PRINTS

3pp., 12mo. Good, on lightly-aged paper. A friend of Lupton's 'has just arrived from Paris with a few choice matters, among others is as I understand an extraordinary Collection of Autographs'. Lupton told his friend that Trench was 'no buyer, but from your knowledge of such matters you could advise him'. The autographs 'consist of official documents connected with the Custom House & Police from the time of the first revolution (1790) to the present date, and about a hundred letters'.

1p., 12mo. On piece of aged and lightly-creased laid paper. The engraving, at the head of the page, is 7 x 9.5 cm., is a stylised full-length depiction of a young man in eighteenth-century dress, wearing a cravat, with hands on hips, standing between two trees. The poem reads 'Dear He - / Or She - / This from me, / Victor B. / Neuburg, to thee.' Second stanza: 'Not me: we, / I forgot, you see.' In bottom left-hand corner, in italics, 'Christmas, 1921.' And in italics in bottom-right: 'The Vine Press, / Steyning, / Sussex.' No other copy found listed.

The four prints are in good condition, on aged paper. Each of the four engravings is on india paper, laid down on a piece of good thick laid paper of dimensions 19.5 x 28 cm. Printed beneath each image is 'Photogravure R.

2pp., 12mo. Good, on lightly-aged paper. Docketed in a neat hand at head of second page. Binyon writes that he cannot be with her on the Friday, as he has to 'go down to Winchester on business. And I am so driven I don't know where to turn.' He has 'had Huxley's Barren Leaves in the house for days', but hasn't 'had one moment to look at it'. He has 'managed to read [J. R.

2pp., 12mo. 21 lines of text. Good, on aged paper. She lists four 'figures of St Alexis' which she has found among her memoranda (the first: 'By B. Lutti - much praised by Lanzi - but I know not whether engraved'). Following the four is 'St Adrian. Domenichius Engraved by Gregori'. She asks: Have you any of these or could you procure them for me?' She will be in town the following day, and is 'in desperation about the St Alexis because the press is stopped for want of him - pray help me if you can!'

1p., 4to. Eight lines. Fair, on lightly-aged paper, with slight discoloration to the blank reverse, caused by tape repair to a short closed tear. In envelope addressed by Gibbings to 'Mrs. de Navarro | P.O. Box 88 | Mont-Rolland | P.Q. | Canada'. He thanks her for her 'nice letter'. He is 'now hard at work on the engravings for my new book "Coming Down The Seine" to be published in the autumn; then I may be going back to Ireland again.' He ends in sending 'every good wish for 1953'.

Note: 1 p, 4to. Addressed on reverse to 'W. S. Tuckerman Esq | Post Office | Boston', with red ink postmark and remains of red wax seal. Good, on lightly-aged paper. Reads: 'Boston 30 Octr. 1843 | [name deleted] Esq | Sir | I have much pleasure in complying with the request conveyed in your letter of Saturdays date. | I remain yours very truly | [signed] Dion: Lardner'. Print: 11.5 x 17.5 cm (including 0.5 cm white border). In good condition, neatly laid down on piece of wove paper, 22.5 x 29 cm, with black ink border.

All 54 are printed on paper 12 x 9 cm. Each is captioned and numbered in roman numerals, with the first as III and the last as XCVII. Carter published his 'Views of Ancient Buildings in England' between 1786 and 1793, and the six volumes contained a total of 120 views. Those LACKING from this collection, in arabic numerals, are 1, 2, 6-10, 15, 16, 18, 19, 21, 26, 36-38, 43, 48, 53, 57-59, 63-66, 69-71, 73, 75, 76, 78, 81-84, 90-94, 96, and 97-120.

Printed in black on two sheets of watermarked laid paper, attached to make a long panel, 84 x 39 cm. Image clear, on worn and aged paper, with minor staining at head (not affecting image), and slight repair to reverse. In bottom left-hand corner: 'G. Herreijns invent. Ao. 1773.' Above this is printed a 19.7 cm rule, marked 1 to 11, to give an idea of scale. In centre at foot: 'Klauberi, Cath., Sermi. et Revdmi. Archiep. et Elect. Trevir: et Episc. Aug.uti et Sermi. Elect. et Com. Pal nec non Cels Princ. Kampidun. Chalc. Aulici, Sculp. Aug.

8vo, [ii] + 30 pp. All nine illustrations on six plates present as called for in list on verso of fly-leaf. In original green card wraps, ornately illustrated on cover, which has at its head, 'GEORGE CRUIKSHANK'S | FAIRY LIBRARY'; and at its foot, 'PUBLISHED BY | D BOGUE 86 FLEET St. | PRICE ONE SHILLING'. On back cover: 'Preparing for Publication, | JACK AND THE BEAN-STALK. | EDITED | AND | ILLUSTRATED | BY | GEORGE CRUIKSHANK.' Internally good, on aged paper (the last print particularly foxed), in fair binding with light wear and slight staining.

8vo, 32 pp. All eight illustrations on six plates present as called for in list on verso of fly-leaf. In original green card wraps, ornately illustrated on cover, which has at its head, 'GEORGE CRUIKSHANK'S | FAIRY LIBRARY'; and at its foot, 'PUBLISHED BY | D BOGUE 86 FLEET St. | PRICE ONE SHILLING'. On back cover: 'ALREADY PUBLISHED, | HOP O'MY THUMB AND THE SEVEN LEAGUE BOOTS, | ILLUSTRATED WITH SIX PLATES, CONTAINING NINE SUBJECTS, | BEING | No. 1 OF GEORGE CRUIKSHANK'S FAIRY LIBRARY. | Preparing for Publication, | No. III. | CINDERELLA AND THE GLASS SLIPPER.

Printed in black and white on piece of paper approximately 24.5 x 27.5 cm. In good condition, on lightly-aged paper. Tipped in into modern white card mount with window frame. From his series of 'English Portraits' (1898). A facsimile of Rothenstein's initials and his dating are in the bottom left-hand corner of the engraving ('W. x R 97'), with Way's slug in the bottom right-hand corner. Fine representation of Hardy, staring warily at the viewer with hands in pockets.

On one side of a piece of wove paper, roughly 400 x 250 mm. Dimensions of engraving roughly 130 x 180 mm. Good, on heavily-foxed and lightly-creased paper. The sketch shows a well-dressed flautist playing his instrument in a market square, with money, clothes and food drawn to him from onlookers as if by magnetism. Beneath the print, in a variety of types and point sizes: 'Speedily will be Published, Inscribed to all Lovers of Tweedledum Tweedle, The Art of Playing upon People: or, Memoirs of the German Flute. Interspersed with The Character of Baron Steeple; [...]'.

All items clear, complete, and good, on aged paper. ONE. Mimeographed typed list of Sir James Colquhoun's china ('presently stored with Messrs Wylie & Lochhead, Ltd., Glasgow'): Folio, 14 + [i] pp. Attached with pink ribbon. First entries headed 'Antique China in Press in Morning Room'. With lawyer's signature dated 1908. TWO. Manuscript 'List of China purchased by Mrs Evelyn Carmichael for her step mother Lady Colquhoun of Luss & being half the china at Rossdhu'. 4to, 20 pp; and folio, 7 pp. Listing 380 items. THREE. Two letters (totalling 4to, 7pp), both signed 'Hugh R Wallace'.

The twelve McDowall engravings each on separate cards of shiny art paper, each 90 x 130 cm, and all but the card with the image of the Scott Memorial (see below) in landscape. The Menzies engraving of Loch Ness, in similar style to the others on shiny art paper, but slightly larger, at 90 x 140 cm and landscape. Delicate items, in fair condition, with browning to edges, but images clear and complete. The engravings on the McDowall cards are as follows. By T. G. Flowers: Heriot's Hospital (founded 1628); and 'Assembly Hall, Heriots Hospital and Castle'. By G.

In fair condition, on lightly-aged paper. Twelve of the engravings are on paper roughly the same size (12mo), with the thirteenth smaller, but laid down on a leaf of the same dimensions. The majority of the women are writers, and the collection may well have been assembled to illustrate a work such as Byron's Letters and Journals. The thirteen women depicted are Hannah More, Maria Edgworth, Lady Noel Byron, Teresa Guiccioli, Caroline Lamb, Mrs Henry Tighe, Lady Morgan, Joanna Baille, Felicia Hemans, Mary Russell Mitford; Anne Maria Porter; Jane Porter. Artists are G. Freeman, W. J.

Paper dimensions roughly 33 x 25 cm. The dimensions of the black and white pencil drawing are 30 x 21.5 cm. Very good, on lightly-aged paper. Stamped on otherwise-blank reverse: 'SACCONE & SPEED, LTD | 32, SACKVILLE STREET, | PICCADILLY, W.1'. Initialed 'E. W.' by the artist in bottom right-hand corner. Caption beneath drawing reads 'SILENT TESTIMONY.

On watermarked paper roughly 13 x 20.5 cm. Dimensions of image 9 x 13 cm. With plate mark. Fair, on lightly-aged paper. Loosely attached to brown mount. Rare eighteenth-century cricket print from the June 1793 issue of the 'Sporting Magazine'. Cardus & Arlott state, in their 'Noblest Game' (1969), that 'This print, once barely considered, has lately become rare'.

On paper roughly 33 x 25.5 cm. The illustration itself is clear and complete on lightly-aged paper. Creasing around extremities and to left of caption. Tenniel's monogram, with number 61, in bottom left-hand corner. Britannia grips King Mob by the throat, while a paper crown (with 'MOB LAW' written on it) falls from his head.

On paper 52 x 33 cm. Tenniel's monogram, with number 58, in bottom left-hand corner. An giant female figure, with black mask, blazing torch and sash on which is written 'MURDER', directs an assemblage of Fenians and Sheffield trade unionists. The caption reads 'Fenian conspiracies and outrages in Ireland and Manchester - co-incident with the revelations of murderous Trade-unionism at Sheffield and elsewhere - agitated the public mind, and seemed like an evocation of the Spirit of Slaughter to trample on the Law.

12mo, 73 pp. Introduction followed by bibliography (pp.11-19). In original red and black printed wraps. Good tight copy, in lightly-worn and chipped wraps. Unlimited edition, without illustrations. The only copies of this edition at the British Library and University of London.

On piece of paper roughly 29.5 x 44 cm. The image itself is 30 cm wide, with an arched top 18 cm high at sides and 22 cm at the highest point. The image is clear and complete, on dusty spotted paper with fraying and loss to top edge especially. A charming image, showing Victorian middle-class townsfolk comporting in the town centre, with a wide main street with two carriages, and shop names including 'ELLIS' and 'WILSHER BUILDER'. Towards the centre is 'CHEEKS PRINTING OFFICE', 'BOOKSELLER STATIONER'.

Oval head-and-shoulders portrait of a bare-headed Franklin, roughly 8 x 6 cm. Well coloured. Good clear impression, on aged paper with some spotting. On paper 16.5 x 10.5 cm, laid down on leaf from autograph album.

On a piece of watermarked laid paper, roughly 26.5 x 20 cm. Dimensions of image 18 x 13.5 cm. The image and text are clear and complete. Fair, on foxed and aged paper, with fraying to margin at edges. Complete text reads 'Seecker dat is geen Roy, wat mach dat varcken drincken | Die Reuck is niet heel moy, gans velten is dat stincken.' Depicts a group of five peasants in the countryside, one sitting on a tree stump vomiting, while another puts her hand on his head, and two hold their noses. The attribution is in the entry on the copy in the Wellcome Library (no.

Portrait: 34.5 x 20 cm. Laid down on a piece of paper of the same size. Good: a little dusty and with unobtrusive 1.5 cm closed tear to left margin, and minor traces of previous mounting on reverse. Very good reproduction, on photographic paper of a complex, ghostly scene in a moonlit graveyard, with a number of supernatural figures among the graves. Decorative border with elongated skeletons.

4to album, with the 29 pages of drawings on 28 leaves (on the rectos, except on one leaf, where they are on both sides). The album gives evidence of having been re-used, but gives no evidence as to the identity of the artist. While the covers of the album are worn, with the spine becoming detached, and with its leaves of discoloured high-acidity paper, all the drawings are clear and complete, consisting of twenty-eight full-page studies, and the remaining page (the first) with three studies on it. A few of the illustrations are lightly- and tastefully-coloured in pastel watercolour.

All twenty-four illustrations have been laid down on leaves removed from an album of prints. Both series are numbered to twelve, and each is complete. The plates in the Retzsch series appear to have had their margins cropped. All images clear and complete, on lightly-aged paper, with occasional light spotting and discoloration. Laid down at the head of the first illustration in the first series, and slightly (0.5 cm) encroaching onto it, is a printed label reading 'Illustrations to Shakespeare's | TEMPEST | in 12 plates'.

Each of the seventeen metal halftone printing blocks is roughly 10 cm square, and nailed to a mahogany block (roughly 10 x 10 x 2 cm). Each carries a number, in the bottom left-hand corner when printed: 7, 8, 9, 15 (two), 16 (two), 25, 27, 36, 38 (two), 39, 54, 56, 59, 60. (Three of the numbers are duplicated, but the illustrations are all different.) The last block (60) has the signature 'e. jeffrey' in type at the head.

Fraser's Magazine launched in London in February 1830, and to begin with its most popular feature was Maginn's 'Gallery of Illustrious Literary Characters', with illlustrations by Maclise (collected in book form in 1873). The four portraits, all busts, are somewhat reminiscent of those in that work, but must be earlier if the identification of John Nichol, who died in 1828, is correct. The four are on separate pieces of paper, laid down 2 X 2 (with the four sitters looking inwards towards the centre of the page) on a leaf torn from an album.

Poley was awarded the Royal Institute of British Architects Silver Medal for the 'Measured Drawings' which formed the basis of his book on St Paul's Cathedral in London, and his work is notable for its attention to detail. This collection (with very few exceptions his own work) gives a splendid indication of the nature and range of English commercial engraved illustration at the beginning of the twentieth-century. Around 150 loose 'pulls', varying in size from 18.5 x 14.5 cm to 4 x 6 cm. Including trade marks (The Cork Hat Company; Cook's World Travel Service; The Swifan; A. C.