ILLUSTRATION

Printed in black on one side of piece of 33 x 20 cm thick paper [full page containg image, 20 x 13cm]. Dimensions of print 23 x 13.5 cm [largest image in book, 15 x 9.5cm] . In good condition, on lightly aged and creased paper, with slight foxing.

The four plates (each 29 x 23.5 cm) are loose and unframed, in fair condition, aged and worn, with no margins, chipping to the edges, and with the corners cut off at a diagonal. Each title written in pencil in a contemporary hand on the reverse of the print, each with a price of '6d'. The subjects are not depicted in unattractive style, and are certainly not grotesques, but they are shown as 'simple', untroubled individuals, with the usual happy, gleaming brown faces and shiny white teeth.

[1] + 28pp., 4to. New title-leaf and text pp.215-242. In printed brown paper wraps, inscribed at head of front cover 'to Mr Richard Bentley | from Michael Sadleir | Dec 1924'. In good condition, lightly aged and worn. The paper was read before the Bibliographical Society on 17 November 1924. NOte: Sadleir describes the wonderful moment when he first saw the Bentley file copy collection in "Nineteenth-Century Fiction". He inevitably became very friendly. Richard Bentley was the grandson of the founder of the firm, selling up to MACMILLAN'S IN 1898.

[10] + 288pp., 4to. In original quarter-binding, with blue paper boards and cream buckram spine with gilt lettering. A handsome book, profusely illustrated, with 49 plates (some with guards) and the two signed 'Extra Plates', and numerous illustrations in text. Announcement on reverse of first page: 'THIS edition, with an original etching and an original lithograph by Frank Brangwyn, is limited to 65 copies, of which this is No. 41'. The etching, facing p.1, is titled 'A Back Street, Tours', and the lithograph, facing page 180, is titled 'Newcastle'. Both are signed by Brangwyn in pencil.

1p., 12mo. Good, on lightly-aged paper, with water staining to a couple of words. Written in a stylish, calligraphic hand. He begins by thanking the recipient for a letter and postal order, before continuing: 'In case you are interested, I also do paintings of antique weapons. An example of my work can be seen in the August 1962 issue of "Guns Review".' He explains that such illustrations can be in either black and white or full colour, and concludes: 'If you have a particular favourite I shall be pleased to quote.'

1p., 4to. On blue-grey paper. In good condition, lightly-aged. He has been trying to get her a acopy of the print, but will not be able to until the following Tuesday. He hopes that this is not too late, and it will give him 'much pleasure in sending it up'.

The six illustrations and seven pages of text totalling 13pp., 4to (22.5 x 18cm), on seven leaves of laid paper removed from an album. On aged brittle paper, with chipping and slight loss to the edges. The illustrations are simple sketches, indicating the layout of the page, with titles and occasional words of text by Sullivan. Five of the six designs are for the Pall Mall Budget: 'The Thumbmark by H. G. Wells' (28 June 1894), thumbmarks around title and a newspaper seller with headline reading 'Anarchist Outrage'; 'The Stolen Bacillus by H. G.

1p., 4to (22.5 x 18cm). On laid paper. In fair condition, aged and with slight chipping. The sketches are crude but attractive, headed with a line of three girls in black stockings and petticoats shaking a leg, with the phrase 'The poppy' in the top left-hand corner, and a line of girls at the foot, with an oriental male figure with cane in the background, captioned 'Mamma's Alabama Coon'. Two sketches of the 'Shepherdess' at bottom right, with usual broad-brimmed hat and crook. Hattie Starr's 'Little Alabama Coon' took London by storm in 1894.

Each of the three coloured plates is 19 x 14 cm, and each is laid down on a piece of 31.5 x 20.5 cm cream textured paper, each mount with caption and vignette printed in green. The three are placed in a portfolio, made of the same textured paper as the mount, with the front carrying the title, publishers' details, and an illustration (of underwater baby balancing on a fish). In fair condition, aged and with wear to extremities.

1p., 12mo. Good, on lightly-aged paper. The letter is addressed to 'T. Hellier Denselow Esq.', but the accompanying envelope (with stamp and postmark) is addressed by him to 'D. [sic] Hellier Denselow Esqre | 137 Hurlingham Road | London S.W.' Owen thanks Denselow 'for all the nice things in your letter', adding that he is 'glad you like the sketches. I do myself occasionally - not often.' Denselow would himself appear to have been a commercial artist, with a studio in Gunnersbury Lane in west London.

Ten of the engravings carry Crowquill's name; the other eight can be attributed to him stylistically. In good overall condition, on aged paper, with a few of the eighteen lightly creased or worn, and one bearing traces of previous mounting. Seven of the engravings are proofs of vignettes and initials, ranging in size from 10.5 cm square to 22 x 18.5 cm.

17pp. 4to. Three illustrations: one in colour on the cover, and one each in black and white on the back wrap. The last page of text, numbered 17, is on the back inner wrap, followed by a decorative presentation of a biblical text. Covering the back outer cover is a black and white decorative representation of the text 'GLORY TO GOD | ON EARTH PEASE, GOOD WILL TOWARD MEN. | IN THE HIGHEST', engraved by 'T. M.'. In coloured wraps, with attractive cover carrying a large coloured illustration of Old Janet and three others, looking at a donkey.

2pp., 12mo. In very good condition, on lightly-aged paper, with pin holes to one corner. Addressed to 'The Edr. | St. James's Budget'. 'To the best of my recollection the drawings I made for the P. M. Budget, were sold to include copyright. If not stated - this was the understanding - and therefore my interest in them so far as Black and White is concerned has ceased. But should you think of adapting any of them to the purposes of coloured pictures - I think you would require my consent, which I should be at liberty to give or not as I thought proper.'

2pp., 12mo. Bifolium. Very good, on lightly-aged paper, with small hole through both leaves at top inner corner. The letter begins: 'As far as I can remember I keep the Copyright of my late drawings in the Pall Mall Budget'. He refers Brodhurst to the magazine's editors, and apologises for his alte response.

The first four letters are each 1p., 12mo; and the fifth letter is 1p., 4to. The price list, which accompanies the last letter, is 2pp., 4to. All items in good condition, on lightly-aged paper. In the first letter (4 May 1980) he replies to his correspondent, thanking him for a letter 'concernant la representation d'Orphée aux Enfers que vous avez vu à Oxford en 1977'.

Letter One: 4pp., 12mo. Bifolium. With decorative letterhead in red. Very good, on lightly-aged paper. Addressed to 'My dear Old DD' and 'E. D. Davis'. He realises that Davis is in 'a precious state of mind', and will only send 'a few lines to exchange domestic greetings of kindliness & good fellowship from the circle of Balham to the Square in N'Castle - the waters of the Thames mingle with those of the Tyne'.

On one side of a 5.5 x 20 cm strip of laid paper, cut away from the bottom of a letter. In good condition, on lightly-aged paper, with traces of mount adhering to the reverse. Reads, in a firm attractive hand: 'Yours very sincerely | John Hassall.'

2pp., 12mo. In fair condition, on lightly-aged paper, with a couple of small spots of glue from mount. Numbered in another hand at the foot of the second page. He writes: 'The Chalcographic Soicety meet at my house on Friday evening next 21st inst | If you can favor me with your company on that evening it will give me great pleasure.' For information about the Chalcographic Society, founded in 1807, see Dennis M. Read's biography of 'R. H. Cromek' (2011).

2pp., 12mo. Fifteen lines. On bifolium. Fair, on lightly-aged paper. The male recipient is not named. She apologies that 'the crowd of Christmas engagements' has meant that his letter has gone unanswered until now. 'With regard to the question you ask, my feeling is that where an artist and an author can contrive to work well together illustrations are a decided improvement to novels. But it is most trying to an author to see his characters presented to the public in a way utterly unlike his own conception of them.' In her view it is 'clear gain' if a book can be 'well illustrated'.

8pp., 4to. In stiff printed wraps. Printed in black and white. Photographic portrait of the artist tipped-in as frontispiece, twenty illustrations in text, and loosely inserted in a wallet at the rear a facsimile (2pp., 8vo) of an article from the Argentine Magazine, Christmas 1929: 'How MAUZAN makes lively posters' by A. Lancelotti. Cover carries image of smiling fat black man shining his foot with a shoebrush, above facsimile of Mauzan's signature. Scarce: does not appear to be present in the Bibliotheque Nationale.

In ink on both sides of a 4to leaf of wove paper, watermarked 'J GREEN & SON / 1824'. None of Cruikshank's drawing or writing is affected, but one corner of the leaf has been cut away, and there is another thin strip cut from another. Fair, on aged paper. One page carries a full-length drawing of a bearded athletic man in shorts and sandals, making a sweeping theatrical gesture with his right hand, and holding a spear in his left. Beneath the drawing is Cruikshank's signature, and a study of the left foot.

2pp., 8vo. Good, on lightly-aged paper, with two unobtrusive pinholes to second leaf (not affecting text). He is sending the 'matter' to Bramief 'as an earnest of my good nature, for I think I am somewhat justified under the circumstances in the impression that you have been a trifle <?> and exacting.' He still considers the form of is second letter 'was all that you could reasonably have asked for and that the request for so called "copy" was especially needless in the facce of the fact that it was in any event to be trusted turned, cut and otherwise subdued to suit your requirements'.

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.

Dimensions 29 x 12 cm. Pasteboard mount, 31 x 14.5 cm. In blue, black and white. In good condition on lightly-aged paper. In front of a background of ricketty railings, a jolly bespectacled penguin [with Tschichold's sprightly eyes], with a Penguin book under his left arm, and preceded by a letter P and followed by an n, drags a bespectacled, bearded man (looking a little like a young Michael Bentine) towards the right of the drawing.

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.

8vo, 17 pp. Stitched. In original grey wraps, printed in black red and dark and light green. Good, on lightly aged paper. A children's book, with attractive illustrations of children playing, either in red or green. Colophon reads: 'Compositors: D. Beech and J. Baker | Pressmen: G. V. Jones and G. Knott | The Illustrations are printed from the original lino-cuts.' Scarce: the only copy on COPAC at Cambridge.

Part of letter, 11 x 5cm, good condition, saying, yours try | Lancelot Speed.

4to album of 33 leaves, with the 112 illustrations each on a separate piece of paper, and all laid down on 59 of the album's 66 leaves (the blank leaves of the album bearing traces of other illustrations having been removed). The illustrations range in size from 19 x 15.5 cm to 6 x 3 cm, with the average around 15 x 11 cm. The album's brown cloth covers are faded and worn, but internally the album is sound, with the illustrations themselves in good condition, on lightly-aged paper. Around twenty are signed, half with the spelling 'Duchene' and the other half 'Du Chene'.

Dimensions of paper 23 x 17 cm; dimensions of image c.16 x 10.5 cm. In fair condition on lightly-aged paper. Captioned at foot 'Nathaniel Hawthorne'. Head and shoulders illustration, with Hawthorne looking at the viewer with his head slightly towards his right shoulder. Placed in modern 34 x 26.5 cm cream card frame with gold and light-green border. Professionally executed in a traditional style. The artist's monogram, centred beneath the illustration, consists of a stalk topped by simple flower design, and with the date '26' at the foot.