The Sheltering Sky. [New York]: New Directions, [1949]

bowles, paul

bowles, paul.

English Literature, History, Children&#39;s Books & Illustrations

The Sheltering Sky. 1949, cloth slightly torn; another copy, fifth printing, specially bound in red morocco gilt, [inscribed "for Bill with love. (This is probably the handsomest copy in existence.)..."]; The Delicate Prey and other stories. 1950, dust-jacket (torn); A Little Stone. London: John Lehmann, 1950, spine torn; Let  it Come Down. 1952; The Spider's House. 1955, dust-jacket; The Hours after Noon, London: Heinemann, 1959, dust-jacket; Their Heads are Green and the their Hands are Blue. 1963, dust-jacket; A Hundred Camels in the Courtyard. San Francisco: City Light Books, 1962, original paper covers; Up above the World. 1966, dust-jacket; some with ownership signature of Woods Gray; all New York: (New Directions, Random House or Simon and Schuster) and first American or first English editions and in original cloth except where stated; 8vo (10)

collection of ten works, all presentation copies inscribed to william ("woods") gray ("for bill g. come back again, love, paul...", "for bill, all my love, paul...", "for bill: anticipating his return visit..." etc):

Books &amp; Manuscripts

Engraved map, on two joined sheets, (22 5/8 x 38 3/8 in.; 598 x 975 mm), hand-colored in outline, dedication and title in cartouche upper left, large engraved vignette "A View of a State & also of ye manner of Fishing for Curing & Drying Cod at New Found Land," and small vignettes of "St. John's Harbour," "Boston Harbor," "New York etc.," "Ashley & Cooper River," "Port Royal Harbour," "The Bay & City of ye Havana," "The Bay of Pto Bella," "La Vera Cruz," "Cartegena Harbour and Forts," and "The Port of Acapulco" in lower left; mounted on old blue paper, 2 small mends in blank portion to the right of the Eskimoes, fold tear in left portion mended with light discoloration and washout of a bit of green outline color off coast of northern California, a few light spots. Matted, glazed and framed.

to the right honourable john lord sommers ... this map of north america according to ye newest and most exact observations is most humbly dedicated ... [london:] sold by h. moll ... in ye strand, printed for j. bowles ... at the black horse in cornhill and t. bowles ... in st. paul's church yard. and by p. overton ... fleetstreet and by john king ... in the poultry, [ca. 1730]

Fine Books and Manuscripts

An archive of 46 letters, comprising 37 autograph letters, 8 typed letters, 1 autograph postcard, all signed ("Paul", "Paul B."), Tangier and other places, 29 August 1982 — 10 March 1999, to Phillip Ramey, 50 pp. (most 11 x 8 1/2 in.; 279 x 216 mm); vertical and horizontal folds, with condition generally good.  Autograph and typed envelopes.

Fine Manuscript and Printed Americana

BAKER, ROBERT A NEW AND EXACT MAP OF THE ISLAND OF ANTIGUA, IN AMERICA, ACCORDING TO AN ACTUAL AND ACCURATE SURVEY MADE IN THE YEARS 1746, 1747, & 1748. DESCRIBING THE LIMITS & BOUNDARIES OF THE SEVERAL PARISHES, WITH THE CHURCHES, ALSO THE DIVISIONS, WITH THEIR RESPECTIVE BOUNDARIES; HIGH ROADS, JURY PATHS, THE SITUATION OF EVERY GENTLEMAN'S PLANTATION... LONDON: PRINTED FOR T. BOWLES IN ST. PAUL'S CHURCHYARD AND JOHN BOLWES AND SON IN CORNHILL, 1748-1749 Engraved map on four sheets (from 23 5/8 x 30 1/8 in.; 603 x 763 mm, to 24 1/4 x 30 3/4 in.; 615 x 782 mm), engraved by James Mynde, contemporary outline handcoloring; some fixing primarily to upper left quadrant, some closed marginal tears and chips, one or two closed tears without loss. The first large-scale map of the island of Antigua The present map was produced under the supervision of Robert Baker, Surveyor General of Antigua. The list of subscribers, given on each side of the map, amount to a census of Antiguan planters, as well as others such as London officials, merchants, and the "Lodge of Free and Accepted Masons at the Ship Coffee House East Smithfield." The geographical features of the map include soundings, land use for the Navy, settlement with dwellings, gun batteries, sea banks or shoals, location of roads, windmills, fortifications, and harbors. The dedication, framed in an elaborate cartouche at upper left, is to William Mathew, Governor General of the Leeward Islands. Mathew acted as Governor General between 1714–1715, and then again 1729–1752. LITERATURE: MCC 55 (Tooley, Antigua 23); BMPM 2:231

baker, robert. new and exact map of the island of antigua, in america. london, 1748-1749

Baker, Robert A New and Exact Map of the Island of Antigua, in America, According to an Actual and Accurate Survey made in the Years 1746, 1747, & 1748. Describing the limits & Boundaries of the several Parishes, with the Churches, also the Divisions, with their respective Boundaries; high Roads, Jury Paths, the Situation of every Gentleman's Plantation ... London: Printed for T. Bowles in St. Paul's Churchyard and John Bowles and Son in Cornhill, 1748-1749 Engraved map on four sheets (from 23 5/8 x 30 1/8 in.; 603 x 763 mm, to 24 1/4 x 30 3/4 in.; 615 x 782 mm), engraved by James Mynde, contemporary outline handcoloring; some fixing primarily to upper left quadrant, some closed marginal tears and chips, one or two closed tears without loss. The first large-scale map of the island of Antigua. The present map was produced under the supervision of Robert Baker, Surveyor General of Antigua. The list of subscribers, given on each side of the map, amount to a census of Antiguan planters, as well as others such as London officials, merchants, and the "Lodge of Free and Accepted Masons at the Ship Coffee House East Smithfield." The geographical features of the map include soundings, land use for the Navy, settlement with dwellings, gun batteries, sea banks or shoals, location of roads, windmills, fortifications, and harbors. The dedication, framed in an elaborate cartouche at upper left, is to William Mathew, Governor General of the Leeward Islands. Mathew acted as Governor General between 1714–1715, and then again 1729–1752. REFERENCE: MCC 55 (Tooley, Antigua 23); BMPM 2:231

View 1 of Lot 76: Baker, Robert | The first large-scale map of the island of Antigua

baker, robert | the first large-scale map of the island of antigua

Moll, Herman A New and Exact Map of the Dominions of the King of Great Britain on ye continent of North America containing Newfoundland, New Scotland, New England, New York, New Jersey, Pensilvania [sic.] Maryland, Virginia and Carolina. According to the newest and most exact observations. London: Printed and Sold by Tho: Bowles next ye Chapter House in St. Pauls Church-yard, John Bowles, at the Black Horse in Cornhill and by I. King at ye Globe in ye Poultrey [sic.] near Stocks Market, [1731] Copper-engraved map on two joined sheets (overall if joined: 1,022 x 629 mm). Period hand-color in outline, state four or five; tears to fold expertly repaired. The famous "Beaver Map" of the English and French colonies in North America "One of the first and most important cartographic documents relating to the ongoing dispute between France and Great Britain over boundaries separating their respective American colonies...The map was the primary exponent of the British position during the period immediately following the Treaty of Utrecht in 1713" (Degrees of Latitude). The British colonies according to British claims are outlined in red, with the French very lightly outlined in blue. All territory south of the St. Lawrence River and eastern Great Lakes is shown as British. Numerous notations relating to territorial claims, Indian tribes, the fur trade, and the condition of the land cover the face of the map. This map shows the early eighteenth century postal routes in the British colonies, and is frequently called the first American postal map. There are four insets, including a large map of coastal South Carolina, and a plan of Charleston. At lower left is a map of Florida and the Deep South, which is based on a map by Thomas Nairne, the Indian agent for South Carolina. The most striking feature is the large vignette which gives the map it's popular name. It consists of an early view of Niagara Falls, with a colony of beavers at work in the foreground. Pritchard holds that the beaver "was an appropriate image for the North American map for two reasons: the animal's importance to the fur trade, and its industrious nature." REFERENCE Cumming, British Maps 6-12; Cumming, Southeast in Early Maps 158; Degrees of Latitude 19 (state 4); Reinhartz, Herman Moll Geographer 18-36; Schwartz and Ehrenberg, Mapping of America 138, 144; Stevens and Tree, "Comparative Cartography," 55 (c), in Tooley Mapping of America

View 1 of Lot 35: Moll, Herman | The famed "Beaver Map"

moll, herman | the famed "beaver map"

To the Right Honourable John Lord Sommers ... This Map of North America according to ye Newest and most Exact Observations is most humbly dedicated ... [London:] Sold by H. Moll ... in ye Strand, printed for J. Bowles ... at the Black Horse in Cornhill and T. Bowles ... in St. Paul's Church Yard. And by P. Overton ... Fleetstreet and by John King ... in the Poultry, [ca. 1730]

To the Right Honourable John Lord Sommers ... This Map of North America according to ye Newest and most Exact Observations is most humbly dedicated ... [London:] Sold by H. Moll ... in ye Strand, printed for J. Bowles ... at the Black Horse in Cornhill and T. Bowles ... in St. Paul's Church Yard. And by P. Overton ... Fleetstreet and by John King ... in the Poultry, [ca. 1730] Engraved map, on two joined sheets, (22 5/8 x 38 3/8 in.; 598 x 975 mm), hand-colored in outline, dedication and title in cartouche upper left, large engraved vignette "A View of a State & also of ye manner of Fishing for Curing & Drying Cod at New Found Land," and small vignettes of "St. John's Harbour," "Boston Harbor," "New York etc.," "Ashley & Cooper River," "Port Royal Harbour," "The Bay & City of ye Havana," "The Bay of Pto Bella," "La Vera Cruz," "Cartegena Harbour and Forts," and "The Port of Acapulco" in lower left; mounted on old blue paper, 2 small mends in blank portion to the right of the Eskimoes, fold tear in left portion mended with light discoloration and washout of a bit of green outline color off coast of northern California, a few light spots. Matted, glazed and framed.

moll, herman

Updike, John. Rabbit is Rich. 1981; Rabbit at Rest. 1990--Rand, Ayn. The Fountainhead. 1943, later issue, later issue jacket with reviews on lower panel--Kerouac, Jack. On the Road. 1958, first English edition--Lee, Harper. To Kill a Mockingbird. 1960, first English edition--Heller, Joseph. Catch-22, 1962, first English edition, signed by the author--Miller, Henry. Opus Pistorum. 1983--Mailer, Norman. An American Dream. 1965, first English edition--Bellow, Saul. Herzog. 1964, first English edition--Bowles, Paul. The Sheltering Sky. 1949, first English edition; The Spider's House. 1957, first English edition--Bradbury, Ray. Death is a Lonely Business. 1985--Hiaasen, Carl. Tourist Season. 1986--Ellis, Bret Easton. Less than Zero. 1985; American Psycho. 1991, paperback original; The Rules of Attraction. 1987--Cheever, John. Bullet Park. 1969; these first American editions except where stated, original cloth bindings, dust-jackets--Céline, Louis-Ferdinand. Death on the Instalment Plan. 1938, first English edition, dust-jacket--Kafka, Franz. Das Schloss. Munich, 1926, first edition, dust-jacket; and 14 others, including several limited editions published by the Black Sparrow Press in California; 8vo (33)

collection of 33 volumes:

Fine Books & Manuscripts, Including Americana

Howdell, Captain Thomas (after) A South East View of the City of New York, in North America… [with:] A South West View of the City of New York, in North America… London: printed for John Bowles, Robert Sayer, Thos. Jefferys, Carington Bowles and Henry Parker, [ca. 1768] Two engraved views, matted, glazed, and framed (sheet size: 490 x 664 mm each). The renowned Howdell-Canot South East and South West views of New York. Published in the Scenographia Americana, the earliest substantial series of large-format engraved views of the American colonies, issued in the years following the French and Indian War. Howdell, an officer of the Royal Artillery stationed in New York in 1763, produced the original drawings on which these plates are based. They were then engraved by Canot. The South East view shows a broad prospect of lower Manhattan with identifiable landmarks including St George’s Church, King’s College, Trinity Church, the Dutch and French churches, City Hall, the Presbyterian Church on Wall Street, and the palisades erected in 1745. The South West view, taken from Mount Pitt, includes the Rutgers house (built 1754–55) and looks across the harbor toward the city skyline, with Trinity Church and the New (Middle) Dutch Church prominent. The dating of this issue, with the added imprint, is placed between the mid-1760s and 1774, after Carington Bowles assumed the business in St Paul’s Churchyard but before Sayer’s partnership with Bennett. REFERENCES Deak 115–116; Stokes, Iconography of Manhattan Island, I, pp. 279–281, 295–296 (plates 37–38)

View 1 of Lot 1022: Howdell, Captain Thomas (after) | Two views of New York engraved for the "Scenographia Americana"

howdell, captain thomas (after) | two views of new york engraved for the "scenographia americana"

Return to Elegance: The Star Collection

A GEORGE II SILVER CUP AND COVER, PAUL DE LAMERIE, LONDON, 1740

A GEORGE II SILVER CUP AND COVER, PAUL DE LAMERIE, LONDON, 1740 the foot cast with shells and leaves, the body applied with leaf and ruffled shell strapwork, matched on cover below the lead finial and in design of the handles, the body engraved with contemporary arms within a rococo cartouche, the same arms engraved on the cover, also engraved under base with the inscription "The Gift of Mrs. Ann Modyford to her Godson Oldfield Bowles, January 1740" fully marked on base and cover bezel 65 oz 2022 g height 12 in. 30.5 cm

a george ii silver cup and cover, paul de lamerie, london, 1740

Fine Books and Manuscripts, Including Selections from the Collection of Barbara and Ira Lipman

[Scenographia Americana] — Pownall, Thomas, and Paul Sandby (after)

[Scenographia Americana] — Pownall, Thomas, and Paul Sandby (after) [Six Remarkable Views in the Provinces of New York, New Jersey and Pennsylvania: Engraved after the Paintings made by Mr. Paul Sandby, from the Drawings taken on the spot by his Excellency Governor Pownall]. [London: printed for John Bowles, Robert Sayer, Thos. Jefferys, Carington Bowles and Henry Parker, ca. 1768] Oblong folio (438 x 610 mm). Complete suite of 6 engraved views. Expertly bound to style in half russia and combed marbled paper covered boards. Plates titled as follows: 1) A View in Hudson's River of the Entrance of what is called the Topan Sea. Engraved by Peter Benazech after Pownal and Paul Sandby. 2) A View of the Falls on the Passaick, or second River, in the Province of New Jersey. Engraved by Paul Sandby, after Pownall and Sandby. 3) A View in Hudson's River of Pakepsey & the Catts-Kill Mountains, From Sopos Island in Hudson's River. Engraved by Paul Sandby, after Pownall and Sandby. 4) A View of the Great Cohoes Falls, on the Mohawk River; The Fall about Seventy feet, the River near a Quarter of a Mile broad. Engraved by Wm. Elliot, after Pownall and Sandby. 5) A View of Bethlem [sic.], in the Great Moravian Settlement in the Province of Pennsylvania. Engraved by Paul Sandby, after Pownall and Sandby. 6) A Design to represent the beginning and completion of an American Settlement or Farm. Engraved by James Peake, after Pownall and Sandby. A rare complete suite of some of the most beautifully engraved views of North America in the 18th century ﻿Published following the conclusion of the French and Indian War, and in a period of great public interest in the American colonies, the Scenographia Americana was the first book dedicated to a large-scale artistic depiction of the American landscape. From the Gulf of St. Lawrence to the West Indies, the scenes include locations of battles, views of strategic provincial capitals, and newly secured areas of commercial importance. Just as clear is the celebration of nature's 'astonishingly great' expanse, to cite Pownall, great in width and in height. Here are harbors and rivers, cascades, forests and skies" (Hood). In 1768, the plates were published in two forms, the complete set of 28 engraved plates (priced at four guineas); or as seven separate suites as follows: six views of Canada after Smith (plates 1-6, priced 1 guinea); two views in Canada (plates 7-8, priced 7s); two views of New York after Howdell (plates 9-10, priced 7s); two views of Boston and Charlestown, South Carolina (plates 11-12, priced 7s, 6d for the pair or 3s, 6d individually); six views after Pownall (plates 13-18, priced 1 guinea), as here; six views of Havana after Durnford (plates 19-24, priced 1 guinea); and four views in the West Indies after Campell (plates 25-28, priced 14s). Thomas Pownall arrived in America in 1753 to serve as Secretary to Governor Danvers Osborne. Within a week of his arrival, however, the Governor died unexpectedly. Nevertheless, Pownall chose to remain in America, and travelled extensively through the middle colonies, producing sketches of the frontier landscapes and settlements which he deemed remarkable. Following the end of the French and Indian War, his sketches were worked up into paintings by Royal Academy artist Paul Sandby and engraved. Sandby would later become the Chief Drawing Master of the Royal Military Academy at Woolwich, charged with training engineers to document the expanding landscape of the British Empire. "His translations of Pownall's visual impressions were given to the Publick whose tastes for landscape observations and printed views, especially in the picturesque style, were emerging in England at the time ... [Pownall and Sandby's views] reveal formative topographical features and the industrious spirit that forged an identity for individuals who were naturalised in the context of the American wilderness. Prior to the American Revolution, while the Provinces were under the control of England, Pownall's work also satisfied a European desire to visualise this previously unknown setting as an intellectual curiosity. The natural environment of the New World was a model subject for the implementation of aesthetic landscape principals that were emerging in England at the time of Pownall's travels. Such principles perhaps shaped Pownall and Sandby's reflections and led them to embellish topographical depictions with an Anglo vision for ordered industrial, spiritual, and scenic composition an approach that made the views more comprehensible to an English audience comfortable with certain landscape aesthetics and excited to see views of Englands territories abroad. This practice would come to be replicated by subsequent travelers who followed a similar tour to Pownall's and further attempted to draw British North America into existence by way of a distinctly European lens" (Brett Culbert, "View of the Middle Colonies"). REFERENCE Clark, "Six Remarkable Views, 1761: the Collaboration of Governor Pownall and Paul Sandby" in Imprint, 4:1 (April 1979); Crowley, "The Scenographia Americana (1768): A transnational landscape for early America" in Common-Place, 6:2 (January 2006); Deak, Picturing America 107; Fowble, Two Centuries of Prints in America 25-30; Hood, "America the Scenic" in Colonial Williamsburg Journal (Spring 2009); Sabin 81486; Spendlove 6-8; Stokes, The Iconography of Manhattan Island 1498-1909 I:281-295; Stokes, American Historical Prints B-92

[scenographia americana] — pownall, thomas, and paul sandby (after) | some of the most beautifully engraved views of north america in the 18th century

Fine Books and Manuscripts including Property from the Eric C. Caren Collection

Property from the Eric C. Caren Collection

Property from the Eric C. Caren Collection (JONES, JOHN PAUL) Paul Jones Shooting a Sailor who had Attempted to Strike his Colours in an Engagement. London: Printed for and Sold by Carrington Bowles, 2 December 1779 Mezzotint print (14 1/8 x 10 1/8 in.; 358 x 257 mm) after a painting by John Collet, brilliantly handcolored. Some light browning, three marginal tears into image. Framed and glazed. The consignor has independently obtained a letter of authenticity from PSA that will accompany the lot. "I have not yet begun to fight!" This is the first of three versions of this British propaganda print depicting the United States' first great naval hero as a maniacal pirate, armed with a saber and five pistols and shooting one of his own men who was attempting to surrender to the British. Collet's exaggerated image was inspired by an actual event scarcely two month before the print was published. During the brutal battle between Jones's flagship Bonhomme Richard and HMS Serapis off the Yorkshire coast, the American's gunner's mate, Henry Gardner, believing Jones killed and himself the ranking officer, called for quarter. "Unfortunately for Gardner, Jones was very much alive and on a rear deck, helping to man a cannon that blasted at the enemy’s mainmast. Hearing Gardner, Jones became infuriated, lunged after him, and threw one of his two pistols at the man, knocking him out" (Michael Schellhammer, "The Real Immortal Words of John Paul Jones," in Journal of the American Revolution, 2015).

(jones, john paul) | paul jones shooting a sailor who had attempted to strike his colours in an engagement. london: printed for and sold by carrington bowles, 2 december 1779

dramatically painted with the naked bejewelled Venus pleading with Mars and surrounded by putti and martial victims, enamel

dramatically painted with the naked bejewelled Venus pleading with Mars and surrounded by putti and martial victims, enamel rectangular width 42cm, 16 ½ in, gilt-metal mount, giltwood frame The counter-enamel inscribed: 'Painted by Henry Bone R.A. Enamel painter in Ordinary to His Majesty, and Enamel painter to His Royal Highnefs the Prince Regent after the Original by Rubens in the/ Collection of Arthur Champernowne Esquire/ size of the Original picture/ 30 5/8 inches by 20 inches’ and ‘Purchased by George Bowles Esquire/ May 28 1813. The possessor of the Enamel/ *(18 inches by 16) * Bacchus & Ariadne after Titian 1811’  

‘an allegory showing the effects of war’. an enamel plaque, by henry bone, r.a., after sir peter paul rubens, signed and dated 1813, extensively inscribed on the reverse  

Fine Books from a Distinguished Private Library

John Milton Paradise Lost. A poem in twelve books. [and] Paradise regained. [and] Samson agonistes. London: Miles Flesher for Richard Bently [sic], 1688 Fourth edition, first folio edition, first illustrated edition, folio (398 x 235mm.), list of subscribers, engraved portrait frontispiece, 12 engraved plates, modern panelled calf in period style, portrait and title repaired, two plates with minor repairs to fore-edge (not affecting images), a few small stains or rust spots, final quire of last work a little foxed A tall copy of the first folio appearance of Paradise Lost, adorned with memorable engravings. After the third printing, Milton’s widow parted with all further claims to the work for £8. The publication bargains continued when the printer Simmons then transferred all his rights to the poem in 1681 to Brabazon Aylmer for £25, and Aylmer subsequently sold half interests to Jacob Tonson and Richard Bentley, who together produced this sumptuous fourth printing of 1688, the first edition to appear in folio format and the first with illustrations. Most of the plates here were designed by a major artist, John Baptist Medina (1659-1710), a painter of Spanish origin who made his career in England and Scotland and was knighted for his talents. Medina, who was deeply influenced by the works of Rubens, did portraits, landscapes, and historical paintings, and the present illustrations are composed with sophistication and artistry on multiple levels. All but two of the thirteen plates here are engraved by Michael Burghers (one of the edition’s subscribers), a Dutch-born artist who worked mainly in Oxford. Hodnett says in his Five Centuries of Book Illustration that the 1688 Tonson Milton is “the earliest serious effort to illustrate an important work of English poetry”, and in his work on Francis Barlow, he says our book is “the only major English literary work with important engraved illustrations in the 17th century.” John Harthan, in The Illustrated Book, says that the plate facing the opening of the text is “one of the most forceful of English seventeenth-century illustrations”. According to Harthan, Susanna Boorsch in her study of the 1688 Paradise Lost argues persuasively that the four unsigned plates may have been the work of Dr Henry Aldrich, Dean of Christ Church, Oxford. In this copy, a bibliographical note in the margin of plate 12 confirms that: “This plate was executed from a design of Dr Aldrick, Dean of Christchurch Oxford. This Doctor Warton tole [sic] me at Winchester Nov. 1. 1782. & that he had this information from Havre, Canon of Windsor. Nov. 2. 82. J. Bowle”. It seems likely that our informant was literary editor John Bowle (1725-1788), who according to ODNB was recognised by Rev. John Douglas in “Milton Vindicated from the Charge of Plagiarism” for being “the ‘Original Detector’ of the spurious evidence adduced by William Lauder.” (Lauder had claimed in 1753 that Milton had plagiarized parts of “Paradise Lost” from no fewer than 97 authors, an absurd charge that was resolutely debunked.) The first folio Milton was important in other ways, too: it was one of the first English books to be financed through subscription, bearing the names of more than 500 subscribers, including Dryden and Sir Paul Rycaut. This copy originally belonged to subscriber Ferrand Spence, who worked as a translator and editor. This strikingly illustrated—and consequently popular—folio printing went a long way toward helping to establish the reputation of Milton, whose Paradise Lost was relatively unknown when Tonson issued his edition and whose poem then appeared in more than 100 editions during the eighteenth century (more than twice the number of editions of Shakespeare’s plays). Wither to Prior notes that Tonson “seems to have considered this publication his crowning effort, for in his portrait, painted by Kneller, he holds the book conspicuously in his hand.” The 1688 Paradise Lost often appears in the marketplace by itself, but the present volume also contains Paradise Regain’d and Samson Agonistes, both dated 1688 REFERENCES: Coleridge 93b and 170; Shawcross 347 and 348; Hofer 16; “Wither to Prior” 607; Pforzheimer 720 and 721; Wing M-2147, M-2154, and M-2177; ESTC R15589, R2091, and R234120 PROVENANCE: Ferrand Spence (subscriber), ownership inscription; Edwin Atherstone, ownership inscription; Mary Atherstone, presentation inscription from the above dated 22 June 1869; Newcastle-on-Tyne Public Library, inkstamps

View 1 of Lot 58: John Milton | Paradise Lost. London, 1688, first illustrated edition

john milton | paradise lost. london, 1688, first illustrated edition

Deborah, Duchess of Devonshire: The Last of the Mitford Sisters

i) Cooke, M.C. British Edible Funghi. Kegan Paul, Trench, Trübner & Co., 1891, 12 colour plates, library stamp to title, frontispiece and list of plates loose, worn at head and foot of spine; ii) Beeton, Isabella. Mrs. Beeton's Book of Household Management. Ward, Lock & Co., 1907, 30 colour plates, later dark red backed green boards, lettered in gilt on spine; iii) Boulestin, X. Marcel and Jason Hill. Herbs, Salads and Seasonings. Heinemann, 1930, number 23 of the edition of 75 copies signed by both authors, spine faded; iv) Heath, Ambrose. The Country Life Cookery Book. Country Life Limited, 1937, wood engravings by Eric Ravilious, boards rubbed; v) Maclean, Veronica. Lady Maclean's Diplomatic Dishes. Collins, 1975, inscribed by the author, head of spine worn with loss; vi) Parker Bowles, Tom. E is for Eating. Long Barn, 2004, inscribed by the author and the illustrator, dust-jacket; vii) Green, Rachel. Chatsworth Cookery Book. Green Shoots, 2007, inscribed by the author; together with 32 others, of which 6 inscribed to Deborah, Duchess of Devonshire, 4to and 8vo, mostly original cloth and wrappers, many with the Duchess's bookplate, some wear to dust-jackets (39)

Results for "Paul Bowles"