British and Continental Pictures

the pilgrim's progress

Music

being his copy of The Shepherds of the Delectable Mountains, the vocal score (Oxford, 1925), heavily revised, the new music mounted on the printed pages, and with a new autograph title ("The Pilgrims Progress Act IV Scene 2 (up to figure 25 this is updated from an earlier work)..."), inscribed by the composer over the music in blue-black ink and on the cover in pencil ("(PP Act IV, Scene 2, book 3"), with autograph annotations and deletions marked in the printed score, with some differences from the published edition, including to the metronome marking ("84"), and stage directions ("3 shepherds kneeling")

being his copy of The Shepherds of the Delectable Mountains, the vocal score (Oxford, 1925), heavily revised, the new music mounted on the printed pages, and with a new autograph title ("The Pilgrims Progress Act IV Scene 2 (up to figure 25 this is updated from an earlier work)..."), inscribed by the composer over the music in blue-black ink and on the cover in pencil ("(PP Act IV, Scene 2, book 3"), with autograph annotations and deletions marked in the printed score, with some differences from the published edition, including to the metronome marking ("84"), and stage directions ("3 shepherds kneeling") the autograph manuscript of the revised ending (5 pages) (Figure "25a"), mounted in the score, the words beginning "[Let not the] Water flood drown me", notated in vocal score, for the Pilgrim, 3 Shepherds, 4-part chorus and piano, in blue-black ink, on up to twelve staves per page, with deletions, revisions and alterations, annotated in pencil ("To Copyist, do not copy the German or the instrumentation"), comprising twenty-eight bars music  the edition 36 pages in all, some 15 of which with revisions and annotations by the composer, folio (c.34 x 25.5cms), [London?, 1949-1951], publisher's brown wrappers, tear and browning to front cover, the additional music on 12-stave manuscript paper, affixed by the composer with brown tape slightly obscuring the text in places

the working score of part of the pilgrim's progress, comprising a printed edition with autograph additions, including five pages of autograph manuscript 

The Library of an English Bibliophile, Part II

8vo (220 x 143mm.), first edition, first issue with points (see Johnson), 2 wood-engraved frontispieces, 14 wood-engraved plates, numerous illustrations in the text, 5pp. publisher's advertisements at end, original pictorial brown cloth, stamped in gilt and blind, brown coated endpapers, gilt edges, spine barely faded, some spots of light fraying to spine ends.

the innocents abroad, or the new pilgrim's progress... by mark twain. hartford: american publishing company, 1869

The Bible Collection of Dr. Charles Caldwell Ryrie

12mo (5 3/4 x 3 1/4 in.; 145 x 83 mm). Engraved frontispiece portrait of Bunyan dreaming by Robert White; B5–8 and quire F supplied from other copies with some staining and marginal fraying affecting a few shoulder-notes, tiny wormhole to title and following few leaves. Contemporary blind-panelled sheep; rebacked preserving original spine, corners restored. Blue morocco solander box.

the pilgrim’s progress from this world, to that which is to come delivered under the similitude of a dream wherein is discovered, the manner of his setting out, his dangerous journey, and safe arrival at the desired countrey. london: printed for nath. ponder, at the peacock in the poultrey, near cornhil, 1679

Music and Antiquarian Books and Manuscripts

John Bunyan The pilgrim's progress from this world, to that which is to come: delivered under the similitude of a dream... the eighth edition with additions. London: for Nathanael Ponder, 1682 12mo (143 x 83mm.), woodcut illustrations on G1, H1 and K6v, last two leaves containing advertisements, contemporary English calf, lacking A1 (containing advertisement and woodcut), B1 defective at foot (with loss of several lines of text), B6 torn without loss, upper corner of F3 torn away with loss of some words, small marginal wormhole in quire G, slightly soiled, binding somewhat worn, spine defective at head and foot Bunyan's most famous work was first published in 1678, towards the end of his life when he was an active Dissenting preacher, and it became "one of the most popular books ever printed" (ODNB) with its call to embrace a Christian life while retaining liberty of conscience. At least eleven editions were printed during his lifetime and they are all RARE AT AUCTION. PROVENANCE George G[--], early inscription at end; Samuel Jones, printed booklabel LITERATURE ESTC R42808, listing 6 copies (2 in the UK, Bedford Central Library and the British Library, and 4 in the US); Wing B5568

View 1 of Lot 94: Bunyan, Pilgrim's Progress, 1682, contemporary calf

bunyan, pilgrim's progress, 1682, contemporary calf

English Literature, History, Children’s Books and Illustrations

From the Collection of Judy Taylor, MBE ARDIZZONE, EDWARD Collection of 33 volumes by or relating to Ardizzone, including several inscribed copies, comprising: Bunyan, J. The Pilgrim's Progress. Bagster, 1973, reprint, inscribed by Ardizzone (“To Judy with love. | This is the book that | started me on my | career as an artist + | illustrator. I was | only an unhappy | boy of 13 at a | boarding school | when I was given this. | July 1974 | Edward Ardizzone”), original morocco--Gorham, M. Back to the Local. Marshall, 1949, first edition, presentation copy inscribed by the artist (“Signed for Judy with love | from Edward Ardizzone | Dec 1976”), original cloth, dust-jacket, [Alderson 26], tears and loss to price-clipped dust-jacket; Gorham, M. Back to the Local. Marshall, 1949, first edition, original cloth, dust-jacket, [Alderson 26], some minor loss to dust-jacket--Greene, G. Mr Visconti. Bodley Head, 1969, first edition, one of 300 copies, original wrappers, dust-jacket, [Alderson A26]--Ardizzone, E. Tim’s Last Voyage. Bodley Head, 1972, first edition, presentation copy inscribed by the artist (“To Judy with love from Ted | Edward Ardizzone Oct. 1972”), pictorial boards, dust-jacket, [Alderson 157], extremities of dust-jacket slightly frayed; Ardizzone, E. Diary of a War Artist. Bodley Head, 1974, first edition, presentation copy inscribed by the artist (“Signed for Judy with love | and in gratitude for the wonderful | way she has worked on and | promoted my books and this one | in particular. What a lucky | man I am! | Ted | Edward Ardizzone. | May 1974”), original cloth, dust-jacket, [Alderson 163], extremities of dust-jacket slightly frayed; Ardizzone, E. The Land of Beulah. Bodley Head, 1974, first edition, presentation copy inscribed by the artist (“To Judy Taylor with | love from | Edward Ardizzone | 1974”), one of 350 copies, original wrappers, dust-jacket, [Alderson 164]; Ardizzone, E. On the Illustrating of Books. Fallbrook, California: Weather Bird Press, 1986, one of 200 copies, cloth-backed boards, dust-jacket; Ardizzone, E. Little Tim and the Brave Sea Captain. Tokyo: Koguma Publishing, 2011, number 112 of 1000 copies, facsimile of original manuscript, cloth-backed boards, chemise, slipcase; together with 24 others, various sizes The first book in this collection was exhibited by House of Illustration in their exhibition, "Ardizzone: A Retrospective", September 2016 - January 2017. Please see shipping calculator link: click here.

ardizzone, collection of 33 volumes by or relating to ardizzone, 1949-2011

The Passion of American Collectors: Property of Barbara and Ira Lipman | Highly Important Printed and Manuscript Americana 

Bugg, Francis News from Pensilvania: or a Brief Narrative of Several Remarkable Passages in the Government of the Quakers, in that Province. Touching their Proceedings in their Pretended Courts of Justice; their Way of Trade and Commerce; with Remarks and Observations upon the whole. Published by the Author of The Pilgrim’s Progress, &c. London: Printed, and Sold by the Booksellers, 1703 8vo (173 x 102 mm). Lightly browned, first two and last two leaves ("Postscript by Way of Corroberation") printed on the same half-sheet and somewhat more browned. Retrospective calf-backed marbled boards. Francis Bugg (1640–1724?) joined the Society of Friends as a young man, but because of differences that seemed to have been based on personal, rather than theological, disputes, he left the faith and became a prolific anti-Quaker writer. (The reference on the title-page refers not to Bunyan's celebrated Christian allegory, but to Bugg's 1698 The Pilgrim’s Progress, from Quakerism to Christianity.) Most of his publications "attack the general tenets of the Society and the practices of the church in England and Europe. News from Pensilvania is his only work to deal specifically with William Penn's colony in America. … A fascinating attack on the Society of Friends in Pennsylvania and an extremely rare work. Copies are held by only a handful of institutions (Harvard, New York Public, John Carter Brown, Library Company of Philadelphia, British Library) and have been in those libraries since the 19th century"(Celebration). This is evidently one of just two copies to have been sold at auction in the past fifty years. REFERENCE Celebration of My Country 19; ESTC T25441; European Americana 703/26; Howes B944; Sabin 9071; Smith, Friends 1:343

View 1 of Lot 76: Bugg, Francis | A very rare early account of Pennsylvania

bugg, francis | a very rare early account of pennsylvania

The Innocents Abroad, or the New Pilgrims' Progress. Hartford: American Publishing Company, 1874

The Innocents Abroad, or the New Pilgrims' Progress. Hartford: American Publishing Company, 1874 In 8s (8 5/8 x 5 1/2 in.; 220 x 140 mm). 15 wood-engraved plates, numerous wood-engraved text illustrations, publisher's 4-page advertisement at the end; text offsetting and light browning to plates. Publisher's brown half morocco, marbled boards, endpapers and edges, spine lettered gilt; extremities very worn, some offsetting the front free endpapers.

clemens, samuel l.

Early English Literature. A collection of 24 volumes, Limited Editions Club:

Early English Literature. A collection of 24 volumes, Limited Editions Club: Sir Gawain and the Green Knight. Connecticut: Meriden Gravure Co., 1971, illustrations by Cyril Satorsky-Chaucer, Geoffrey. The Canterbury Tales. George W. Jones, 1934, 2 volumes; The Canterbury Tales. New York: E.L. Hildreth & Co., 1946, illustrations by Arthur Szyk; Troilus and Cressida. for George W. Jones by The Fanfare Press, 1939-More, Sir Thomas. Utopia. New York: Rudge Press, 1934 [1935]-Bacon, Francis. The Essays. New York: William E. Rudge's Sons, 1944-Browne, Sir Thomas. Religio Medici. Eugene: University of Oregon, by John Henry Nash, 1939-Marlowe, Christopher. Four Plays. New York: Thistle Press, 1966, illustrations by Albert Decaris-Jonson, Ben. Volpone. Oxford: University Press, 1952, illustrations by Rene ben Sussan-Milton, John. Paradise Lost and Paradise Regain'd. San Francisco: John Henry Nash, 1936, illustrations by Carlotta Petrina; L'Allegro. Il Penseroso. 1954, illustrations after William Blake-Walton, Izaak. The Compleat Angler. New York: Aldus Printers, 1948, illustrations by Douglas W. Gorsline-Bunyan, John. The Pilgrim's Progress. New York: Spiral Press, 1941, illustrations after William Blake-Pepys, Samuel. Diary, 1660-1669. New York: Walpole Printing Office, 1942, 10 volumes, illustrations by William Sharp; 8vo or 4to, the majority limited to 1500 copies, most signed by the artist, original bindings, slipcases, a few slightly rubbed at extremities, some slipcases slightly worn (24)

early english literature. a collection of 24 volumes, limited editions club:

Clemens, Samuel Langhorne ("Mark Twain") A set of 31 volumes, including a uniformly bound set of Works:

Clemens, Samuel Langhorne ("Mark Twain") A set of 31 volumes, including a uniformly bound set of Works: [Works]. [various publishers and dates], 20 volumes, uniformly bound in blue half calf, spines gilt, spines slightly faded, slightly rubbed; The Innocents Abroad or the New Pilgrim's Progress. Hartford, Connecticut: American Publishing Company, 1870, plates and illustrations, original pictorial cloth gilt, skillfully rebacked retaining most of original spine, corners rubbed; The Prince and the Pauper. Chatto & Windus, 1881, first edition, first issue, publisher's advertisements at end, original red pictorial cloth gilt, spine faded, slightly worn; Mark Twain's Library of Humor. New York: Charles L. Webster & Co., 1888, first edition, first issue, illustrations, original red pictorial cloth gilt; Tom Sawyer Abroad. Chatto & Windus, 1894, first english edition, first issue, illustrations, publisher's advertisements at end, original red pictorial binding; More Tramps Abroad. Chatto & Windus, 1897, first english edition, publisher's advertisements at end, original cloth stamped in gilt, top edge gilt, others uncut; The Man that corrupted Hadleyburg and other stories and sketches. Chatto & Windus, 1900, first english edition, frontispiece, original orange pictorial cloth, top edge gilt, others uncut; all 8vo, occasional light spotting or soiling, some with ownership inscriptions, occasional minor chips or tears, bindings with some wear, fading or soiling; and 5 others (31)

clemens, samuel langhorne ("mark twain") a set of 31 volumes, including a uniformly bound set of works:

Three Works. Apuleius, Lucius. De Cupidinis et Psyches Amoribus. Vale Press, 1901, 4to, limited to 310 copies, wood-engraved initial, border and five illustrations by Charles Ricketts, original linen-backed boards, paper label on upper cover, uncut, spotting and browning to initial blank leaves Cellini, B. The Life of Benvenuto Cellini, translated by John Addington Symonds... Vale Press, 1900, 4to, 2 volumes, limited to 310 copies of which this is one of 300 on paper, border and initials by Charles Ricketts, original linen-backed boards, paper labels on upper covers and spines, occasional spotting and browning, loss to spine labels Bunyan, John. The Pilgrims Progress. Essex House Press, 1899, small 4to, number 498 of 750 copies, woodcut frontispiece by Reginald Savage, printed in red and black, original vellum, uncut, minor soiling to vellum (4)

vale press / essex house press.

John Martin 1789-1854 the valley of the shadow of death signed l.l.: John Martin/1829 brown washes 14 by 19 cm., 5 1/2 by 7 1/2 in. The present watercolour illustrates a passage describing 'The Valley of the Shadow of Death' from John Bunyan's The Pilgrim's Progress. It depicts Christian alone in the flooded caverns of the valley on his pilgrimage to the Celestial City. The valley is described in Bunyan's allegory as 'a very solitary place...A wilderness, a land of deserts and of pits, a land of drought, and of the shadow of death, a land that no man (but a Christian) passed through and where no man dwelt.' This is one of two by Martin which were watercolours engraved for The Pilgrim's Progress, the second showing Christian with Hopeful within reach of Heaven looking towards the Celestial City Engraved: As a steel engraving by W.R. Smith for Robert Southey's edition of The Pilgrim's Progress, 1830

john martin

a framed marble relief of the pilgrim meets the shining ones at the cross, from john bunyan's pilgrim's progress

a framed marble relief of the 'pilgrim receives his armour at the house beautiful' from john bunyan's pilgrim's progress

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

4to, the subscriber's or 'cranwell' edition, one of 170 complete copies (inscribed by Lawrence on p.xix "Complete copy. I.XII.26 TES"), printed in red and black, text and decorations printed by Manning Pike with the assistance of H.J. Hodgson, 66 plates including frontispiece portrait of Feisal by Augustus John, many coloured or tinted, 4 double-page, by Kennington, Roberts, Augustus John, William Nicholson, Paul Nash and others, 4 folding coloured maps, 58 illustrations in the text by Roberts, Nash, Kennington and others, initials by Edward Wadsworth, endpapers by Kennington, contemporary olive green morocco (probably by Bumpus), spine gilt in compartments, top edge gilt

4to, the subscriber's or 'cranwell' edition, one of 170 complete copies (inscribed by Lawrence on p.xix "Complete copy. I.XII.26 TES"), printed in red and black, text and decorations printed by Manning Pike with the assistance of H.J. Hodgson, 66 plates including frontispiece portrait of Feisal by Augustus John, many coloured or tinted, 4 double-page, by Kennington, Roberts, Augustus John, William Nicholson, Paul Nash and others, 4 folding coloured maps, 58 illustrations in the text by Roberts, Nash, Kennington and others, initials by Edward Wadsworth, endpapers by Kennington, contemporary olive green morocco (probably by Bumpus), spine gilt in compartments, top edge gilt[together with:] Autograph letter signed ("TELawrence") to General [?George Sidney] Clive explaining "the details of my proposed reprint of the Seven Pillars..." noting subscription status, explaining incomplete  copies, publication date and copyright (2 pages, 8vo, 24 December 1923) Lawrence's masterpiece, in which he  "reveals how by sheer willpower he made history. It was a testimony to his vision and persistence and a fulfilment of his desire to write an epic which might stand comparison in scale and linguistic elegance with his beloved Morte d'Arthur and C. M. Doughty's Arabia deserta. Subtitled 'A triumph', its climax is the Arab liberation of Damascus, a victory which successfully concludes a gruelling campaign and vindicates Lawrence's faith in the Arabs. In a way The Seven Pillars is a sort of Pilgrim's Progress, with Lawrence as Christian, a figure sustained by his faith in the Arabs, successively overcoming physical and moral obstacles..." (Lawrence James, Oxford DNB).

seven pillars of wisdom. a triumph. [london: privately printed, 1926] 

Bande Dessinée

(The New-Yorker Evening Telegram) Basé sur un classique de la littérature du XVIIème, Pilgrim est un personnage introduit par McCay en 1905, qu’il utilisera ponctuellement jusqu’en 1910. Il n’aura pas le même retentissement que Little Nemo, créé lui aussi en 1905. Mais on y trouve le même sens narratif, la simplicité du trait et le très bel équilibre de la page. Une pièce très rare, d’un auteur majeur !

winsor mccay (1869-1934)

Travel, Atlases, Maps & Natural History

Property of a Distinguished Collector LAWRENCE, T.E. Seven Pillars of Wisdom. A Triumph. London: Jonathan Cape, 1935 NUMBER 375 OF A LIMITED EDITION OF 750 COPIES, 4to (254 x 190mm.), photographic portrait frontispiece, 53 plates and illustrations (4 colour), 4 folding maps, publisher's quarter pigskin over buckram boards, top edge gilt, morocco-tipped slipcase THE LIMITED ISSUE OF THE FIRST PUBLISHED EDITION OF LAWRENCE'S MASTERPIECE, published simultaneously with the first trade edition in the same year. "Lawrence had taken part in the preliminary planning of the Arab uprising and, in October 1916, was ordered to Jiddah to assess the military situation. What followed is recorded in Seven Pillars of Wisdom, a personal, emotional narrative of the Arab revolt in which Lawrence reveals how by sheer willpower he made history. It was a testimony to his vision and persistence and a fulfilment of his desire to write an epic which might stand comparison in scale and linguistic elegance with his beloved Morte d'Arthur and C. M. Doughty's Arabia deserta. Subtitled 'A triumph', its climax is the Arab liberation of Damascus, a victory which successfully concludes a gruelling campaign and vindicates Lawrence's faith in the Arabs. In a way Seven Pillars is a sort of Pilgrim's Progress, with Lawrence as Christian, a figure sustained by his faith in the Arabs, successively overcoming physical and moral obstacles" (ODNB). LITERATURE: O'Brien A041

View 1 of Lot 111: LAWRENCE | Seven Pillars of Wisdom, 1935, one of 750 copies

lawrence | seven pillars of wisdom, 1935, one of 750 copies

Charles Dickens: The Lawrence Drizen Collection

DICKENS, CHARLES Oliver Twist; or, the Parish Boy’s Progress...The Third Edition. With an Introduction by the author. London: Chapman and Hall, 1841 8vo (201 x 118mm.), 3 volumes, PRESENTATION COPY INSCRIBED BY THE AUTHOR TO WILLIAM CHARLES MACREADY ("W.C. Macready | From his affectionate friend | Charles Dickens | Christmas 1841.") on title-page, etched frontispieces and 21 other plates by George Cruikshank, original publisher’s brown cloth, upper and lower covers with motif in blind, lettered in gilt on spine, light yellow endpapers, preserved in collector’s chemise and green morocco-backed slipcase, some browning and spotting especially to plates, bindings worn and bumped with slight fraying to extremities, spines faded, some hinges splitting with some repairs A MAGNIFICENT PRESENTATION COPY INSCRIBED BY THE AUTHOR TO ONE OF HIS CLOSEST FRIENDS AT CHRISTMAS 1841, JUST BEFORE DICKENS AND HIS WIFE LEFT FOR AMERICA. This new edition of Oliver Twist, published on 15 May 1841, adds the author's defence against the criticism he had encountered for setting his story in London's underworld ("...I confess I have yet to learn that a lesson of the purest good may not be drawn from the vilest evil...I saw no reason, when I wrote this book, why the very dregs of life should not serve the purpose of a moral...") Dickens wrote to Macready on 27 December, just before attending the first night of Macready's second stint as manager of the Theatre Royal, Drury Lane (where his actor-manager friend played Shylock in The Merchant of Venice), wishing him "Health and happiness for many years, all the merriment and peace I wish you" and sending him "my latest pieces". The Pilgrim Edition of The Letters record these as being inscribed copies of The Old Curiosity Shop and Barnaby Rudge. It seems probable that the present inscribed copy of Oliver Twist, published earlier in the year, was dispatched at or around the same time (see Letters of Charles Dickens, volume 2, p.453). These last few days before departure to America were a time of farewells to his closest friends, such as Macready and Angela Burdett-Coutts. The distinguished actor and theatre manager William Charles Macready (1793-1873), who dominated the English stage for more than twenty years and restored the status of the nineteenth-century English theatre, was one of Dickens's most intimate friends. They had been introduced in Macready's rooms by Forster on 16 June 1837, when they both had growing families. They immediately struck up a close rapport, their wives also became friends, there were "dinners, parties, expeditons and visits" (Tomalin p.89) and Dickens was soon attending Macready's rehearsals and first nights as a matter of course. Often the novelist would take the latest number of the novel he was writing round to Macready and read passages aloud to him (the actor famously sobbed while Dickens read from The Chimes). In 1839 the author dedicated Nicholas Nickleby to him, and in the same year named his third child Kate (Katie) after his friend. When, having been "haunted by visions of America, day and night" he finally embarked on his first tour there in January 1842, it was Macready to whom he left care of his children during his and Catherine's absence. In 1851, upon Macready's retirement from the stage, Dickens gave the celebratory speecch. Their warm and trusting relationship continued unbroken until the novelist's death. As an actor Macready was best suited to the great tragic roles and showed immense intellectual ability in penetrating and expresssing the psychological nature of his characters. He enjoyed celebrated tenures at the Covent Garden and Drury Lane theatres between 1837 and 1843, both as producer and actor. His career is all the more remarkable in that he overcame an intense dislike of theatrical life as a young man (his father, the Irish actor and manager William Macready, had been imprisoned for debt in 1808, as would Dickens's own father sixteen years later) and his business dealings were hampered by his passionate temper, which he himself acknowledged as "the stumbling block of my life" (Diaries, I, 507). Having made his valedictory appearance at Drury Lane in June 1843, as Macbeth, he set sail from Liverpool on 5 September 1843 for his first tour of America. After successful appearances in New York, Philadelphia, Boston, Baltimore, St. Louis, New Orleans and Montreal he returned home a year later £5500 the wealthier. His second American tour, between September 1848 and May 1849, was less successful. The American actor Edwin Forrest held a grievance against him for alleged ill-treatment during his 1845 London tour, and, buoyed by a nationalist undercurrent sweeping the country following somewhat unfavourable accounts of America by Dickens and others, mounted a hostile campaign against his English counterpart, replicating his roles wherever possible. The campaign culminated in a disturbance at the Broadway Theatre, New York, on 10 May 1849, when between 17 and 20 rioters were killed by troops (see Michael Slater, Oxford DNB). For another work inscribed to Macready see lot 75. PROVENANCE: W.C. Macready, presentation inscription from the author; Thomas Penny, ownership signatures and stamps; Maggs Bros; [sold for £520 in November 1929 to:] Comte Alain de Suzannet (autograph note in Suzannet's annotated catalogue of his collection, Lausanne, 1934), bookplate, the sale of his collection at Sotheby’s, 22 November 1971, lot 40; Kenyon Starling, bookplate; William E. Self, bookplate, Christie’s 2 April 2008, lot 51

dickens, oliver twist, 1841, third edition, presentation copy inscribed to macready

Books and Manuscripts: A Summer Miscellany

From the Library of Alan Milne LAWRENCE, T.E. SEVEN PILLARS OF WISDOM. JONATHAN CAPE, 1935 4to, LIMITED ISSUE of third English (first published) edition, NUMBER 732 OF 750 COPIES, photographic portrait frontispiece and 53 plates and illustrations (4 in colour) 4 folding maps, publisher's quarter pigskin, decorated endpapers, buckram boards, top edge gilt, corners slightly bumped, minor spotting THE LIMITED ISSUE OF THE FIRST PUBLISHED EDITION OF LAWRENCE'S MASTERPIECE, published simultaneously with the first trade edition in the same year. "Lawrence had taken part in the preliminary planning of the Arab uprising and, in October 1916, was ordered to Jiddah to assess the military situation. What followed is recorded in Seven Pillars of Wisdom, a personal, emotional narrative of the Arab revolt in which Lawrence reveals how by sheer willpower he made history. It was a testimony to his vision and persistence and a fulfilment of his desire to write an epic which might stand comparison in scale and linguistic elegance with his beloved Morte d'Arthur and C. M. Doughty's Arabia deserta. Subtitled 'A triumph', its climax is the Arab liberation of Damascus, a victory which successfully concludes a gruelling campaign and vindicates Lawrence's faith in the Arabs. In a way Seven Pillars is a sort of Pilgrim's Progress, with Lawrence as Christian, a figure sustained by his faith in the Arabs, successively overcoming physical and moral obstacles." (Lawrence James, Oxford DNB) LITERATURE: O'Brien A041 PROVENANCE: Charles W. Traylen, sale of stock at Dominic Winter, 10 April 2003, lot 27 To view Shipping Calculator, please click here

lawrence, t.e. | seven pillars of wisdom, 1935, limited issue

from John Bunyan's 'Pilgrims Progress' together with two Victorian stained glass windows depicting Saints

a pair of victorian stained glass panels, 19th century

Fine Books and Manuscripts Including Americana

Little Saint Elizabeth and Other Stories. New York: Scribner's, 1890 (BAL 2077) — Giovanni and the Others. New York: Scribner's, 1892 (BAL 2082) — The One I Knew the Best of All. New York: Scribner's, 1893 (BAL 2084) — Two Little Pilgrims' Progress. New York: Scribner's, 1895 (BAL 2088) — The Good Wolf. New York: Moffat, Yard, 1908 (BAL 2108) — My Robin. New York: Frederick A. Stokes, (1912) (BAL 2118) — The Little Hunchback Zia. New York: Frederick A. Stokes, (1916) (BAL 2123) — The White People. New York and London: Harper & Brothers, 1917 (BAL 2125)

Little Saint Elizabeth and Other Stories. New York: Scribner's, 1890 (BAL 2077) — Giovanni and the Others. New York: Scribner's, 1892 (BAL 2082) — The One I Knew the Best of All. New York: Scribner's, 1893 (BAL 2084) — Two Little Pilgrims' Progress. New York: Scribner's, 1895 (BAL 2088) — The Good Wolf. New York: Moffat, Yard, 1908 (BAL 2108) — My Robin. New York: Frederick A. Stokes, (1912) (BAL 2118) — The Little Hunchback Zia. New York: Frederick A. Stokes, (1916) (BAL 2123) — The White People. New York and London: Harper & Brothers, 1917 (BAL 2125) Together 8 volumes, various sizes. All illustrated, some in color. Uniformly bound in honey morocco gilt by the Harcourt Bindery, Boston, original front cloth covers and spines bound in, marbled endpapers, top edges gilt.

burnett, frances hodgson

signed and dated, after Morel Ladeuil for Elkingtons, depicting a scene from John Bunyan's 'Pilgrims Progress' of Christian's conflict with Apollyon in the Valley of Humiliation

a victorian electroplated copper electrotype shield, 1878

The History of Hindostan. 1768, 2 volumes bound in one, 4to, plates and maps, contemporary half calf, rather rubbed--[Hastings, W.] A code of Gentoo laws or ordinations of the pundits. 1777, first edition, original boards, some worming, binding worn--Robertson, W. An historical disquisition concerning the knowledge which the ancients had of India and the progress of trade with that country. 1791, first edition, 4to, folding maps, contemporary diced russia gilt, spotting and offsetting, joints split--Seely, J.B. The wonders of Elora. 1824, first edition, plates--Roberts, E. and R. Elliot. Vues pittoresques de l'Inde, de la Chine et des bords de la Mer Rouge. [c.1835], first edition in french, 2 volumes bound in one, plates, contemporary half morocco--Thomson, M. The story of Cawnpore. 1859, first edition, illustrations--Dilke, C.W. Greater Britain: a record of Travel in English-speaking countries during 1866 and 1867. 1869, second edition, 2 volumes, maps and illustrations, contemporary half calf, rubbed--Gay, J.D. From Pall Mall to the Punjab. 1876, first edition, illustrations--Rousselet, L. India and its native princes. Travels in Central India. 1882, new edition, large 8vo, illustrations, modern half faux morocco--Cumming, C.F.G. Two Happy Years in Ceylon. 1892, first edition, 2 volumes, illustrations, folding map, modern half calf, library stamp to verso of titles--Hart, Mrs. E. Picturesque Burma past and present. 1897, first edition, presentation copy, inscribed by the author, illustrations--Menpes, D. and M. The Durbar. 1903, first edition, 4to, number 870 of 1000 deluxe copies, signed by the artist, illustrations, some leaves becoming loose--Kloss, C.B. In the Andamans and Nicobars. 1903, first edition, illustrations--Cave, H.W. Golden Tips. A description of Ceylon and its great Tea industry. 1904, third edition, illustrations--Buck, E.J. Simla past and present. Calcutta, 1904, first edition, presentation copy, inscribed by the author, illustrations, light spotting, binding soiled--Kelly, R.T. Burma painted and described. 1905, first edition, illustrations, contemporary red half morocco gilt--Corner, C. Ceylon. 1908, first edition, illustrations--Murdoch, W.G.B. From Edinburgh to India and Burmah. [1908], first edition, illustrations--Fraser, Lovat. India under Curzon and after. 1911, first edition, illustrations--Clifton, Mrs. T. Pilgrims to the Isles of Penance. Orchid gathering in the East. 1911, first edition, illustrations--Wylly, H.C., editor. A life of Lieutenant-Colonel Sir Eyre Coote, K.B. Oxford, 1922, first edition, inscribed on preliminary blank 'Curzon', illustrations--Wells, C. Six Years in the Malay Jungle. 1925, first edition, illustrations--Boger, A.J. The Road I Travelled. 1936, first edition; all 8vo and original cloth, except where stated, bindings with some wear; and 36 others (61)

india, ceylon and burma--dow, a.

Fine Books and Manuscripts, Including Americana. Part 1

Dickens, Charles Presentation copy of David Copperfield, along with seven other Dickens' titles. London: 1837-1857 The Personal History of David Copperfield. London: Chapman and Hall, 1850. 8vo (218 x 138 mm). Autograph letter signed ("Charles Dickens") bound in before half-title, presenting the "set" to James E. Roney, engraved frontispiece, additional title (earlier issue, with date) and 38 plates after Hablot K. Browne ("Phiz"), front wrapper from Part XVII bound in at end; letter laid into leaf, old folds and some foxing to letter, text with a few stray spots, faint browning and some primarily marginal foxing to a few plates. First book edition, bound from the parts, early issue. Smith I:8. [With]: The Posthumous Papers of the Pickwick Club. London: Chapman and Hall, 1837. 8vo (204 x 135 mm). Half-title, printed title-page, 2pp. address by the author, 4pp. preface, 4pp. contents, 2pp. Directions to the Binder/Errata, engraved frontispiece, pictorial title-page and 41 plates by R. Seymour and H.K. Browne ("Phiz"), plates all later issues with publisher's imprint, caption and signature, later issue text throughout, front wrapper from Part XVIII bound in at end; text with a few stray spots, faint browning and some primarily marginal foxing to a few plates. First book edition, bound from the parts, later issue. Smith I:3; Eckel 17-78; Hatton and Cleaver 1-88. Oliver Twist; or, the Parish Boy's Progress. By "Boz". London: Richard Bentley, 1838. 3 volumes, 8vo (198 x 121 mm). Etched frontispieces and 21 other plates by George Cruikshank, "Fireside" plate in Vol. III, half-titles to Vol. I and II only (as called for), 4pp. publisher's advertisements at end of Vol. I, 2pp. publisher's advertisements at beginning of Vol. III; occasional and minor foxing, browning, and offsetting. First edition, first issue with the "fireside" plate. Smith I:4; Eckel pp. 59-62; Sadleir 696. Sketches by Boz Illustrative of Every-day Life and Every-day People. London: Chapman and Hall, 1839. 8vo (220 x 138 mm). Half-title, etched frontispiece, pictorial title-page and 38 plates by George Cruikshank, those before p. 120 without publisher's imprint, advertisement leaf dated 15 May 1839, front wrapper from Part XIII (1837) bound in at end; occasional and minor foxing, browning, and offsetting. First octavo one volume edition. Eckel pp. 14-15. The Life and Adventures of Nicholas Nickleby. London: Chapman and Hall, 1839. 8vo (220 x 135). Half-title, engraved portrait frontispiece by Daniel Maclise in first state (Chapman and Hall imprint present), 39 engraved plates by Hablot K. Browne ("Phiz"), front wrapper from Part IV bound in at end; closed tear to frontis repaired, occasional and minor foxing, browning, and offsetting, wrapper trimmed. First book edition, bound from the parts. Smith I:5. Dombey and Son. London: Bradbury and Evans, 1848. 8vo (220 x 130 mm). Half-title, 2-line errata leaf, engraved frontispiece and title-page with 38 plates (including the first ever example of a "dark plate") by Hablot K. Browne ("Phiz"), front wrapper from Part IV bound in at end; occasional and minor foxing, browning, and offsetting, wrapper trimmed. First book edition, bound from the parts. Smith I:8. Bleak House. London: Bradbury and Evans, 1853. 8vo (215 x 135 mm). Half-title, frontispiece, illustrated title-page and 38 plates by or after Hablot K. Browne ("Phiz"), front and rear wrappers from Part VII bound in at end; occasional and minor foxing, browning, and offsetting, wrappers trimmed. First book edition, bound from the parts. Smith I:10. Little Dorrit. London: Bradbury and Evans, 1857. 8vo (210 x 130 mm). Frontispiece, illustrated title-page, 40 plates by Hablot K. Browne ("Phiz") including eight dark plates, front wrapper from Part VII bound in at end; occasional and minor foxing, browning, and offsetting, wrapper trimmed. First book edition, bound from the parts. Smith I:12. All titles uniformly bound in full red morocco, bound by Riviere & Son, covers with multiple gilt rules and central gilt lion and star device replicating Dickens' own bookplate, green morocco second and third spine with raised bands in six compartments, green watered silk doublures, pastedowns of green morocco with gilt-lettered quotations from the respective novels, elaborately gilt inner dentelles, top edges gilt; some joints starting, spines darkened, extremities rubbed, Copperfield rebacked with the original spine laid down. Each volume in custom slipcase. An extraordinary presentation set, gifted by Dickens to James Roney: "To | James E. Roney; | My old friend and companion | In some of the Copperfield Days | (When Dora was beautiful); | This set of my books | with my faithful regards. | Charles Dickens | London, Tenth August, 1857" Charles Dickens and James Roney "lived together on Buckingham Street—the site of David Copperfield's lodgings—in 1831" (Dasgupta 257). It was around this time that Dickens was working as a freelance court reporter, and when he met his first love, Maria Beadnell, who would become the model for the character of Dora Spenlow in David Copperfield (1850). Beadnell's parents disapproved of the match, and hastened the end of the relationship by sending Mariah to school in Paris. David Copperfield was serialized between May 1849 and November 1850, nearly 20 years after this event in Dickens' life, but it would seem the pain of the young couple's separation remained fresh. Copperfield is an autobiographical bildungsroman—though readers in the 1850s would have remained largely ignorant of the degree to which Dickens sought to not only chronical, but also to renegotiate, the narrative of his own life through this work in particular. As Dickens' fame increased, he became anxious that his audience—not to mention his social circle—would discover just how humble his origins were. In the novel, Dora is drawn as the charming daughter of Mr. Spenlow, and, following a lengthy courtship, becomes David's first wife. Dora is described as beautiful but impractical, and in their first year of marriage proved difficult as David learns their differences surrounding household order. Just as Dickens' relationship with Dora proved impossible, do does David's with Dora, who, after suffering a miscarriage, is plagued by a long illness, and eventually dies (with David's childhood friend, and later second wife, Agnes Wickfield at her side). Dickens would go on to marry Catherine Hogarth in April of 1836. Their early life together was a happy one. In 1851, however, Catherine experienced some sort of "nervous collapse," or breakdown, following the death of their infant daughter, Dora Dickens. Following this tragedy, space began to take root between the couple, and over the years, Dickens found his wife to be an increasingly incompetent housekeeper and mother. It was around this time that Dickens reconnected with Maria Beadnell, who, after two decades of silence, wrote him in February 1855. In her letters, Beadnell warned Dickens that her beauty had faded with time, even describing herself as “toothless, fat, old, and ugly.” Dickens, refusing to believe this, arranged a rendezvous on 25 February 1855, and despite Beadnell's warnings, Dickens was shocked by her appearance. Beyond her physical transformation, Dickens was put off by her general manner, which had become silly and giggly. Charles and Maria met once more, and this time each was joined by their respective spouse. While Beadnell was keen to continue communicating with Dickens, he was set on avoiding her. As Dickens' marriage crumbled, and as he processed his reunion with Beadnell, he began work on Little Dorrit (serialized between December 1855 and June 1857). In it, the character of Flora Finching—a widow, who, in her young days, was a great beauty in love with Arthur Clennam, the novel's hero—is based on Beadnell. When Arthur Clennam returns to England from China, where he'd been living for two decades, Flora maintains a hope that he will fall in love with her again, though she has changed greatly both in terms of her physical appearance and manner. (Clennam ultimately marries Amy Dorrit, a practical, industrious woman half his age). James E. Roney was a law student, and, like Dickens, a Parliamentary reporter. Roney was admitted to Temple Bar in April of 1833, and emigrated to Demerara, British Guiana, in 1838, where he became a successful barrister and constitutional reformer. Reference to this particular set appears in an issue of The Bookman's Journal and Print Collector from 1921, with Townley Searle requesting further information related to Roney. Letters between Dickens and Roney are extremely rare, and we've been able to locate no other record of this set. Given that Dickens did not specify the titles in he gifted to Roney, it is difficult to know if the preset set is "complete," or at what point it was rebound. What is certain is that this was offered to a friend from "the Copperfield Days" during the most tumultuous periods of the author's life. An extraordinary and intimate survival. REFERENCE: Dasgupta, Ushashi. Charles Dickens and the Properties of Fiction: The Lodger World (2020); Dickens, Charles, (ed. by Madeline House et al). The Letters of Charles Dickens, Pilgrim Edition, I:59 (note); Partington, Wilfred (ed.). The Bookman's Journal and Print Collector, 12 August 1921, 4:252

View 1 of Lot 1009: Dickens, Charles | A remarkable presentation set of some of the author's best-loved novels

dickens, charles | a remarkable presentation set of some of the author's best-loved novels

Black Sun. New York: Simon and Schuster, [1971]. INSCRIBED: “to Mark Richards – all the best! Edward Abbey, Tucson 1988.” – Good News. New York: Dutton, [1980]. Covers a trifle faded. INSCRIBED: “for Mark – with much appreciation from his fan Ed Abbey, Tucson, April 1988.” – The Fool’s Progress. New York: Holt, [1988]. INSCRIBED: “to a fellow pilgrim, Bob Baker, Ed Abbey, October ‘88.”

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