Private Press

i) George Moore. Pure Poetry. London: The Nonesuch Press, 1924, 8vo, NUMBER 805 OF 1250 COPIES, original vellum over grey boards, endpapers browned; 

ii) Francis Macnamara. Miscellaneous Writings of Henry the Eighth. Waltham St Lawrence: The Golden Cockerel Press, 1924, 4to, NUMBER 142 OF 365 COPIES, printed in red and black, original vellum over red boards; 



iii) A New Orchard and Garden. London: The Cresset Press, 1927, 4to, NUMBER 21 OF 650 COPIES, ONE OF 50 on hand-made paper and specially bound, original limp vellum, ties; 



iv) Mona Wilson. The Life of William Blake. London: The Nonesuch Press, 1927, 4to, NUMBER 6 OF 1480 COPIES, original vellum over patterned boards, collectors bookplate on front endpaper; 



v) Ben Jonson. The Masque of Queens. London: The Kings Printers, 1930, folio, NUMBER 133 OF 350 COPIES, plates by Inigo Jones, original red boards, boards a little soiled;



vi) Christina Rossetti. Goblin Market. Middleton, Sussex: The Silver Unicorn Press, 1931, 8vo, NUMBER 4 OF 100 COPIES, original printed boards, completely unopened; 



vii) Gustave Flaubert. Salambo. Waltham St Lawrence: The Golden Cockerel Press, 1931, 4to, NUMBER 297 OF 500 COPIES, woodcut illustrations by Robert Gibbings, original blue cloth over marbled boards; 



viii) Samuel Taylor Coleridge. Selected Poems of Coleridge. London: The Nonesuch Press, 1935, 4to, NUMBER 90 OF 500 COPIES, plates, original orang limp vellum, top edge gilt, slipcase; 



ix) George Bernard Shaw. Shaw Gives Himself Away. Newtown: Gregynog Press, 1939, 4to, NUMBER 221 OF 300 COPIES, PRESENTATION COPY INSCRIBED TO VIVIEN LEIGH ON HER BIRTHDAY (“Love | Paul Demel | London 5th Nov. 1942”) beneath a portrait sketch on a preliminary blank, full black morocco with red onlays designed by Paul Nash, boards very slightly bowed; 



x) Katherine Mansfield. The Garden Party and other stories. London: The Verona Press, 1939 [1947], large 8vo, NUMBER 67 OF 1200 COPIES, PRESENTATION COPY INSCRIBED TO VIVIEN LEIGH ON HER BIRTHDAY (“For Vivien | with love | Dan [Cunningham] | “Corinthic” Nov. 5th 1948”) on the front free endpaper, illustrations by Marie Laurencin, original patterned green cloth, upper board slightly soiled; 



xi) William Shakespeare. The Sonnets of William Shakespeare. Mount Vernon: The Peter Pauper Press, [c.1940], 8vo, presentation copy inscribed to Vivien Leigh by Theodore Bertstein (“…in remembrance of a lovely day in May…”) beneath his bookplate on the front pastedown endpaper, original cloth over patterned boards, slipcase, loss to foot of spine of slipcase; 



xii) William Shakespeare. The Sonnets of William Shakespeare. Mount Vernon: The Peter Pauper Press, [c.1940], 8vo, original patterned boards, slipcase; 



xiii) Harold Acton and Lee Y-Hsieh. Glue and Lacquer. London: The Golden Cockerel Press, 1941, 4to, NUMBER 362 OFF 350 COPIES, illustrations by Eric Gill, black morocco over yellow boards by Sangorski and Sutcliffe, top edge gilt; 



xiv) Paul McPharlin. The Songs of Sappho. Mount Vernon: The Peter Pauper Press, [c.1942], note to the Oliviers loosely inserted (“…this might brighten the long hours in the air…Bon voyage, Hugh CXXXX”), original printed boards, slipcase, boards slightly rubbed, slipcase faded; 



xv) John Hadfield. Georgian Love Songs. Hitchin: The Cupid Press, 1949, 8vo, NUMBER 426 OF 660 COPIES, illustrations by Rex Whistler, original cloth over marbled boards, top edge gilt; 



xvi) John Hadfield. Restoration Love Songs. Hitchin: The Cupid Press, 1950, 8vo, NUMBER 457 OF 660 COPIES, folding frontispiece and illustrations by Rex Whistler, original cloth over marbled boards, top edge gilt; 



xvii) John Hadfield. Elizabethan Love Songs. Hitchin: The Cupid Press, 1955, 8vo, NUMBER 94 OF 660 COPIES, SIGNED BY JOHN PIPER, lithographic plates by John Piper, original cloth over marbled boards, top edge gilt; 



xviii) Emily Dickinson. Love Poems and Others. Mount Vernon: The Peter Pauper Press, [c.1957], 8vo, presentation copy inscribed to the Oliviers (“Best wishes to you on you anniversary […] August 1957”) on the front free endpaper, original patterned boards, slipcase (18)

Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."