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The Library of Barry Humphries (at Forum Auctions)
This is a live online auction with auctioneer. For details on registration, bidding, viewing & condition reports, click “Important information” link.
The auction features a remarkable array of books, manuscripts, works on paper and objets from the extensive library of the legendary comedian, actor, author, and satirist Barry Humphries (1934-2023).
Bidding is available online via your Dreweatts Live account, by telephone or by commission bids through Dreweatts, or in person at Forum Auctions. Please contact Dreweatts to register all commission bids or telephone bids by 12 noon GMT the day before the auction.
Viewing by appointment at Forum Auctions: 4 Ingate Place, London SW8 3NS | www.forumauctions.co.uk. To book an appointment, please email: info@forumauctions.co.uk or call +44 (0) 20 7871 2640.
Auction dates
Mar 26, 2025 01:00 PM GMT
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Featured lots
There are 243 lots within this auction
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181
θ Swain (E. G.) Stoneground Ghost Tales. Compiled from the Recollections of The Reverend Roland Batchel Vicar of the Parish, first edition, very light marginal toning, original pictorial cloth, light rubbing to spine tips and corners, else fine, dust-jacket, priced at 3/6 on spine, ink numbering to front flap, spine darkened, head of spine and corners chipped, light creasing to head, some light marking to upper panel, splitting to upper joint, extremities a little rubbed, an excellent example, preserved in custom chemise and slip-case, [Tymn 3-238], 8vo, Cambridge, W. Heffer & Sons, 1912. ⁂ Rare in the dust-jacket, we can trace no like example at auction in the last 70 years. This collection is dedicated to M. R. James.
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182
θ Mann (Thomas) Der Tod in Venedig , twelfth edition, lightly browned, long inscription in German dated 9 January 1914 and signed "L" to front free endpaper, bound in crushed red goatskin, covers with title in gilt and large letters of "Tod" to upper cover and "V" of "Venedig" to lower in dark blue onlays, both within Art Nouveau border of swirly ornaments with spirals interspersed with pairs of onlaid dark blue hearts along outer edges and across spine, double gilt fillet to turn-ins, g.e., marbled endpapers, spine rubbed and faded with old repairs, joints split, 8vo, Berlin , 1913. ⁂ Bound by or in the style of Henry van de Velde (1863-1957), Belgian artist, architect and designer, and one of the founders of Art Nouveau in Belgium. He spent much of his career in Germany and when this binding was created was working at the Weimar School of Applied Arts.
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λθ Spare (Austin Osman) The Book of Pleasure (Self-Love), The Psychology of Ecstasy, first edition, illustrations by the author, many full-page, original cloth, rubbing to extremities, slight fraying to spine tips and corners, folio, Co-operative Printing Society, 1913.
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184
θ Aussourd (René, binder ).- France (Anatole) Ce Que Disent Nos Morts , limited edition, with signed presentation leaf from the author "A Monsieur Jean Masselin, pour les morts glorieux dont le souvenir lui est cher, pour les proches et pour lui/ un vieux français Anatole France 12 Octobre 1916" tipped in at beginning and part of the envelope addressed by France mounted on stub at end, extra-illustrated with two tipped-in engraved portraits and one mounted photograph of France bound in, plates and illustrations by Bernard Naudin, bound in maroon goatskin, by René Aussourd , upper cover inlaid with design of shaped panel containing tan goatskin label titled in silver surmounted by flaming torch and with ribbons to sides in orange, brown, grey, pink & purple goatskin, spine titled in gilt with five raised bands, gold and purple brocade doublures and linings, turn-ins ruled in gilt with gilt wreaths to corners and inlaid flower and leaves to sides, signed at foot of front turn-in, marbled endpapers, original marbled wrappers bound in (paper label to upper cover), g.e., very slight rubbing to spine, board slip-case a little rubbed, 4to (binding c.320 x 240mm.), Pari s, 1916. ⁂ René Aussourd (d.1968) learned bookbinding from his uncle Charles Meunier and also worked for Chambolle-Duru before establishing his own studio. His bindings were generally classical in design.
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185
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1
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2,000 - 3,000 GBP
θ van Dongen (Kees).- Badreddine-el-Bass Raoui (Hassan) Conte des 1001 Nuits , translated by J.-C.Mardrus, number 272 of 200 copies on Hollande van Gelder, from an edition limited to 310, decorative title, 7 pochoir plates coloured by J.Saudé and numerous illustrations by Kees van Dongen, with the 4 censored erotic plates bound at end, some light offsetting, small stain to corner of first censored plate, bound in dark blue goatskin, by M.Burkhart , upper cover onlaid with two birds in natural and tan calf against a sky tooled with stars in gilt and desert horizon in blind at foot across both boards, spine titled in gilt with stars, original wrappers with pochoir illustrations bound in (spine rubbed and torn, repaired), uncut, board slip-case (slightly rubbed), 4to (binding c.335 x 260mm.), Paris , [1918]. ⁂ The first book illustrated by van Dongen, in an attractive binding.
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1,500 - 2,000 GBP
Fuller (Henry Blake) Autograph manuscripts of 2 short stories, 1 poem and 1 essay, all unpublished , comprising "Juvenilitas", 40pp. recto only in blue ink, slight fraying to first leaf, inscription in author's hand "40 sheets. 3,750 words" on first sheet, unbound , n.d.; "A Visitor of Distinction", 40pp. recto only in brown ink on ruled paper, sewn at upper corner, trimmed leaf attached to first page and signed by the author "Henry Blake Fuller, Oconomowoc, Wis. 12,000 words", [c.1880]; "Our Wedding Trip", 40 lines across 10 stanzas on 2pp. bifolium, recto only, signed by the author on first page "H.B. Fuller, 51 Hancock Street, Boston", unbound, folds, n.d.; "The Story of a Panic", 7pp. in brown ink, first 5 ff. recto only, last f. recto and verso, sewn at top left corner, signed by the author on first page "H.B. Fuller, 2426 Michigan Av. Chicago" on first page and initialled at end, folds, n.d., a few erasures and corrections, housed in individual lettered folding chemises and morocco-backed drop-front box, v.s. ⁂ An excellent collection of unpublished works by one of the earliest established American authors to explore homosexuality in fiction. While Fuller achieved some measure of fame in his native Chicago during his lifetime, he was subsequently largely forgotten, until his novel Bertram Cope's Year was republished in 1998 to critical acclaim. Fuller's works have continued to generate a large amount of critical attention in the modern era and he has achieved posthumous recognition as an important contributor to gay literature. The present works, in particular the two short stories, show Fuller at his best, filled with sardonic wit and personal charm.
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[Fuller (Henry Blake)] Autograph manuscript comprising the first four chapters of an unfinished novel, 77pp., in black ink on ruled paper, recto only, numbered in pencil at head, some occasional light creasing or chipping to extremities, original limp cloth-backed boards, spine broken and contents loose, chapter divisions in the author's hand to upper cover, chipping with loss and some rudimentary repairs, preserved in folding chemise and custom morocco-backed drop-back box, 8vo , n.d. ⁂ The opening portion of an apparently abandoned novel bearing the hallmarks of Fuller's keen eye and wit. Fuller manuscripts are exceptionally rare at auction.
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![Fuller (Henry Blake) 5 A.L.s. and 1 T.L.s. from Fuller to Llewellyn Jones, [c.1918-26]](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/5bb4d0a5-8d99-4055-9af9-b299011d6f3b.jpg?h=175)
Fuller (Henry Blake) 5 A.L.s. and 1 T.L.s. from Fuller to Llewellyn Jones , 6pp. on recto only, with 4 envelopes, folds, preserved in limp folder and custom slip-case, 8vo & 4to, [c.1918-26]. ⁂ "I dislike meeting English novelists: they never know who I am... Even Carl Van Doren in "The American Novel", which includes almost everybody, leave me out." A charming group of letters from Fuller to the literary editor of the Chicago Evening Post, Llewellyn Jones (1884-1961). Other than bemoaning (in good humour) his own lack of fame, Fuller thanks Jones for favourable reviews, presumably for his novels On the Stairs and Bertram Cope's Year. Letters by Fuller are rare, we can trace no other examples at auction.
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1,000 - 1,500 GBP
θ Chimot (Édouard).- Baudu (René) Les Après-Midi de Montmartre , out-of-series copy from an edition limited to 170, this copy on large paper signed and inscribed by the artist "Exemplaire d'auteur Chimot" and with additional states of the plates bound in at end, also inscribed by the artist to Daniel Sickles , 10 etched plates and 4 illustrations by Édouard Chimot, all with captioned tissue guard, with additional states of 8 of the etchings bound at end (most in two states, one in three and two in one), mostly on japon, all initialled or signed by Chimot, two with colours, bound in green goatskin, by G[ermaine] Schroeder , upper cover with abstract design of overlapping circular black goatskin onlays at top and bottom outlined in gilt and connected by wavy gilt lines on left hand side, spine titled in gilt at foot on extended black onlay, black silk moiré doublures and linings, t.e.g., others uncut, spine and edges rubbed and faded, particularly upper joint, folio (binding c.335 x 225mm.), Paris , [1919]. ⁂ The artist's copy of this moving account of the prostitutes of Montmartre describing and illustrating their lives with references to drink and drug abuse. Chimot's inscription reads, "Je suis heureux de dedicacer a Monsieur Daniel Sickles ce livre, commencé en 1913, et terminé après la guerre avec mes souvenirs sympathique Chimot". Sickles was a notable bibliophile and collector. Germaine Schroeder (1889-1983), French bookbinder, one of several women binders of the time inspired by the modernist abstract style of Pierre Legrain.
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![Otto Schoff (1884-1938), Lady seated in a fur coat, pencil and watercolour, [c.1920]](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/d24ab83d-a71f-40ea-82b2-b299011d6410.jpg?h=175)
Otto Schoff (1884-1938) Lady seated in a fur coat Watercolour over pencil, heightened with white, image 150 x 130 mm (5 7/8 x 5 1/8 in), under glass, presented in an ornate antique Italian carved gilt wood frame, [ circa 1920s] ⁂ Considered a degenerate artist by the Nazis, Schoff was subjected to increasing reprisals from 1935 onwards, and was prohibited from painting and exhibiting. Amongst other subjects, Schoff produced erotic and idyllic works and depictions of carefree male and female homosexuality.
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![λ Jacob Epstein (1880-1959) , Two nude women (Sunita), black chalk, pencil, [c.1920]](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/10300405-cd8f-402b-97b5-b299011d255f.jpg?h=175)
λ Jacob Epstein (1880-1959) Two nude women (Sunita) Black chalk, pencil, signed in the lower left corner, image 465 x 545 mm (18 1/4 x 21 1/2 in), under glass, minor damp-stains and toning to sheet, framed , [ circa 1920] Provenance: Stern Pissarro Gallery, London ⁂ The drawing depicts a Kashmiri Indian woman named Amina Peerbhoy (and probably her sister too), who was one of Epstein’s most cherished models. Epstein first encountered her at the British Empire Exhibition in Wembley in 1924 and quickly bestowed upon her the nickname Sunita.
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![λ Jean Cocteau (1889-1963), Portrait de Georges Auric, tête de profil, pen and black ink, [c.1920]](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/d6cb3c43-dd16-41d1-ab70-b299011cedc6.jpg?h=175)
192
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1,500 - 2,500 GBP
Jean Cocteau (1889-1963) Portrait de Georges Auric, tête de profil Pen and black ink, pencil, stamped with artist's monogram in the lower right corner, 233 x 208 mm (9 1/8 x 8 1/4 in), under glass, expert repair to lower left corner, framed, [ circa 1920] Provenance: The artist's estate; Liliane & Etienne Saint-Georges Exhibited: Paris, Centre Georges Pompidou, Jean Cocteau, au fil du siècle , September 2003 to January 2004 ⁂ Georges Auric was a member of Les Six, a group of avant-garde composers informally associated with Cocteau and Eric Satie. By the time he was 20, he had already composed and orchestrated music for numerous ballets and theatrical performances. Additionally, he enjoyed a prolific and esteemed career as a composer for film.
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θ Waller (Pickford Robert) A sketchbook with over 180 pp. of original drawings, designs, studies of ornament, interiors, and cuttings , including studies of birds and animals, flowers, furniture, ornament sketches for architecture, candlesticks, art nouveau design, and some internal studies of various rooms in Buckingham Palace, pen and inks, watercolours, printed cuttings, the cuttings all neatly tipped onto album leaves, the drawing executed directly onto the album leaves, each leaf approx. 92 x 152 mm (3 5/8 x 6 in), some light offsetting in places, minor surface dirt, Waller's bookplate to front pastedown, original crushed brown half morocco, gilt, spine gilt in compartments, in crushed brown half morocco drop-back box replicating binding, g.e., oblong 8vo, [circa 1900-1920s]. ⁂ Pickford Waller (1849-1930) was an artist, illustrator and designer of bookplates, wallpapers and fabrics in the Art Nouveau style. He was a friend of Whistler and James Guthrie of the Pear Tree Press, for whom he worked on several books
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194
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1
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1,000 - 1,500 GBP
θ Magron (Dominique Jouvet).- Baudelaire (Charles) IX poèmes des Fleurs du mal, one of 30 copies printed on japon and signed by the artist , 39 drypoints on 40 leaves by Dominique Jouvet Magron heightened with gold and colours, 2 splash marks below half-title, a clean copy otherwise, crushed black morocco, by Yseux, rubbing to joints, t.e.g., others uncut, 4to, [probably Paris], [1920s]. ⁂ A rare and superb suite of illustrations by the idiosyncratic French artist. One of two series by the artist inspired by the Fleurs du Mal (see next lot).
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1,000 - 1,500 GBP
θ Magron (Dominique Jouvet).- Baudelaire (Charles) Les VI poèmes des Fleurs du Mal condamnées en 1857 , number 6 of 30 copies printed on Japon and signed by the artist , 39 drypoints on 20 leaves by Dominique Jouvet Magron incorporating text and illustrations heightened in colours and gold, loose as issued in original batik folder and slip-case (slightly rubbed at edges), preserved in modern morocco-backed board folder by Devauchelle, 4to, [probably Paris] , [c.1930].
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196
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1
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2,500 - 3,500 GBP
θ Blanchetière (Henri, binder ).- Baudelaire (Charles) Les Fleurs du Mal , one of 12 copies on Japon Impérial , from a deluxe edition limited to 24 for Librairie Blaizot, with an original signed drawing in pen & ink and crayon , etched portrait of the author in 2 states and 41 etched plates by Lobel-Riche, one in 6 states and the rest in 4 states (2 with remarques), 2 plates with an additional original ink sketch, one with an original watercolour drawing, and one unused plate in 2 states, bound in dark purple-brown goatskin with coloured inlays, by Henri Blanchetière , upper cover with naked figure outlined in silver with inlaid snake in green goatskin and large climbing floral spray in various colours, lower cover with cat in profile outlined in silver above a smaller inlaid floral spray in coloured goatskins, spine lettered in gilt with 4 raised bands, the larger centre compartment with inlaid lyre and flowers in coloured goatskin and tooled in silver, dark red goatskin doublures edged with inlaid floral border in colours, signed at foot of front turn-in dated 1923, dark red silk moiré linings, marbled flyleaves, original wrappers bound in, g.e., very slight rubbing to spine, board slip-case (rubbed), 4to (binding c.380 x 285mm.), Paris , 1917 [but 1921]. ⁂ A sumptuous work issued in celebration of the fiftieth anniversary of Baudelaire's death. In addition to these 24 deluxe copies, 200 were issued on papier vélin for members of the Cercle Grolier. Henri Blanchetière (1881-1933), was a follower of Marius-Michel, at first using Art Nouveau floral designs but later developing a more modern geometrical style.
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θ Vaillant (Jean, binder ).- France (Anatole) Les Sept Femmes de la Barbe-Bleue et Autres Contes Merveilleux, number 60 of 70 copies on Japon with 3 states of the plates ( one state in black, some plates on chine), from an edition limited to 1200, hand-coloured plates and illustrations by G.A.Mossa, bound in crushed blue goatskin, by Jean Vaillant , covers with frame of onlaid leafy olive green goatskin outlined with swirling geometric border composed of 5 narrow parallel lines in gilt, spine titled in gilt between compartments of olive green leafy onlays and four raised bands, blue goatskin doublures with elaborate ornamental gilt dentelles containing birds, flowers and suns within thin strip of red goatskin and gilt rules, signed "Flammarion Vaillant" at foot of front doublure, marbled endpapers and flyleaves, t.e.g., others uncut, preserved in half blue goatskin chemise (spine slightly darkened) and marbled board slip-case (a little rubbed at edges), 8vo (binding c.255 x 175mm.) Paris , 1921. ⁂ Jean Vaillant (1885-1947) worked as a binder for his uncle the publisher Ernest Flammarion.
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θ Farge (Henri).- Verlaine (Paul) Les Amies. Scene d'Amour Sapphique. Sonnets, one of 200 copies on Arches, signed presentation inscription from Henri Farge to René Philipon on half-title, Autograph Letter signed by Verlaine tipped in at front along with pen and ink portrait by Farge , pen and ink with watercolour drawing by Farge tipped onto leaf following the poem "Sappho", 7 tipped in plates by Henri Farge, light browning and slight marginal damp-staining to endpapers, vellum, gilt, by Yseux de Thierry-Simier, light marking to upper cover, scuffing to spine tips and corners, g.e., folio, Paris, 1921. ⁂ René Philipon (1869-1936), author and collector, possible subject of the Farge portrait.
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θ Kieffer (René, binder ).- Louÿs (Pierre) Aphrodite . Moeurs Antiques , number 385 of 500 copies on Arches, from an edition limited to 580, colour plates with captioned tissue guards and illustrations by Antoine Calbet , bound in dark blue goatskin, by René Kieffer , covers with inlaid pictorial panel of coloured goatskins depicting naked lady with a mirror outlined in gilt within elaborate gilt borders, spine gilt with red goatskin labels, signed at foot of front turn-in and with ticket, original wrappers bound in, t.e.g., others uncut, spine slightly rubbed, board slip-case (slightly rubbed), 4to (binding c.335 x 260mm.), Paris , 1923.
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![θ Pellar (Hans) Eight original book illustrations for 'Der verliebte Flamingo' [together with] a …](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/bf28dca7-0494-4027-9694-b299011db78d.jpg?h=175)
200
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6,000 - 8,000 GBP
θ Pellar (Hans) Eight original book illustrations for 'Der verliebte Flamingo' [together with] a published copy of the first edition of the book , pencil, watercolour wash, some gold heightening, each signed in pencil and dated between 1919 and 1922, on card, various sizes between 145 x 295 mm (5 3/4 x 11 1/2 in) and 270 x 280 mm (10 1/2 x 11 in), each laid onto mounts with "cobweb" tissue guards, loose, circa 1919 to 1922; Der verliebte Flamingo, introduction by Max Krell, first edition , one of 150 copies , 10 hand-coloured plates, original wrappers, the front cover printed with a design in blue and gold, 1923, all housed together in near-contemporary pink velvet drop-back box with grey velvet inlay all decorated in gilt and central painted circular vellum disk (some light staining and fading to box, some splitting to joints and head and foot, contained within marbeled card drop-back box and modern pink velvet drop-back box with upper cover in imitation of the published work, large 4to. ⁂ A beautiful collection of original drawings for Pellar's privately published erotic masterpiece . The Austrian artist Hanns Pellar, renowned for his unique Art Nouveau aesthetic, gained recognition for his use of graceful lines, intricate decorative motifs, and a frequent focus on mythological and allegorical themes. In 1911, he was invited by the Grand Duke of Hessen to join the Künstlerkolonie in Darmstadt, where he primarily focused on portraiture, earning acclaim among a select group of art connoisseurs. Pellar’s works often depicted high-society women adorned in lavish attire, celebrated for their vivid creativity and radiant quality. His contributions to art were deeply rooted in the Jugendstil movement, which flourished in Austria and Germany during the late 19th and early 20th centuries. This movement mirrored artistic trends elsewhere in Europe, including the Arts and Crafts movement in Britain and the Art Nouveau styles prominent in France and Belgium.
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1,500 - 2,000 GBP
θ Forster (E.M.) A Passage to India, one of 200 copies signed by the author , title printed in red and black, additional spine label tipped onto rear endpaper, very light browning to endpapers but a clean copy internally, bookplate of Rowland Burdon Muller, original cloth-backed boards, paper label to spine, very light browning to label and head of covers, light rubbing to spine tips and corners but a sharp and excellent example overall, t.e.g., others uncut, preserved in folding chemise and green morocco-backed slip-case (with dent to foot of spine), [Kirkpatrick A10a], 8vo, Edward Arnold & Co., 1924. ⁂ A lovely example of one of Forster's most acclaimed novels, winner of the 1924 James Tait Black Memorial Prize.
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202
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1
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1,500 - 2,000 GBP
θ van Dongen (Kees).- Leclère (Paul) Venise Seuil des Eaux , number 219 of 250 on Hollande, from an edition limited to 316, 10 pochoir plates from watercolours by Kees van Dongen coloured by Saudé , tissue guards, original printed wrappers with colour illustration, uncut, glassine wrapper, a couple of small spots to lower cover, preserved in modern soft grey chemise and bright blue calf drop-back box, by Peartree, upper cover onlaid with white goatskin flying seagulls, white goatskin label lettered in blue to spine, 4to, Paris , 1925.
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1,500 - 2,000 GBP
θ van Dongen (Kees).- France (Anatole) La Révolte des Anges , number 70 of 225 copies on Vélin Lana, colour lithograph frontispiece and illustrations by Kees van Dongen, bound in dark purple goatskin, by Rameau , upper cover inlaid and onlaid with entwined naked couple in blue and lilac goatskin, spine titled in white, original wrappers printed in gold bound in, uncut, board slip-case, [Artist & the Book in France p.343; Manet to Hockney 126], 4to (binding c.370 x 285mm.), Paris , 1951. ⁂ The lithographs were printed by Mourlot Frères, each colour on a separate stone.
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θ Mercier (Daniel-Henri, binder ).- Morand (Paul) Fermé la Nuit , number 19 of 370 copies, from an edition limited to 407, 5 colour etchings and many illustrations by Jules Pascin, some double-page, bound in intersecting rectangular blocks of dark blue, green, purple and black goatskin, by Daniel-Henri Mercier , with 5 plastic coloured vertical strips lettered "Pascin" onlaid on covers (3 to upper, 2 to lower), upper cover with author's name in blind curving across at head, spine titled in green and gilt, purple or japanese paper doublures and endpapers, signed at foot of front turn-in, original glazed red wrappers bound in, g.e., preserved in half dark blue goatskin chemise and slip-case, small 4to (binding c.245 x 200mm.), Pari s, 1925.
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θ Sauvage (Sylvain).- Samain (Albert) Contes : Xanthis, Divine Bontemps, Hyalis, Rovere et Angisele, one of 20 copies on Japon impérial with an original drawing, an unused plate, and additional suites of plates (one of the colour decompositions, another in sanguine of the principal plate), from an edition limited to 271, printed in red & black, 25 colour copper-engraved plates by Sylvain Sauvage , bound in dark blue goatskin, by J.Trinckvel , covers with wide border of onlaid fawn strips with green leaf and small red circles of goatskin at corners between thick gilt fillets, spine titled in gilt with similar onlaid compartments and four raised bands, brown goatskin doublures with triple gilt fillet border , front doublure inset with one of the original copper plates and signed at foot, original wrappers bound in, t.e.g., others uncut, very slight rubbing to spine, board slip-case (a little rubbed), 8vo (binding c.260 x 180mm.), Paris , 1926.
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θ Vertès (Marcel).- Carco (Francis) L'Amour Vénal , 2 vol., hors commerce copy on hollande van Gelder for the artist André Dignimont with 2 additional suites of drypoints (on hollande and chine), from an edition limited to 95 copies, drypoint plates and illustrations by Marcel Vertès, with a signed original pen & ink drawing to front free endpaper and a photograph of the author , loose as issued in original printed wrappers, uncut, glassine wrapper, with one board of folder only, additional suites and another suite of trial proofs loose as issued in pink glazed board folder with ties, rebacked, together in board slip-case (a little rubbed), 4to, Paris , 1926.
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![θ Vertès (Marcel).- Colette [ (Sidonie-Gabrielle)] La Vagabonde, one of 25 hors de commerce, this …](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/77645afd-2e08-426d-9749-b299011d24ce.jpg?h=175)
207
θ Vertès (Marcel).- Colette [ (Sidonie-Gabrielle)] La Vagabonde, one of 25 hors-de-commerce copies, this copy on Japanese vellum with and additional 5 drawings by Vertès in black and coloured chalks bound at front, plates by Vertès in 3 states, moiré silk flyleaves, forest-green goatskin, by Lapersonne, spine lettered in gilt, purple goatskin doublures and linings, slight rubbing to corners, g.e., half green goatskin chemise (spine rubbed and slightly darkened) and slip-case, 4to, Paris , 1927.
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1
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1,000 - 1,500 GBP
Deane (active 1920s) Woman with muff Pen and black ink, grey wash, reddish-brown ink, signed and dated in the upper left corner, sheet 294 x 157 mm (11 1/2 x 6 1/8 in), under glass, 4 small pinholes, some minor spotting and light surface dirt, tipped onto original backing, framed, 1926 Provenance: Josef Lebovic Gallery, Sydney ⁂ The influence of Aubrey Beardsley, despite his short life, was profound and his contribution to the development of the Art Nouveau and poster styles was still to be seen well into the 20th century. The artist of the present drawing is yet to be truly revealed, however possible illustrators include Elsie Deane, a Canadian artist working the in the 1920s, and somewhat less likely, Hugh Deane, active in the 1930s and 1940s.
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209
Quantity
1
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Estimate
3,000 - 4,000 GBP
θ Gregynog Press.- Thomas (Edward) Selected Poems , number 5 of 25 specially-bound copies , from an edition limited to 275, printed on Japanese vellum and lined in blue, wood-engraved title device in blue and initials in red, bound in crushed blue morocco, gilt, by George Fisher at the Gregynog Press Bindery to a design by R.A.Maynard , covers with three vertically interlacing diamonds formed by leafy fronds attached to double gilt fillet border with gilt line and ornament, spine titled in gilt with five raised bands and gilt ornament to head and foot, Cockerell marbled endpapers, signed by Maynard and Fisher on rear turn-in, t.e.g., others uncut, [Harrop 6], 8vo, Newtown, Gregynog Press , 1927 . ⁂ The first book from the press to be printed on Japanese vellum. "The book was an immediate success, all copies being subscribed for within a month of publication". (Harrop p.42)
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θ Crosby (Harry) Red Skeletons , number 17 of 33 copies on Japon Impérial , from an edition limited to 370, printed in red & black, 9 colour plates by Alastair with captioned tissue guards, later crushed burgundy morocco, by Sangorski & Sutcliffe, covers with single gilt fillet, spine panelled and lettered in gilt with five raised bands, t.e.g., others uncut, with original printed wrappers bound in, 4to, Paris, Editions Narcisse , 1927. ⁂ Scarce work by the eccentric author and publisher Harry Crosby, an expatriate American who led an extravagant and decadent lifestyle in Paris during the 1920s. With his wife he founded the publishing company Editions Narcisse, later renamed the Black Sun Press, which issued high quality limited editions of the works of notable authors. This particular work is scarce due to Crosby destroying the 84 remaining copies by burning or shooting at them.
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211
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1
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1,000 - 1,500 GBP
θ Chimot (Édouard).- Magre (Maurice) Les Belles de Nuit , letter R of 22 special large paper copies on Japon ancien with the etchings in 4 states (one colour), 4 additional etchings in 4 states, a signed original drawing, and a signed pencil sketch with 6 trial prints , from an edition limited to 468, etchings by Édouard Chimot, bookplates of René Ravaud and Dr. Amand Fonder, bound in dark blue goatskin, by Clovis Lagadec , spine titled and elaborately tooled in gilt with small inlaid red roses around central inlaid figure of naked woman in stockings in tan and grey goatskin, original wrappers bound in, t.e.g., others uncut, very slight rubbing to edges and short crack to head of upper joint, 4to (binding c.335 x 255mm.), Paris , 1927.
⁂ Clovis Lagadec worked for Paul Bonet as one of his specialist binders, and in 1927 he was judged to be the finest binder in Paris.
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θ Chimot (Édouard).- Magre (Maurice) Les Belles de Nuit , number 50 of 75 copies on Japon impérial with the etchings in 4 states (one with remarques) and a signed original drawing, from an edition limited to 468, etchings by Édouard Chimot, some colour, bound in grey goatskin, by Charles Septier , spine titled in gilt with four raised bands, blue, black & silver brocade doublures and flyleaves, turn-ins with two rows of double gilt fillets interspersed with inlaid flower heads in dark red goatskin, signed at foot of front turn-in, marbled endpapers, original wrappers bound in, t.e.g., board slip-case (slightly rubbed), tall 8vo (binding c.290 x 200mm.), Paris , 1927.
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θ Chimot (Édouard).- Margueritte (Victor) La Garçonne , out-of-series copy from an edition limited to 330, this copy with an original signed drawing in pencil & crayons and the plates in 2 states , colour plates by Édouard Chimot, some light foxing, with 3pp. A.L.s. from the author to an unknown recipient concerning ?Fernand Kolney in purple ink tipped in at beginning, bound in crimson goatskin, by Trinckvel, spine titled in gilt with two raised bands, crimson silk moiré doublures and linings, turn-ins with thick rule in gilt, signed at foot of front turn-in, original wrappers bound in, t.e.g., others uncut, spine faded, board slip-case (rubbed), 4to (binding c.310 x 255mm.), Paris , 1936.
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214
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1
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2,500 - 3,000 GBP
θ Cather (Willa) Death Comes for the Archbishop, one of 50 copies signed by the author and printed on Japanese vellum, from an edition limited to 225 , original gilt-stamped vellum parchment boards, a little yellowed with some foxing, t.e.g., others uncut, preserved in custom vellum-backed drop-back box with spine lettered and decorated in gilt in imitation of book spine, large 8vo, New York, 1927. ⁂ One of Cather's most popular novels, Death of an Archbishop sold over 80,000 copies in its first two years.
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215
θ Douglas (Norman) In the Beginning, limited edition signed by the author, signed presentation inscription "For dear Peggy [Guggenheim]. Small return for much whisky from Norman. Capri, Christmas, 1947 " to front free endpaper, ink ownership inscription of Peggy Guggenheim to half-title, light scattered foxing, light browning to endpapers, contemporary cloth-backed patterned boards, remains of label to upper cover, light toning to covers, light wear to corners, housed in custom morocco-backed slip-case, 8vo, [Florence], Privately Printed, 1927. ⁂ A lovely association copy with a charming inscription . Guggenheim knew Douglas through a number of mutual friends, most notably the photographer Kenneth Macpherson.
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Armor Bronze Co. (1920s) Pair of Art Deco bookends of nudes perched on a rock Bronze, with white-greenish patina in places, both inscribed and dated to reverse, each 195 x 100 x 70 mm (7 3/4 x 3 7/8 x 2 3/4 in), 1927 (2)
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1
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Estimate
2,000 - 3,000 GBP
θ Gérard (Manuel, binder ).- Baudelaire (Charles) Les Fleurs du Mal , number XLIV of 50 copies on Japon Impérial , from an edition limited to 353, mounted colour self-portrait of the author, 33 hand-coloured plates by Mariette Lydis all signed in pencil, tipped in facsimile plate, bound in black goatskin inlaid in various colours, by Manuel Gérard , upper cover with design of evil face surrounded by flames formed by blind rules with inlaid goatskin eyes, lips and wavy strips in red, green, orange and purple, spine titled in gilt, dark red calf doublures, black silk moiré linings, marbled flyleaves, original wrappers bound in, g.e., with half black goatskin chemise and painted board slip-case (rubbed and split at edges, crudely repaired with tape), 4to (binding c.330 x 260mm.), Paris , 1928.
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218
θ Meyrink (Gustav) The Golem , translated by Madge Pemberton, first American edition , frontispiece, Boston Public Library bookplate to front pastedown, original purple cloth lettered in black, light rubbing and slight fading to spine tips and corners, dust-jacket by E. McKnight Kauffer, light discolouration to spine, spine ends and corners chipped, affecting one letter of imprint, short tear to head of upper joint, split to head of upper fore-edge, light rubbing to extremities, a very good example overall, 8vo, Boston and New York, 1928. ⁂ Meyrink's first novel, a classic supernatural work of German Expressionism, set in the Prague ghetto.
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![θ [Ricketts (Charles)],](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/d2b684b8-c543-40ac-8ab0-b299011d530b.jpg?h=175)
219
θ [Ricketts (Charles)], "Jean Paul Raymond" . Beyond the Threshold, first edition, [one of 150 copies] , 5 plates by Charles Ricketts, original crimson morocco, elaborately ruled and blocked in gilt to a design by Charles Ricketts, signed at foot, spine gilt, t.e.g., others uncut, light rubbing to spine tips and corners, an excellent copy otherwise, preserved in custom morocco-backed drop-back box by Sangorski & Sutcliffe/ Zaehnsdorf, large 8vo, privately printed at the Curwen Press , [1929].
⁂ Dialogues of the dead between Flaubert, Nietzsche and Oscar Wilde, amongst others.
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1
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1,200 - 1,800 GBP
θ Woolf (Virginia) On Being Ill, one of 250 copies signed by the author, this one of 25 "preliminary state" copies , woodcut illustration on final f., light browning to endpapers, original vellum-backed cloth, light fading to covers, uncut, [Kirkpatrick A14; Woolmer 245], 8vo, Leonard and Virginia Woolf at the Hogarth Press, 1930. ⁂ This one of the rare so-called preliminary state copies, likely given out to friends of the Woolfs with the limitation corrected from 125 to 250 and with "out of series" note in Leonard Woolf 's hand in purple ink in place of the number. "The preliminary state probably comprises 25 copies which were distributed free, probably without a dust jacket" - Kirkpatrick.
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1
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3,000 - 4,000 GBP
θ Cretté (Georges, binder ).- Louÿs (Pierre) Les Aventures du Roi Pausole , 2 vol., number 34 of 99 copies on Arches with 2 sets of plates (one set with remarques and one set of 15 unused plates), this copy also with 2 original pen & ink drawings mounted and bound in , one signed by the artist, 74 dry-point plates and illustrations by Marcel Vertès, bookplate of Col. Harry Vinckenbosch, magnificently bound in blue goatskin, gilt, by Georges Cretté , tooled with all-over geometric lotus design formed by sweeping parallel lines in gilt and extending across spine, spine with title and crown in silver, tan suede doublures and linings, original wrappers bound in, additional suites bound in blue goatskin, spine with title and crown in gilt, g.e., both signed at foot of front turn-in, g.e., with half blue goatskin chemises (spines very slightly faded) and board slip-cases (a little rubbed at edges), 4to (binding c.330 x 270mm.), Paris , 1930. ⁂ A stunning binding by one of the most skilled French bookbinders of the 20th century. "Georges Cretté (1893–1969) studied at the Ecole Étienne in Paris and served until 1925 as lead finisher for Henri Marius-Michel (1846–1925), who was widely considered the founder of modern French bookbinding. Cretté, who signed his bindings “ G. Cretté successeur de Marius Michel ,” gradually abandoned the floral Art Nouveau aesthetic in favor of crisp geometric Art Deco designs that often incorporated inlays of metal, ivory, enamel, or exotic skins. One of the hallmarks of his style was his faultless use of gold fillets, which earned him the nickname ' maître des filets'." (Britwell Library Special Collections).
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1
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1,500 - 2,000 GBP
θ Rilke (Rainer Maria) Duineser Elegien; Elegies from the Castle of Duino, translated by V. & Edward Sackville-West, first edition in English, one of 230 copies, on handmade Maillol-Kessler paper and signed by the translator s, text in English and German, designed by Count Harry Kessler, printed in red and black in Edward Johnston italic cut by E.Prince & G.T.Friend, wood-engraved initials by Eric Gill, bookplates of Viscount Esher and Walter and Dorothy Donnelly to front free endpaper and pastedown, original vellum-backed boards, light soiling to spine, covers a little browned at head, t.e.g., others uncut, [Cross & Ravenscroft-Hulme A25; Woolmer 268], 8vo, printed at the Cranach Press for the Hogarth Press, 1931.
⁂ A very good copy of this handsome production, the first published English translation of this collection that ranks among Rilke's most significant work.
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1,000 - 1,500 GBP
θ Rilke (Rainer Maria) Poems , translated by J.B. Leishman, first English edition, initialled presentation inscription from the translator to John Everett Butt , some soiling to later pages, original cloth, light toning to spine, slight fraying to spine tips and corners, housed in cloth chemise, Hogarth Press , 1934; with 5 Autograph Letters., 1 Autograph Card and 1 Typed Letter, all signed from Stephen Spender, 2 Typed Letters signed from Margaret West and 4 Typed Letters signed from Leonard Woolf (one signed per procurationem) all to Leishman , house together in chemise and both chemises in custom morocco-backed slip-case, 8vo . ⁂ An excellent series of letters that chart much of Leishman's efforts publishing his translations of Rilke and his famous collaboration with Stephen Spender on Duino Elegies . The letters from Woolf and West, dated from 18th July 1933 - 6th June 1935, show Woolf as initially hesitant, stating in July 1933, "I am afraid that my experience with Rilke, and with publications of poetry, indicates that they could only be published at a loss". Indeed, a month later and horrified at the actions of the Nazi regime, Woolf considered a complete abandonment " The more I think about the present situation in Germany, the more barbarous does the behaviour of the Government seem to me, and I feel that I do not want to have any personal or business relations with those who support or tolerate it ." (in reference to Rilke's German publisher Insel-Verlag). Woolf clearly changed his mind (or was forced to by his contract) and publication continued. The Spender letters (undated though probably 1937-38) cover the initial proposal of a collaboration (" I am extremely interested in the idea of collaborating with you to translate the Duineser Elegien and thank you for the suggestion. In fact I would like to do so very much.") as well as comments on translations of the first two elegies.
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2,000 - 3,000 GBP
θ Lanoë (Charles, binder ) .- Carco (Francis) Quelques-une , number 22 of 120 copies on Arches, etched plates and illustrations by Louis Legrand, this copy bound for Henri Vever with an original drawing, an additional suite of plates, prospectus and one of the original copper plates inset into front inside cover , with Autograph Letter signed from Legrand to Vever loosely inserted, occasional light foxing to main text, bound in splendid russet brown goatskin tooled in gilt, by Charles Lanoë to a design by Jules Chadel , covers tooled with all-over design of large circles outlined in small gilt dots around a small ornament in gilt & blind, the intervening spaces filled with small inlaid black goatskin shapes tooled in gilt within frames in blind, rows of gilt dots and gilt and blind fillets running across top and bottom of boards, spine with title and ornaments in gilt and ruled in blind, rear doublure tan calf, borders with similar decoration, "Ex Libris Henri Vever" to foot of front turn-in, signed by Chadel and Lanoë at rear, original wrappers bound in, g.e., preserved in half russet brown goatskin chemise (spine slightly faded) and board slip-case (a little rubbed), 4to (binding c.290 x 235mm.), Paris , 1931. ⁂ Superb binding by Charles Lanoë (1881-1959), who worked for both Charles Meunier and Petrus Raban.
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1
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1,500 - 2,000 GBP
θ Baudelaire (Charles) Les Fleurs du Mal, Pièces Condamnées , number 83 of 250 copies on Arches, from an edition limited to 257, unique copy with 21 original watercolours by Emilien Dufour illustrating text, 37 original black ink preliminary sketches of which 7 full-page, replacing the illustrations usually in the published book, frontispiece signed and others initialled by the artist, a few with watercolour, mounted on blank leaves bound in at end, some titled in pencil by the artist, tissue guards, bound in vellum with signed watercolour by Dufour to both covers, by René Kieffer with his ticket, depicting a naked woman lying amongst waves to upper cover and heads of two women to lower, spine titled in black, t.e.g., others uncut, board slip-case (slightly rubbed), folio (binding c.390 x 290mm.), Paris , 1931. ⁂ Emilien Dufour (1896-1975), French painter and illustrator.
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1
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2,000 - 3,000 GBP
Eugéne Robert Pougheon (1886-1955) Sheet of studies for 'Les Captives' Charcoal, coloured chalks, watercolour, 455 x 575 mm (17 7/8 x 22 3/4 in), under glass, some minor rubbing and light surface dirt, framed [ circa 1932] ⁂ Traditionally understood to relate to Pougheon's 'Les Captives', a painting presented at the Salon des Artistes Français in 1932, and recorded in the tapestry at the National School of Aubusson in 1933. Eugène Robert Pougheon pursued his artistic education at both the Ecole des Beaux-Arts and the Ecole des Arts Décoratifs in Paris. His talent earned him a silver medal at the Paris Salon in 1927, followed by a gold medal in 1929. Throughout his career, Pougheon maintained close ties with the artists of the Bordeaux school, including Jean Dupas, René Buthaud, Jean Gabriel Domergue, Raphael Delorme, Jean Despujols, and Alfred Janniot. These artists, and Pougheon himself, became closely associated with the Art Deco movement; the influences of which are apparent in the solidity and monumentality of the figures depicted in the studies for 'Les Captives'.
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1
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2,000 - 3,000 GBP
θ Gershwin (George) George Gershwin's Song-Book, first trade edition, signed presentation inscription from the author/composer to is sister Frances Gershwin and her husband Leopold Godowsky Jr. with a self-portrait to front free endpaper, frontispiece portrait of Gershwin, musical notation throughout, illustrations by Constantin Alajalov, some marginal browning to endpapers, photographs of the Gershwins' mother and father (the latter inscribed "mom's father" on verso) loosely inserted, original cloth, some chipping and fraying to spine tips and corners, rubbing to extremities, preserved in folding chemise and custom morocco-backed slip-case with spine lettered in gilt, 4to, New York , 1932. ⁂ A lovely association copy of this classic collection containing some of the most celebrated American music of the 20th century. Frances Gershwin (1906-1999) was a Broadway performer, singer, musician and artist, she married Leopold Godowsky Jr. (1900-1983), the co-inventor of Kodachrome colour photography and son of the famous pianist and composer.
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228
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1
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2,000 - 3,000 GBP
θ Gershwin (George) Porgy and Bess, An Opera in Three Acts, one of 250 copies signed by George Gershwin, DuBose Heyward (librettist), Ira Gershwin (lyricist) & Rouben Mamoulian (director) , colour frontispiece and illustration on title by George Biddle, original red morocco, black morocco label on upper cover and morocco labels to spine sympathetically renewed with additional spares loosely inserted, bookplate of Gus Kahn to front pastedown, spine a little rubbed and darkened, t.e.g., original straw-covered board slip-case (some light wear to extremities), preserved in custom morocco-backed drop-back box, large 4to, New York, Random House, 1935. ⁂ An association copy, from the collection of the lyricist Gus Kahn (1889-1941) a frequent collaborator with Ira and George Gershwin.
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θ Gill (Eric).- Shakespeare (William) The Tragedy of Hamlet , Prince of Denmark , one of 1500 copies signed by the artist, wood-engraved pictorial title and illustrations by Eric Gill , bound in black goatskin, by Bayntun-Rivière of Bath, upper cover with "Hamlet" inlaid in red goatskin letters, spine titled in gilt with five raised bands, marbled endpapers, t.e.g., others uncut, 8vo, [New York], printed by Hague and Gill for Members of the Limited Editions Club , 1933 .
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230
Emmanuel-Joseph Orazi (1860-1934) Le crépuscule du soir’, an original illustration from the 1934 edition of Baudelaire’s ‘Les Fleurs du Mal’ Watercolour and bodycolour, black chalk, signed 'Manuel Orazi' in pencil in the lower right corner, image 195 x 138 mm (7 3/4 x 5 3/8 in), under glass, framed , [ circa 1934] Illustrated: Baudelaire (Charles) & Emmanuel-Joseph Orazi, Les fleurs du mal, Le Vasseur et Cie éditeur, Paris, 1934, first edition illustrated by Orazi ⁂ Other examples of original artwork and designs for dust jackets by Orazi are held in the Museum of Fine Arts, Boston.
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θ White (Patrick) The Ploughman and other poems, first edition, one of 300 copies, woodcut illustrations by L. Roy Davies, small patch of browning to half-title, ink inscriptions to front endpapers, newspaper clipping tipped onto rear pastedown, light browning to endpapers, original cloth, slight fading to spine, light rubbing to extremities, housed in calf-backed, drop-back box, 8vo, Sydney, 1935. ⁂ The author's scarce first published book.
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232
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1
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2,000 - 3,000 GBP
White (Patrick) Five Autograph and three Typed Letters and one Autograph Card all signed from the author to Barry Humphries , 16pp., 8vo, 20 Martin Road, Centennial Park, Sydney, 24 August 1970 - 7 October 1973, folds, housed along with 2 envelopes in folding chemise and morocco-backed drop-back box . ⁂ An excellent series of letters from the Nobel Prize-winning author, giving his reactions to reviews of his works, his dislike, and campaigns against, the rapid urbanisation of Sydney, his life with Manoly Lascaris and his opinions on various Australian cultural figures. Letters by White are rare at auction. The letters cover the period during which White was writing The Eye of the Storm , the reactions to which White dissects in some detail, " In the Observer a jealous outpouring from another Cape novelist (whose work I admire) in which I think I can detect the hand of Clive James... I also had a blistering, but reasoned review from Tom Rosenthal in the TLS. He sent it to me himself, which I appreciated." Several cultural figures from Australia and elsewhere are discussed including the poet and critic Max Harris ( "a vulgar little turd" ), the agent and promotor Harry Miller, A.D. Hope, Peter O'Shaughnessy (acknowledged only in expletive) and Ingmar Bergmann. Throughout White is warm and supportive towards Humphries both in his personal life and career. The period also finds White involved in the campaign to preserve Centennial Park against encroaching development, a cause to which he attempts to recruit Humphries: "At the moment, however, the rally in the park seem to be without a rallying point, and it occurred to me that Edna and Norm might be just that, if you are willing ", even asking him to contact John Betjeman and Spike Milligan to support the cause. The final letter is written a little after the opening of the Sydney Opera House and, despite several reservations (" One hears hair-raising tales of what goes on behind the scenes: lightening controls too hot to handle... lavatory bowls collapsing under leading actors, and actressess unable to force their costumes down the corridors. A possum appeared on stage at the dress rehearsal of War and Peace "), White suggests that he and Humphries attend at Christmas.
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θ Blackwood (Algernon) Shocks!, first edition, original black cloth lettered in gilt, fine, dust-jacket priced at 7/6, spine ends and corners chipped, short closed tears to foot of lower joint, head of upper joint and head of upper fore-edge, a few short nicks to head and foot, ink stamp to foot of lower panel, light surface soiling, rubbing to extremities, a very good copy, [Tymn 3-35], 8vo, Grayson & Grayson, 1935. ⁂ A classic collection of supernatural tales by Blackwood in the wonderfully atmospheric dust-jacket.
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![θ Waugh (Evelyn) Decline and Fall [&] Viles Bodies [&] A Handful of Dust [&] Black Mischief, …](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/0afb124f-d57f-482c-a1ee-b299011d0399.jpg?h=175)
Quantity
1
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Estimate
10,000 - 15,000 GBP
θ Waugh (Evelyn) Decline and Fall [&] Viles Bodies [&] A Handful of Dust [&] Black Mischief , together 4 vol., each number 3 of 12 large-paper copies signed and numbered by the author , contemporary blue morocco, spines a little darkened, t.e.g., others uncut, Chapman and Hall, 1937; and a copy of the Glen Horowitz catalogue for the Library of Michael M. Thomas, housed in calf-backed drop-back box to almost match the set, large 8vo (5) ⁂ A superb set of this rare limited edition, likely the only such set to exist. Waugh requested this series to be printed in conjunction with the third, reset, trade editions. Most copies were presented individually to close friends and family, however this set was presented, in its entirety, to Thomas Balston, director of the publishers Duckworth and Co. who had given the young Evelyn his first break in the literary world, when he gave him a £50 advance for his biography of Rossetti.
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236
Quantity
1
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Estimate
1,500 - 2,000 GBP
θ Waugh (Evelyn) The Ordeal of Gilbert Pinfold, first edition, one of c.50 large-paper copies, signed presentation inscription from the author to "Andrew & Debo [Cavendish] with love from Evelyn. July 19. 1957 " to front free endpaper, bookplate of Deborah Devonshire to front pastedown, original red cloth, slight fading to spine, spine tips a trifle bumped, large 8vo, 1957. ⁂ One of an unspecified number of large- paper copies that Waugh kept for private distribution. Andrew and Deborah Cavendish, later the Duke and Duchess of Devonshire, were friends and drinking companions of Waugh's. Andrew Cavendish was a member Waugh's gentlemen's club, White's .
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237
θ Jepson (Edgar) Memories of an Edwardian and Neo-Georgian, first edition, initialled presentation inscription from the author to John Gawsworth "Modern Civilization has all the stimulation of ozone from a fried fish shop" to front free endpaper , additionally signed by Arthur Machen (below his portrait facing p. 60) , M.P. Shiel (as "Matthew R[ex]" on p. 242) , Frederick Carter (below his portrait of Ford Madox Ford facing p. 262) and Henry Savage (on p. 279), pencil note below each inscription and to rear pastedown in Gawsworth's hand, frontispiece working loose, plates, some scattered spotting, original cloth, some slight bumping and fraying to spine tips and corners, dust-jacket, spine browned, spine ends and corners chipped, light toning and surface soiling to panels, extremities rubbed, preserve in custom folding chemise and slip-case, 8vo, 1937. ⁂ A fine presentation copy of a scarce book in its rare dust-jacket.
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θ Tyrrell (James R.) Old Books, Old Freinds, Old Sydney, first edition , frontispiece, plates, 20th century crushed brown morocco with pictorial tan inlay with black, brown, blue, grey, white and green morocco replicating frontispiece image within a gilt ruled border, spine gilt in compartments, g.e., preserved in custom morocco-backed drop-back box, 4to, Sydney , 1952.
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θ Nabokov (Vladimir) Poems, first edition, author's copy with his posthumous book label "From the Library of Vladimir Nabokov. Palace Hotel Montreux Switzerland" to front pastedown, original cloth, very slight shelf-lean, slight bumping to spine tips, dust-jacket, creasing to head and foot, otherwise excellent, preserved, along with CD titled "Nabokov Speaks" in custom blue half morocco drop-back box, 8vo, New York , 1959.
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![θ [Betjeman (John)],](https://portal-images.azureedge.net/auctions-2025/drewea1-10544/images/ce08e96e-64da-40c2-8dec-b299011d13ca.jpg?h=175)
240
Quantity
1
Max bid
GBP
Estimate
1,000 - 1,500 GBP
θ [Betjeman (John)], "Deirdre O'Betjeman" . Some Immortal Hours. A Rhapsody of the Celtic Twilight Wrought in Word & Water Colour , number VII of VIII copies for presentation from an edition limited to 20 copies, signed and hand-coloured by the author, signed presentation inscription from the author to foot of final f. "To Stephen [Spender] with love from John B. - to U.C.S. from an old Cholwileian" , hand-coloured illustrations and decorations, upper corner of first sheet darkened, some light surface creasing, each sheet numbered in pencil on lower corner, loose as issued, housed in later card portfolio and preserved (along with charming photograph of the author and Barry Humphries striding along a London street), in green morocco-backed drop-back box, folio, John Murray, 1962 [but February 1963]. ⁂ An exceptionally rare Betjeman item, inscribed from the Poet Laureate to his close friend Stephen Spender. Humphries, Spender and Betjeman were all close and the present volume (gifted from Spender to Humphries) is a testament to the closeness of the trio . Betjeman's inscription references the alma maters of the two poets, Spender having attended University College School and Betjeman Highgate School (the two schools being located either side of Hampstead Heath).
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θ Whittington Press.- Pringle (Roger, editor ) A Garland for the Laureate : Poems presented to Sir John Betjeman on his 75 th birthday, number 6 of 75 copies signed by all the contributors , from an edition limited to 350, signatures of contributors on verso of half-title, title with wood-engraved floral border by Miriam Macgregor, with black & white photograph of Barry Humphries with Betjeman loosely inserted, original morocco-backed marbled boards, uncut, slip-case, Stratford-upon-Avon, printed by the Whittington Press for the Celandine Pre ss, 1981 § Dowson (Ernest) A Bouquet , chosen by Desmond Flower, number 5 of 95 copies signed by the editor and artist, this copy signed and inscribed by the editor "Barry Humphries' copy with compliments and warm regards Desmond Flower" on front free endpaper, pochoir illustrations by Miriam Macgregor, original morocco-backed boards, uncut, slip-case, Andoversford, Whittington Press , 1991, 4to (2) ⁂ The contributors to the first include Kingsley Amis, Philip Larkin, Stephen Spender, and Ted Hughes.
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