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Blackwell's Rare Books

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A collection of her first editions, inscribed to Valerie Grosvenor Myer: – Wordsworth [Literature in Perspective series]. Evans Brothers, 1966, pp. 159, foolscap 8vo, original boards and dustjacket, inscribed ‘For Valerie, With love, Maggie Drabble’ – The Waterfall. A Novel. Weidenfeld & Nicolson, 1969, crown 8vo, original boards and dustjacket, inscribed ‘For Valerie who did a particularly good job on this one – Maggie’ – The Ice Age. A Novel. Weidenfeld & Nicolson, 1977, pp. 297, 8vo, original boards and dustjacket, inscribed ‘For Valerie, Michael, who have been warm friends through the icy years, with much love, Maggie Drabble’ – Hassan’s Tower. Los Angeles, CA: Sylvester & Orphanos, 1980, pp. [vi], 25, 8vo, original buckram with design in gilt to both boards, slipcase, laid in two postcards from Drabble to Grosvenor Myer, and an invitation to the launch of her edition of the Oxford Companion to English Literature

Drabble (Margaret) FIRST EDITIONS, the last ONE OF 4 'AD PERSONAM' COPIES, some with VGM's notes in pen or ink to margins, 8vos, original cloth or boards, with dustjackets where applicable, condition ranging from very good to fine . Valerie Grosvenor Myer published the first monograph on the work of Margaret Drabble in 1974; the two were contemporaries and friends, and this group of presentation copies speaks of their mutual respect and admiration. The postcards laid in to the latest work in the group take the form of an invite to a private party ('do hope you can come') and a note regarding the death of Drabble's mother ('It's true that she didn't want to survive') that demonstrate the intimacy of their relationship. [With:] Roxman (Susanna) Guilt and Glory: Studies in Margaret Drabble's Novels, 1963-80. Stockholm: Almqvist & Wiksell, 1984, very good in wrappers, inscribed 'for Valerie, friend, fellow-scholar, and fellow-writer' [And:] Kenyon (Olga, Editor) Women Writers Talk. Interviews with 10 Women Writers [including Margaret Drabble]. Oxford: Lennard, 1989, original boards and dustjacket, inscribed by the editor 'To Valerie, in love and gratitude' [And:] A proof copy of Nora Foster Stovel's 'Margaret Drabble: Symbolic Moralist' (Starmont House, 1989), inscribed 'For Valerie (the original)'
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Engraved work by various artists sent to George Buday [14 pieces].

Buday.) an unsigned wood-engraved portrait of the Queen, a plain folded card with a hand-written greeting message from George Mayer Marton internally facing a tipped-in engraving by him, 2 prints of bookplate-designs by Laszlo Lazar Nagy (one signed by him), wood-engraved bookplate for Dr. Gunther Findel designed by Herbert Ott and signed by him, 2 New Year greetings card with lino-cuts by Maria Josefa Colom (dated 1973 and 1975 respectively, each signed internally, a 2-colour lino-cut bookplate (signed and dated '73) and a card with a 3-colour lino-cut (signed internally) both by Maria Elisa Leberoni, an undated Christmas card from Margaret Tomlin and family with a hand-coloured drawing by her, 3 wood-cut bookplate designs all by the same (unidentified) artist and signed in pencil, all for members of the Franciscan order (one for Augustin-Joseph Sépinski), a further wood-engraved bookplate design for 'Margrit Elisabeth' by Rose Reinhold, some colour-printing, various sizes and formats, very good condition overall. A selection of work, some signed and most attributable, sent to the Anglo-Hungarian wood-engraver George Buday, demonstrating the international community of artists in his and related fields - including work by other Hungarian emigrés such as Nagy and Mayer Marton, as well as Italian, German and Catalan engravers. The material divides into two categories - greetings cards and bookplates - in which Buday was active; indeed, he wrote a book on the former in 1964.
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This Work by Georgiana Duchess of Bedford was completed in (.)

Georgiana Russell (née Gordon), Duchess of Bedford fine illuminated (but unfinished) title-page on vellum, lettering in gilt, tipped onto an album leaf, 11 leaves with water-colour drawing, &c (see below) tipped in or laid down plus about 50 more leaves with a few later insertions, 4to, beautifully bound in contemporary burgundy morocco, outer borders of twin triple gilt fillets, central panel framed by multiple gilt fillets, with a fine large 'fanfare' stamp at the centre, gilt stamped ducal coronet and the initials G.B. at the centre of the upper cover, spine gilt in compartments, wide gilt inner dentelles, light blue watered silk paste-downs and fly leaves, gilt edges, a little rubbed especially to hinges, good. A splendid album of water-colours collected by Georgiana, including one possibly by Landseer. Though few in number, the items are an excellent reflection of the tastes, and cultural horizons, of one of the most interesting, grand aristocratic ladies of the first half of the 19th century. The binding is not signed, though it is luxurious. Contents: 1. Title-page, lettered as above, and decorated with bunches of grapes and flowers, and incorporating a ducal coronet in gilt. 2. Watercolour drawing on paper, 83 x 105 mm, of a Scottish Tower House, 3-storied, roofless, in a landscape with hills in the distance, and water (river or loch) in the foreground. Unsigned, but nicely drawn. This Tower bears some resemblance to the Tower of Gordon Castle, which however is 4 stories. 3. Hartshorne (Rev. Charles Henry) Watercolour drawing on paper, 250 x 205 mm, of the Anglo-Saxon tower of the parish church of Earls Barton, Northamptonshire. The Northamptonshire Record Office possesses a large collection of papers and drawing by Harthorne, including 3 of the same subject. 4. Severn (Joseph) Watercolour drawing on paper, 228 x 180 mm, Italianate, depicting a young woman seated by a wayside shrine, with a young gril beside her resting her head (asleep, apparently) on the older woman's knee, dated Rome, 1831. Severn stayed on in Rome, after accompanying Keats there: Keats died in Severn's arms on 23 February 1821. 5. [Deacon (Selina)] A finely executed 'illuminated' drawing on vellum, the sheet 238 x 203 mm, the drawing (tapering at top, approx. 125 x 75 mm, at the centre an exquisitely executed miniature depicting a landscape with a plough and cattle in the foreground, bordered on 3 sides by a gilt strips decorated with flowers, and surrounded by leaf sprays of various colours and heightened in gilt, dated 1826. The minuscule inscription at the foot seems to read 'Selina Deacon' (we had thought the second word was Beacon, indicating a particular landscape feature, but, a) there is no such Selina Beacon in the British Isles, and b) Selina Deacon is a possible name, though we have not found an interesting person to attach it to. Whoever the artist, he or she was very skilled, possibly professional. 6. Leslie (Charles Robert) Watercolour drawing on paper, on a sheet 215 x 263 mm, the drawing within a pencil ruled from approx. 135 x 170 mm, depicting a scene from 'As you like it' (Act 5th, Sc 1), the interview of Touchstone and Audrey with William, signed in the bottom left hand corner, captioned below. A nice example of Leslie's literary genre pieces. He introduces a dog to the scene, whose regard towards William is most expressive. 7. Pinelli (Bartolomeo) Watercolour drawing on paper, 203 x 256 mm, depicting two young women standing and conversing in a landscape of Classical ruins, one of them holding a baby in swaddling clothes, to the side a young pipe-smoking man seated on a block of masonry, within earshot but apparently inattentive, signed 'Pinelli fecit 1828 Roma'. The signature is cropped a little and the last 2 digits are uncertain. A skilful drawing, with emphasis on costume. 8. Watercolour drawing on paper, 134 x 230 mm, depicting the Brighton Chain Pier in the semi-distance, dark clouds and a setting sun beyond, viewed from the base of the cliffs, up which steep fenced paths wend their way, a few figures on the path and the beach, unsigned, captioned in turquoise ink on mount. 9. [?Landseer (Edwin)] Pen, ink and wash drwing on paper, 108 x 155 mm, depicting two mounted horsemen (?lancers) riding away from the viewer, other more sketchy figures in the background. Landseer was of course an animal artist, but his animals played solo roles, so the potential attribution is speculative. 10. ?Calliday (A.W.) Pencil drawing on paper, 156 x 115 mm, depicting a scene in Verona, a bridge across the river (but not the main stream), with buildings on either bank, and with workmen or boatmen busy on the beach in the foreground, signed indistinctly within the drawing, captioned in turquoise on the mount, the drawing within double gilt rule. 11. Pencil drawing on paper, 80 x 124 mm, view of Nice from along the shore, looking towards the fortifications on the right, the city in the background. 12. Pencil drawing on blue paper, 195 x 242 mm, depicting 'The Old Oak and Manor, Chenies Bucks'. An accomplished and detailed drawing of a famous tree, known as Queen Elizabeth's Oak, still going, and ancient even in Elizabeth's time. Chenies was a property of the Russells, the family of the Dukes of Bedfrd. This could then conceivably be by Georgiana herself.