Antiquarian and Collectors’ Books

CHILDREN’S BOOK. – Thomas ECKERSLEY (illustrator) and E.A. CABRELLY. Animals on Parade. London: Conrad Press Ltd., [1948.] First edition, inscribed by the author, 4to (278 x 226mm.) 16 full-page illustrations. (Mild toning, text-block loosening.) Original tan cloth, dust-jacket (minor chipping at top of spine panel, toned). Note: scarce. – And a further two volumes (including Luciana Roselli’s ‘The Polka Dot Child’, 1964, 4to) (3).

RACKHAM, Arthur (illustrator). – William SHAKESPEARE. A Midsummer-Night’s Dream. London: William Heinemann, 1908. First trade edition, 4to (249 x 182mm.) 40 tipped-in plates with captioned tissue-guards, numerous uncoloured illustrations. (Light spotting to endpapers and half-title, toning.) Original beige cloth, pictorial gilt to upper cover (lightly rubbed extremities, minor mark to upper cover). – And a further four illustrated volumes (including William Edmondstoune Aytoun’s ‘Lays of the Scottish Cavaliers and Other Poems’, 1863, 4to, and Charles Johnson’s ‘A General History of the Robberies and Murders of the Most Notorious Pirates’, 1926, 8vo) (5).

DULAC, Edmund (illustrator). – Edward FITZGERALD (translator). Rubaiyat of Omar Khayyam. London: Hodder and Stoughton, [n.d. but 1909]. Printed from the second edition, 4to (277 x 209mm.) 20 tipped-in colour plates by Dulac, tissue-guards. (Toning.) Original cream buckram, gilt decoration to upper cover (slight browning to boards, minor mark to lower cover). – And a further two illustrated volumes (another copy of Edward Fitzgerald’s ‘Rubaiyat of Omar Khayyam’ illustrated by Edmund Dulac, [1909], 4to, and J.M. Barrie’s ‘Peter Pan and Wendy’, [1921], 4to) (3).

STONHAM, Charles. The Birds of the British Islands… Illustrated by Lilian M. Medland. London: E. Grant Richards, 1906-1911. 5 vols., 4to (318 x 253mm.) Half-titles, titles in red and black, 2 folding colour maps in vol. 1, 2 key plates, 318 lithographed plates with captioned tissue-guards. (Browning to preliminaries, moderate spotting to text leaves throughout.) Original publisher’s vellum-backed blue cloth, gilt lettering to upper covers and spines, t.e.g. (spotting to covers of vols. 2 and 3, toning, occasional minor marks, fading to cloth) (5).

BRANGWYN, Frank. – Herbert FURST. The Decorative Art of Frank Brangwyn. London: John Lane at The Bodley Head, 1924. Limited edition, being one of 120 copies only, this one signed ‘complimentary’, 4to (316 x 230mm.) Self-portrait woodcut signed in pencil by Brangwyn, numerous colour plates, uncoloured illustrations in the text. (Toning, offsetting to title.) Original cloth, gilt lettering to upper cover and spine, t.e.g. (upper cover loosened, minor marks to lower cover, toned to spine).

BRANGWYN, Frank (illustrator). Eothen: or Traces of Travel Brought Home from the East by A.W. Kinglake. London: Sampson Low, Marston & Co. Ltd., 1913. Limited edition, this being number 8 of 100 copies signed by Frank Brangwyn, 4to (287 x 224mm.) 12 mounted colour plates, numerous black and white illustrations, introduction by S.L. Bensusan. (Toning.) Original vellum-backed boards, t.e.g. (fading to spine lettering, top of spine bumped). – And a further ten volumes, eight relating to Frank Brangwyn (including C. Fox Smith’s ‘Here and There in England With the Painter Brangwyn’, 1945, 4to, and ‘Bookplates by Frank Brangwyn R.A.’, [1920], 4to) (11).

ARNOUX, Guy (illustrator). – René KERDYK. Les Femmes de ce Temps. Paris: Chez Devambez, [1920.] Limited edition, this being number 123 of 500 copies only, 4to (316 x 242mm.) 10 colour plates by Guy Arnoux with pochoir hand-colouring. (Toning.) Original pictorial boards showing a woman with flapper hair-style (browning, lightly rubbed).

DULAC, Edmund (illustrator). Contes et Légendes des Nations Alliées. Paris: L’ Édition D’ Art, H. Piazza, 1917. Limited edition, this being number 298 of 1000 copies signed by Edmund Dulac, 4to (299 x 231mm.) 15 mounted colour plates with captioned tissue-guards. (Mild toning.) Original card covers (small splits to upper joints).

PHOTO-BOOK. – Owen SIMMONS. The Book of Bread. London: Maclaren & Sons, [1903.] Limited edition, this being one of 350 deluxe copies, 4to (280 x 216mm.) 10 tipped-in silver bromide prints on black card, 12 chromolithographed plates, photographic illustrations in the text, advertisements and ‘List of Subscribers’ to rear. (Toning, several bromide prints with small corner creases, slight marginal spotting to black card and a few colour plates.) Original red morocco, gilt lettering to upper cover, g.e. (staining to lower cover and spine). Note: Simmons was a lecturer at the National Bakery School in London and he commissioned the full-size photographs that appear in this work. As he wrote: ‘However critical readers may be they will be forced to admit that never before have they seen such a complete collection of prize loaves illustrated in such an excellent manner’.

COOKERY. – T. Percy LEWIS and A.G. BROMLEY. The Book of Cakes. London: Maclaren & Sons, [1903.] First edition, 4to (284 x 223mm.) Half-title, 48 chromolithographed plates, several heightened in silver or gold, advertisements to rear. (Toning, browning to half-title.) Original green cloth, gilt lettering to upper cover (rebacked with original spine laid-down, spine darkened, extremities rubbed, endpapers replaced). Provenance: Edward Braxton Reynolds (bookplate to front pastedown).

PHOTO-BOOK. – Owen SIMMONS. The Book of Bread. London: Maclaren & Sons, [1903.] First edition, 4to (282 x 219mm.) 2 tipped-in silver bromide prints on black card, 8 tipped-in black and white prints, 12 chromolithographed plates, photographic illustrations, advertisements and index to rear. (Offsetting from silver bromide prints, toning, small corner creases to first two black and white prints.) Original green cloth, gilt lettering to upper cover (extremities lightly rubbed, minor scuffing). Provenance: Edward Braxton Reynolds (bookplate to front pastedown). Note: Simmons was a lecturer at the National Bakery School in London and he commissioned the full-size photographs that appear in this work. As he wrote: ‘However critical readers may be they will be forced to admit that never before have they seen such a complete collection of prize loaves illustrated in such an excellent manner’.

TYNDALE, Walter. An Artist in Italy. [London:] Hodder and Stoughton, [1913.] Limited edition, this being number 18 of 250 copies signed by Walter Tyndale, folio (283 x 217mm.) 26 tipped-in colour plates with captioned tissue-guards. (Mild toning.) Original full vellum, decorative gilt to covers and spine, t.e.g., original ties. – And a further two illustrated volumes (including No. 31 of ‘Modern Masters of Etching, C.R.W. Nevinson’, 1932, oblong 4to) (3).

DULAC, Edmund (illustrator). The Sleeping Beauty and other Fairy Tales… retold by Sir Arthur Quiller-Couch. London: Hodder and Stoughton, [1910.] 4to (275 x 215mm.) 30 tipped-in colour plates with tissue-guards. (Mild toning, light spotting to half-title.) Original russet cloth, gilt decorated. Provenance: Mildred M. Bullisant (ink name inscribed to half-title). — And a further ten illustrated volumes (including ‘Edmund Dulac’s Fairy Book’, 1916, 4to, and ‘Arthur Rackham’s Book of Pictures’, [1913], 4to, and Edward Fitzgerald’s version of ‘The Rubaiyat of Omar Khayyam’ illustrated by Adelaide Hanscom, 1908, 4to, and Waring and Gillow’s ‘The Artistic Evolution of the English Home’, [circa 1900], 4to, and Frideswith Huddart’s ‘The Hounds of Heaven’, 1914, 4to) (11).

DULAC, Edmund (illustrator). — Léonard ROSENTHAL. The Kingdom of the Pearl. London: Nisbet & Co. Ltd., [1920.] Limited edition, this being number 79 of 675 copies, 4to (288 x 227mm.) 10 tipped-in colour plates, captioned tissue-guards. (Toning, occasional mild spotting.) Original white cloth-backed boards printed in silver, paper label mounted to upper cover, t.e.g. (toning to label).

ALDIN, Cecil. Pickles. London: Henry Frowde and Hodder & Stoughton, [1909.] First edition, 4to (287 x 252mm.) 24 colour plates on stiff card. (Some spotting to margins of text leaves and half-title, toning.) Original red and green cloth boards (spines ends lightly bumped, red cloth finger-marked). Provenance: ‘Mildred’ (ink name gift inscribed on the half-title).

RACKHAM, Arthur (illustrator). Aesop’s Fables. London: William Heinemann, 1912. Limited edition, this being number 913 of 1450 copies signed by Arthur Rackham, 4to (289 x 228mm.) 13 tipped-in colour plates with captioned tissue-guards, numerous black and white illustrations in the text. (Spotting to endpapers, toning.) Original white cloth, decorative gilt to upper cover and spine, t.e.g. (spine darkened, fingermarks to covers).

ROBINSON, William Heath (illustrator). – Hans Christian ANDERSEN. Hans Andersen’s Fairy Tales. London: Constable & Co. Ltd., 1913. Limited edition, this being number 63 of 100 copies signed by William H. Robinson, 4to (290 x 227mm.) 16 tipped-in colour plates with captioned tissue-guards, numerous illustrations in the text. (Toning, mostly light scattered spotting.) Original cream parchment, pictorial gilt and lettering to upper cover and spine, t.e.g. (spine slightly browned, mottled to edges). Provenance: Mildred M. Meruse (gift inscribed to on the front-free endpaper).

CHINA. – A.H. GORDON. Streets of Shanghai, a History in Itself. [Shanghai: N.p.:] 1941. Small 8vo (155 x 113mm.) Large folding map in front pocket, photographic illustrations, advertisements. (Occasional minor spotting, small marginal tear to last leaf.) Original wrappers, black lettering. Note: rare.

HORSE-CARRIAGES. A Catalogue of the Valuable Stock and Property of Messrs. Hobson & Co. Coachmakers, Whose Partnership Has Become Dissolved by Effluxion of Time; Consisting of About One Hundred and Twenty Carriages… which Will be Sold by Auction, by Messrs. Foster and Sons on the Premises, Long Acre, on Wednesday 25th July, 1838. [London:] by J. Davy for Foster and Sons, 1838. 4to (243 x 215mm.) Title, list of lots interleaved with 20pp. of contemporary hand-written notes detailing the buyer’s name and prices paid for each lot, also contemporary notes of prices and buyer’s signatures to margins of text leaves. (Fingermarks, dust-soiling, corner creases.) Contemporary half calf (loss to spine ends, heavily rubbed). Note: Samuel Hobson was one of London’s most esteemed coachbuilders catering to a royal and aristocratic clientele. Having been an apprentice with Barker & Co. of Chandos Street, Hobson started his own business in Long Acre in 1815. Financial troubles forced the closure of his business in 1837.