Commedia dell’Arte and Porcelain Sculpture, Yale University Press, 2001, numerous colour and some monochrome illustrations, original purple cloth in dust wrapper, 4to, VG, and other art and architecture reference, various, 4to/8vo (40)

£100-150

(37)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

£200-300

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119 Chambers (E.K.). The Elizabethan Stage, 4 volumes, Oxford University Press, 1967, original red cloth gilt in price-clipped dust wrappers, some minor marks and spines lightly faded, together with Vinaver (Eugene, editor), The Works of Sir Thomas Malory, 3 volumes, 2nd edition, OUP, 1967, original blue cloth gilt in priceclipped dust wrappers, a few marks and spines lightly faded, plus Margoliouth (H.M., editor), The Poems and Letters of Andrew Marvell, revised edition, 2 volumes, OUP, 1971, original blue cloth in frayed dust wrappers, and Pepys (Samuel), The Diary of Samuel Pepys, edited by Robert Latham and William Matthews, 11 volumes (complete), mixed editions, 1977-83, monochrome plates, original uniform green cloth gilt in dust wrappers, a few marks, plus other Shakespeare and 17th century English literary criticism, mostly original cloth in dust wrappers, 8vo, generally G/VG

122 [Doyle, Arthur Conan]. The Strand Magazine, An Illustrated Monthly, edited by George Newnes, volumes 1-6, 1891-93 & volume 38, 1909, black & white illustrations, includes some first appearances of Sherlock Holmes stories, original decorative cloth gilt, slightly rubbed and a little dampstained on spines, together with rebound duplicates of volumes 1-3, plus Punch, or the London Charivari, volumes 5-22, 98, 99, 102, 104-133, 135-142, 144-146, 167-193, 1843/1937, a broken run, volumes 5-22 rebound as pairs in modern cloth with red leather spine labels, remainder publisher’s original gilt-decorated red or blue cloth, volumes 168193 bound in pairs, some rubbing, occasional fraying, dust-soiling and staining, 4to

(55)

123 Folio Society. The Complete Greek Tragedies, 5 volumes, 2011, colour plates, original uniform cloth gilt in slipcase, large 8vo, together with other Folio Society publications, including Sherlock Holmes Complete Novels, 4 volumes, 1994, Sherlock Complete Stories, 5 volumes, 1993, C.S. Lewis, Chronicles of Narnia, 7 volumes, 1996, Katherine M. Briggs, Folk Tales of Britain, 3 volumes, 2011, Anton Chekhov, The Collected Stories, 4 volumes, 2010, etc., all original cloth gilt, mostly in slipcases, 8vo, VG

(78)

£200-300

120 Cruikshank (George, illustrator). German Popular Stories, edited by Edgar Taylor, with introduction by John Ruskin, London: John Camden Hotton, [1869], vignette to title and numerous vignette plates, occasional scattered spotting, top edge gilt, remainder untrimmed, original green quarter sheep, neatly rebacked retaining original spine, board edges slightly worn, 4to, together with Shute (E.L.), Over The Hill, illustrated by Jessie Watkins, Frederick Warne & Company, circa 1870, chromolithographic & monotone plates and illustrations, occasional spotting and minor marks, hinges repaired, bookplate of Richard Adams, original cloth-backed pictorial boards, rebacked, some soiling and wear, slim 4to, plus Anderson (Hans Christian), Stories and Fairy Tales, translated by H. Oskar Sommer, volume 1 only, George Allen, 1893, decorative titles, illustrations and initials, edges untrimmed, original gilt decorated cloth, spine darkened, 4to (large paper copy limited to 300 copies), and Farjeon (Eleanor), Martin Pippen in the Apple-Orchard, 8th impression, 1928, numerous colour plates by C.E. Brock, bookplate of Richard Adams, original pictorial cloth, 4to, plus other Victorian and early 20th century juvenile books, mostly original decorative cloth, 8vo & 4to (50)

(40)

£100-150

124 Johnson (Samuel). The Letters of Samuel Johnson, edited by R.W. Chapman, 3 volumes, Oxford University Press, reprinted 1984, original dark blue cloth gilt in glassine dust wrappers, 8vo, VG, together with Kilvert (Francis), Kilvert’s Diary, Selections from the Diary of the Rev. Francis Kilvert, edited by William Plomer, 3 volumes, reprinted 1971, original cloth in dust wrappers, a little frayed and spines lightly discoloured, with slipcase, plus Orwell (George), The Collected Essays, Journalism and Letters of George Orwell, 4 volumes, edited by Sonia Orwell and Ian Angus, 1st edition, 1968, bookplate of B.J. Collett to front pastedown of each volume, original blue cloth gilt in dust wrappers, and other 18th, 19th and 20th century English literary criticism and biographies, all 20th century publications, mostly original cloth in dust wrappers, 8vo, generally G/VG

£200-300

(100)

121 Cummings (E.E.). W, New York: Horace Liveright, 1931, original cloth-backed boards, some dust-soiling and spotting, slim folio, together with Macneice (Louis), Plant and Phantom, Faber & Faber, [1941], original cloth gilt, with slight dampstain at foot of spine, in dust jacket (torn in two pieces to spine), worn, slim 8vo, with Pound (Ezra), A Draft of XXX Cantos [& A Draft of Cantos XXXI-XLI], Faber & Faber, [1933 & 1935], together 2 volumes, edges rough trimmed, uniform black cloth gilt, slightly marked, 8vo, with Sackville-West (Vita), The Poets on the Poets - No. I, Andrew Marvell, edges rough trimmed, original yellow cloth gilt, slightly faded to spine, light mottling to upper board, slim 8vo, (limited edition on handmade paper 47/75, signed by Vita Sackville-West), together with other poetry and related by W.H. Auden, A.E. Housman, Laurie Lee, Louis Macneice, Edith Sitwell, Siegfried Sassoon, John Betjeman, Dylan Thomas, Philip Larkin & Seamus Heaney, etc. (97)

£100-200

£200-300

125 Kipling (Rudyard). Soldier Tales, reprinted November 1896, numerous black & white plates, one reattached, all edges gilt, original gilt-decorated blue cloth, 8vo, together with Captain’s Courageous, A Story of the Grand Banks, 1897, black & white plates, all edges gilt, original gilt-decorated cloth, a few minor marks, 8vo, with other titles by Rudyard Kipling including A Diversity of Creatures, 1917, Traffics and Discoveries, 1904, Actions and Reactions, 1909, etc. (31)

£200-300

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126 Long (A.L.). Memoirs of Robert E. Lee, His Military and Personal History embracing a large amount of information hitherto unpublished, J.M. Stoddart & Company, 1887, engraved portrait frontispiece, folding maps, etc., inner hinges cracked and slightly loosened, original dark green cloth gilt, rubbed, large thick 8vo, together with The Falling Flag, Evacuation of Richmond, Retreat and Surrender at Appomattox, by an officer of the rear-guard, New York, E.J. Hale & Son, 1874, bookplate of Edwin Howard Brigham to front pastedown, and near-contemporary autograph letter relating to the work tipped in to front endpaper, original decorated blue cloth gilt, a little rubbed to extreme corners, slim 8vo, plus other military history, particularly relating to the American Civil War, including Douglas Southall Freeman, R.E. Lee, 4 volumes, 1962-63, Official Military Atlas of the Civil War, Arno Press, 1978, etc., mostly original cloth in dust wrappers, mainly 8vo (60)

129 Seton (Ernest Thompson). Rolf in the Woods, 1911; The Book of Woodcraft and Indian Lore, 1912; Wild Animals at Home, 1913, 1st editions, monochrome plates and illustrations, a little minor spotting, Wild Animals half-title browned, previous owner signature, bookplate of Richard Adams, Rolf in the Woods rear hinge breaking, original cloth, some fading, Book of Woodcraft joints splitting and a few spots, 8vo, with 11 others by Seton, later printings etc, most with Richard Adams’s bookplates Ernest Thompson Seton (1860-1946), much influenced Robert BadenPowell with his book The Birch Bark Roll of the Woodcraft Indians (1906), was a pioneer in the founding of the Boy Scouts of America in 1910. After emigrating from England to Canada in 1866, he found solace studying and drawing animals as a means of escaping from his abusive father, who on his twenty-first birthday presented him with an invoice for all his childhood expenses, including the fee charged by the doctor who delivered him. He paid the bill and needless to say never spoke to his father again. Richard Adams said that he “derived a lot of help and comfort” from the books of Ernest Thompson Seton, saying “He didn’t dodge danger, fear, bloodshed and death. Just the contrary - on the straightforward physical level he laid it on with a trowel. He simply gave it to you perfectly straight.” This attitude to children’s literature was, Adams felt, much the best approach; he felt that in general children should not be deprived of the truth as they so often are: “This idea underlies the crushed hedgehog on the road in ‘Watership Down’, Bigwig in the snare and the gassing of the Sandleford warren recounted by Holly.” (Richard Adams, The Thorny Paradise, Writers on Writing for Children, edited by Edward Blishen, Kestrel Books, 1977, page 166). (14) £70-100

£100-150

127 Lockley (R.M.). The Private Life of the Rabbit, An account of the life history and social behaviour of the wild rabbit, Introduction by Richard Adams, Newton Abbot: Readers Union, 1976, numerous plates and illustrations, some marks and rubbing to front endpapers, bookplate of Richard Adams, original cloth, in dustjacket, some marks and short edge-tears, spine lightly faded, 8vo, together with twelve others by Ronald Lockley, eight with personal inscriptions to Richard Adams and/or his wife Elizabeth from the author (three with Adams’s bookplate), and one signed by the author

130 Stewart (J.I.M.). A Staircase in Surrey: The Gaudy; Young Pattullo; A Memorial Service; The Madonna of the Astrolabe; Full Term, 5 volumes, 1st editions (except fourth title 2nd impression), Gollancz, 1974-78, small hole to half-title of second book with loss of three letters to verso, first volume inscribed by the author for Richard Adams to half-title, the other four books signed by the author to full-title with his own printed name struck through, bookplate of Richard Adams to all front pastedowns, original cloth in dust jackets, closed tear to lower panel of first book, a little wear at foot of dust jacket spine to second book and some fading to spines of last two books, together with Byatt (A.S.), Still Life, 2nd impression, 1985, author’s presentation inscription to Adams inscribed to title, ‘Richard, with very best wishes and considerable gratitude. Vive la Nature Morte! Antonia, April 27th 1989’, original cloth in dust jacket, plus Lively (Penelope), City of the Mind, 1st edition, 1991, signed by author to title, original cloth in dust jacket, all 8vo, plus other mostly modern British hardback fiction in dust jackets, authors including P.D. James, Ursula Le Guin, John Braine, Barbara Vine, Anita Brookner, Kingsley Amis, etc.

‘The Private Life of the Rabbit’, first published in 1964, played a crucial part in shaping the behaviour and character of Hazel, Fiver, Bigwig and their rabbit friends and enemies in ‘Watership Down’. In the introduction to this edition of Lockley’s work Adams describes his subsequent realisation that he knew very little about the life and habits of rabbits, and so he searched for an informative book, happening, with good fortune, upon Lockley’s work: “I quickly discovered not only how little I myself had hitherto known about ‘the rabbit wild and free,’ but also how little his true nature had been understood by the world in general. From Ron Lockley I learned that rabbits (as Strawberry protests to General Woundwort) had dignity and ‘animality’ - the quality corresponding to ‘humanity’ in men and women.” The two authors subsequently became friends and in 1977 Adams made Lockley one of the characters in his third novel ‘The Plague Dogs’. Later, in 1982, they went on a two month expedition together in the Antarctic. The resulting book, ‘Voyage Through the Antarctic’, was a collaboration between the two men. Adams said of their friendship “I can’t recollect that we ever had a disagreement.” (13) £100-150

128 Postcards. An album containing 125 mostly transport-related postcards, mostly early to mid 20th century, including steam locomotives, civil and fighter aircraft including some real photos, all corner mounted in a contemporary cloth album, old soiling and dampstaining, folio, together with a second album containing 68 corner-mounted mostly photographic postcards of Edwardian actresses and beauties, some postally used, contemporary clothbacked decorative boards, soiled and worn, narrow folio, plus an album containing 36 printed Victorian In Memoriam cards, circa 1860s/1880s, various designs but mostly printed in black and white, single and folded card specimens, mounted two or four to a page on album leaf rectos, many leaves blank, contemporary morocco, worn, covers detached and spine deficient, oblong folio, plus a fourth album containing approximately 240 window-mounted cigarette cards, subjects including sport, film, maritime and natural history, contemporary cloth, worn, small folio (4)

Each lot is subject to a Buyer’s Premium of 19.5% (Lots marked * 23.4% inclusive of VAT @ 20%)

(130)

£100-150

88

£200-300


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131 Wilson (Angus). The Middle Age of Mrs Eliot, 1st edition, 1958, ownership signature of Richard Adams dated 1958 and his bookplate, additionally inscribed by the author in blue ballpoint pen for Richard Adams to the title-page and dated July 1984, original cloth in dust jacket, slightly browned and soiled to lower panel, together with Graves (Robert), Good-Bye to All That, An Autobiography, 1st edition, [2nd impression], 1929, plates including portrait frontispiece, original cloth gilt, a little soiled and faded on spine, plus Orwell (George), Nineteen Eighty-Four, 1st edition, 1949, bookplate of Richard Adams, original cloth, spine lettered in red, slightly spotted and soiled, spine and extremities faded, plus Williamson (Henry), Salar the Salmon, 1st edition, 1935, all edges gilt, bookplate of Richard Adams, modern crushed green morocco gilt by Bayntun Riviere, a little faded on spine, all 8vo, plus other British hardback literature and related including some first editions, many in frayed dust jackets, authors including Siegfried Sassoon, Graham Greene, Anthony Powell, Richard Jefferies, Richmal Crompton and A.A. Milne, some books with Adams’s bookplate

134 Patrick (Symon). The Parable of the Pilgrim: Written to a Friend, 4th edition, 1673, lacking A1 (blank), early ink inscription dated 1784 to title, some marginal fraying and dust-soiling, a few ink marks, modern mottled calf with red morocco title label to spine, 4to, together with Aesop, Fables, of Aesop and other Eminent Mythologists: with Morals and Reflections, by Sir Roger L'Estrange, 2 volumes, mixed editions, 1714 & 1715, engraved frontispieces to each, some spotting and light dampstaining, contemporary panelled calf, volume 1 rebacked, joints to volume 2 cracked and weak, 8vo, with Hogarth (William), The Genuine Graphic Work of William Hogarth, Consisting of 160 Engravings, Faithfully Copied from the Originals, by Thomas Crook, London: Thomas Tegg, 1812, engraved portrait frontispiece, numerous engraved plates, scattered spotting throughout and a few plates torn with repairs, contemporary half calf, morocco title label to spine, lower joint cracked and upper board detached, large 4to, plus other 17th-19th century antiquarian including literature, theology & history

(60)

(70)

£150-200

132 Miscellaneous Literature, including works by Richard Adams in foreign languages, paperback editions, etc. (200)

£100-200

133 Salmon (William). Polygraphice; or The Arts of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming, Second Edition, with many large additions, printed by E.T. & R.H. for R. Jones, 1673, additional engraved title by William Sherwin (dated 1672), title printed in red and black, 10 (of 15) engraved plates only, lacks two leaves of text: B5 and B6 (pages 9-12), the following two leaves with fore-margins trimmed, some occasional ink marks, later 18thcentury half calf, gilt spine, rubbed to joints and edges, 8vo, together with Book of Common Prayer, and Administration of the Sacraments, and other Rites and Ceremonies of the Church, Cambridge, Joseph Bentham, 1759, bound with Whole Book of Psalms, Cambridge, 1754, at rear, all edges gilt, marbled endpapers, contemporary gilt-decorated red full morocco, rubbed and some marks, 8vo, plus The Life of Petrarch. Collected from Memoires pour la Vie de Petrarch, 2 volumes, 1775, engraved frontispiece to first volume, ownership signature of Lord Rawcliffe to head of title of each volume, some light spotting to preliminary leaves, contemporary calf, later reback, 8vo, and other miscellaneous antiquarian interest, all 18th and 19th century, leather bound, mainly 8vo (80)

£200-300

89

£200-300


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INDEX Adams, R. Aldin, C. Austen, J. Betjeman, J. Bewick, T. Bible Blythe, R. Boswell, J. Braine, J. Bronte, C. Browne, T. Browning, R. Carroll, L. Clare, J. Coleridge, S.T. De La Mare, W. Dickens, C. Dodgson, C.L. Eliot, G. Eliot, T.S. Faulkner, W. Gibbon, E. Gibson, C.D. Gilbert, W.S. Golden Cockerel Press Golding, W. Grahame, K. Hardy, T. Harris, J.L. Hawkins, J. Housman, A.E. Hughes, T.

Jefferies, R. Johnson, S. Kingsley, C. Kipling, R. Lang, A. Lear, E. Lee, L. Lockley, R.M. Lofting, H. Marryat, F. Milne, A.A. Milton, J. Morris, W. Owen, W. Rackham, A. Reade, C. Sassoon, S Shakespeare, W. Shelley, P.B. Sterne, L. Stevenson, R.L. Tennyson, A. Thackeray, W.M. Trollope, A. Wain, L. Walton, I. White, G. Woolf, V. Wordsworth, W. Yeats, W.B.

108-111 84 32 99 22 1,2 100 16,17 101 33, 34 3 55 71, 72 28-31 24 85, 86 41-51 71, 72 35-40 93 94 19 79 60, 61 91 102-104 76, 77 57, 58 80 5 92 73

91

59 9, 11-15, 18 63-65 75, 125 81 74 105, 106 127 88 66 87 8, 10 70 89 82, 83 62 90 6, 7 27 20 67-69 56 52 53, 54 78 4 21 95 25, 26 96-98


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SALE INFORMATION All lots are offered subject to the Conditions of Sale and Business exhibited in the saleroom and printed at the back of this catalogue. For full terms and conditions of sale please see our website or contact the auction office. A buyer’s premium of 23.4% of the hammer price is payable by the buyers of all asterisked lots, except those lots not marked with an asterisk, in which case the buyer’s premium is 19.5%. Artist’s Resale Rights Law (Droit de Suite). Lots marked with AR next to the lot number may be subject to Droit de Suite. For further details see Information for Buyers at rear of catalogue. BIDDING Bidding in Person: Customers are asked to pay cash or establish a credit with the Auctioneers prior to the sale. Payment may be made while the sale is in progress: please see the cashier in the auction office. For all other payment arrangements please refer to information at the end of the catalogue. Online Bidding: Live online bidding is available at the-saleroom.com and invaluable.com.

Commission Bids: Commission bids may be submitted for this sale in a number of different ways: T: +44 (0) 1285 860006 F: +44 (0) 1285 862461 E: info@dominicwinter.co.uk Via our website www.dominicwinter.co.uk Please ensure that all commission bids reach us by 10am on the morning of sale. Telephone Bids: Telephone bids only accepted for lots with estimated value greater than £300 and should reach us by 9am on the morning of sale.

LOCATION LOCAL TAXI SERVICES Brian’s Cabs - Cirencester 01285 655299 / 07980 579947 V-Cars – Swindon 01793 701701

Catalogue Produced by Jamm Design – 020 7424 7830 info@jammdesign.co.uk 92

Photography by Marc Tielemans - 07710 974000 marc@tielemans.co.uk


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INFORMATION FOR BUYERS AFTER THE AUCTION Online Results: If you weren’t present or able to follow the auction live, you can find results for the sale on our website shortly after the sale has ended. Payment: The price you pay is the amount at which the auctioneer’s hammer falls (the hammer price), plus a buyer’s premium (a percentage of the final hammer price) and vat where applicable. You will be issued with an invoice made out to the name and address provided on your registration form. Please note successful bids made via live bidding cannot be invoiced or paid for until the day after an auction. A live bidding fee of 3% + vat will be added to your invoice.

METHODS OF PAYMENT Cheque: Cheques will only be accepted on the day of the sale by prior arrangement (please contact our office for further information). Cheques by post will be accepted but a period of 5 working days will be required for the cheque to clear before purchases can be collected or posted. Cash: Payments can be made at the Cashier’s Office, either during or after the sale. Debit Card: There is no additional charge for purchases made with debit cards in the UK. All card payments drawn on an overseas bank, however, will be subject to a 2% surcharge. Credit Cards: We accept Visa and Mastercard, to which a 2% surcharge will apply. It is advisable to let your card provider know in advance if you are intending to purchase. This reduces the time needed to obtain authorisation when the payment is made. Bank Transfer: All transfers must state the relevant invoice number. If transferring from a foreign currency, the amount we receive must be the total due after the currency conversion and the deduction of any bank charges. Note to Overseas Clients: All payments must be made by bank transfer only. No card payments will be accepted unless by special prior arrangements with the auctioneers. Collection/Postage/Delivery: If you attend the auction in person and are successful in your bid, you are free to collect your item once payment has been made. Successful commission or live bids will be invoiced to you the day after the sale. When it is possible for our in-house packing department to send your purchase(s), a charge for postage/packing/insurance will be included in your invoice. Where it is not possible for our in-house packing department to send your item you will be required to make your own arrangements or to contact Mailboxes etc (tel: 01793 525009) who may be able to help. We provide a monthly delivery service to Central London, usually on Wednesday of the week following an auction. Payment must be received before this option can be requested. A charge will be added to your invoice for this service.

ARTIST'S RESALE RIGHT LAW ("DROIT DE SUITE") Lots marked with AR next to the lot number may be subject to Droit de Suite. Droit de Suite is payable on the hammer price of any artwork sold in the lifetime of the artist, or within 70 years of the artist's death. The buyer agrees to pay Dominic Winter Auctioneers Ltd. an amount equal to the resale royalty and we will pay such amount to the artist's collecting agent. Resale royalty applies where the Hammer price is 1,000 Euros or more and the amount cannot be more than 12,500 Euros per lot. The amount is calculated as follows: Royalty For the Portion of the Hammer Price (in Euros) 4.00% up to 50,000 3.00% between 50,000.01 and 200,000 1.00% between 200,000.01 and 350,000 0.50% between 350,000.01 and 500,000 Invoices will, as usual, be issued in Pounds Sterling. For the purposes of calculating the resale royalty the Pounds Sterling/Euro rate of exchange will be the European Central Bank reference rate on the day of the sale. Please refer to the DACS website www.dacs.org.uk and the Artists’ Collecting Society website www.artistscollectingsociety.org for further details.

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CONDITIONS OF SALE AND BUSINESS 7. Any representation or statement by the Auctioneer in any catalogue, brochure or advertisement of forthcoming sales as to authorship, attribution, genuineness, origin, date, age, provenance, condition or estimated selling price is a statement of opinion only. Every person interested should exercise and rely on his own judgement as to such matters and neither the Auctioneer nor his servants or agents are responsible for the correctness of such opinions. No warranty whatsoever is given by the Auctioneer or the seller in respect of any lot and any express or implied warranties are hereby excluded.

1. The Seller warrants to the Auctioneer and the buyer that he is the true owner or is properly authorised to sell the property by the true owner and is able to transfer good and marketable title to the property free from any third party claims. 2. (a) The highest bidder to be the buyer. If during the auction the Auctioneer considers that a dispute has arisen he has absolute authority to settle it or re-offer the lot. The Auctioneer may at his sole discretion determine the advance of bidding or refuse a bid, divide any lot, combine any two or more lots or withdraw any lot without prior notice. (b) Where goods are bought at auction by a buyer who has entered into an agreement with another or others that the other or others (or some of them) shall abstain from bidding for the goods and the buyer or other party or one of the other parties is a dealer (as defined in the Auction Biddings Agreement Act 1927) the buyer warrants that the goods are bought bona fide on joint account.

8. (a) Notwithstanding any other terms of these conditions, if within fourteen days of the sale the Auctioneer has received from the buyer of any lot notice in writing that in his view the lot is a deliberate forgery and within fourteen days after such notification the buyer returns the same to the Auctioneer in the same condition as at the time of the sale and satisfies the Auctioneer that considered in the light of the entry in the catalogue the lot is a deliberate forgery then the sale of the lot will be rescinded and the purchase price of the same refunded. "A deliberate forgery" means a lot made with intention to deceive. (b) A buyer's claim under this condition shall be limited to any amount paid to the Auctioneer for the lot and for the purpose of this condition the buyer shall be the person to whom the original invoice was made out by the Auctioneer.

3. The buyer shall pay the price at which a lot is knocked down by the Auctioneer to the buyer (“the hammer price”) together with a premium of 19.5% of the hammer price. Where the lot is marked by an asterisk the premium will be subject to VAT at 23.40% which under the Auctioneer’s Margin Scheme will form part of the buyer’s premium on our invoice and will not be separately identified (the premium added to the hammer price will hereafter collectively be referred to as “the total sum due”). By making any bid the buyer acknowledges that his attention has been drawn to the fact that on the sale of any lot the Auctioneer will receive from the seller commission at its usual rates in addition to the said premium of 19.5% and assents to the Auctioneer receiving the said commission.

9. Lots may be removed during the sale after full settlement in accordance with 4(d) hereof. 10. All goods delivered to the Auctioneer's premises will be deemed to be delivered for sale by auction unless otherwise stated in writing and will be catalogued and sold at the Auctioneer's discretion and accepted by the Auctioneer subject to all these conditions. In the case of miscellaneous books, the Auctioneer reserves the right to extract and dispose of books that, in the opinion of the Auctioneer at his absolute discretion, have no saleable value and, therefore, might detract from the saleability of the rest of the lot and the Auctioneer shall incur no liability to the seller, in respect of the books disposed of. By delivering the goods to theAuctioneer for inclusion in his auction sales each seller acknowledges that he/she accepts and agrees to all the conditions.

4. (a) The buyer shall forthwith upon the purchase give in his name and permanent address and pay to the Auctioneer immediately after the conclusion of the auction the total sum due. (b) The buyer may be required to pay down during the course of the sale the whole or any part of the total sum due, and if he fails to do so after such request the lot or lots may at the Auctioneer's absolute discretion be put up again and resold immediately. (c) The buyer shall at his own expense take away any lot or lots purchased no later than five working days after the auction day. (d) The Auctioneer may at his own discretion agree credit terms with a buyer and extend the time limits for collection in special cases but otherwise payment shall be deemed to have been made only after the Auctioneer has received cash or a sterling banker’s draft or the buyer's cheque has been cleared.

11. (a) Unless otherwise instructed in writing all goods on the Auctioneer's premises and in their custody will be held insured against the risks of fire, burglary, water damage and accidental breakage or damage. The value of the goods so covered will be the hammer price, or in the case of unsold lots the lower estimate, or in the case of loss or damage prior to the sale that which the specialised staff of the Auctioneer shall in their absolute discretion estimate to be the auction value of such goods. (b) The Auctioneer shall not be responsible for damage to or the loss, theft, or destruction of any goods not so insured because of the owner’s written instructions.

5. (a) If the buyer fails to pay for or take away any lot or lots pursuant to clause 4 or breaches any other condition of that clause the Auctioneer as agent for the seller shall be entitled after consultation with the seller to exercise one or other of the following rights: (i) Rescind the sale of that or any other lots sold to the buyer who defaults and re-sell the lot or lots whereupon the defaulting buyer shall pay to the Auctioneer any shortfall between the proceeds of that sale after deduction of costs of re-sale and the total sum due. Any surplus shall belong to the seller. (ii) Proceed for damages for breach of contract. (b) Without prejudice to the Auctioneer's rights hereunder if any lots or lots are not collected within five days or such longer period as the Auctioneer may have agreed otherwise, the Auctioneer may charge the buyer a storage charge of £1.00 + VAT at the current rate per lot per day. (c) Ownership of the lot purchased shall not pass to the buyer until he has paid to the Auctioneer the total sum due.

12. The Auctioneer shall remit the proceeds of the sale to the seller thirty days after the day of the auction provided that the Auctioneer has received the total sum due from the buyer. In all other cases the Auctioneer will remit the proceeds of the sale to the seller within seven days of the receipt by the Auctioneer of the total sum due. The Auctioneer will not be deemed to have received the total sum due until after any cheque delivered by the buyer has been cleared. In the event of the Auctioneer exercising his right to rescind the sale his obligation to the seller hereunder lapses.

6. (a) The seller shall be entitled to place a reserve on any lot and the Auctioneer shall have the right to bid on behalf of the seller for any lot on which a reserve has been placed. A seller may not bid on any lot on which a reserve has been placed. (b) Where any lot fails to sell, the Auctioneer shall notify the seller accordingly. The seller shall make arrangements either to re-offer the lot for sale or to collect the lot and may be asked to pay a commission not exceeding 50% of the selling commission and any special expenses incurred in cataloguing the lot. (c) If such arrangements are not made within seven days of the notification the Auctioneer is empowered to sell the lot by auction or by private treaty at not less than the reserve price and to receive from the seller the normal selling commission and special expenses.

13. In the case of the seller withdrawing instructions to the Auctioneer to sell any lot or lots, the Auctioneer may charge a fee of 12.5% of the Auctioneer's middle estimate of the auction price of the lot withdrawn together with Value Added Tax thereon and any expenses incurred in respect of the lot or lots. 14. The Auctioneer’s current standard notices and information (i.e. Collation and Amendments) will apply to any contract with the Auctioneer as if incorporated herein. 15. These conditions shall be governed by and construed in accordance with English Law.

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# Saleroom and Offices: Mallard House, Broadway Lane, South Cerney, Gloucestershire GL7 5UQ Tel: 01285 860006 Fax: 01285 862461

COMMISSION SLIP Please Bid on my behalf at the sale on 14 December 2017 up to the amount shown. I acknowledge that I will be required to pay a buyer's premium at the current rate.

Lot ÂŁ Brief Description ______________________________________________________________________________________

Name: Address

Telephone: Email:

Fax:

Postage can be arranged for most purchases. For UK and European customers we use DPD (formerly Parceline) or Royal Mail: a separate charge is added to the invoice (minimum ÂŁ15) and parcels are despatched as soon as possible after payment has been received. All framed and glazed items and all lots for overseas customers outside Europe will be sent to Mail Boxes Etc. (tel: Swindon 01793 525009) or R.F. Shipping (tel: London 0845 873 6240). Both of these companies will quote and invoice separately. Please note: DWBA invoices must be paid before consignments are handed to third party shipping companies.


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Dominic Winter  

The Library of Richard Adams | 14 December 2017 | Hi Res