Prints, Drawings & Paintings

Buenos Aries: Editorial Atlantida. 1975.Silver gelatin photograph. 180x240mm. Taken using a fish-eye lens, it shows Borges and Sabato sitting together talking over a cup of coffee in a café. On the verso is the photographer's stamp from the magazine Editorial Atlantida. It has also been inscribed by Sabato "Para Juan contodo mui afecto. E. Sabato. 15 de Mayo de 1998". Protected by a transparent plastic envelope and housed in a heavy card folder covered with marbled paper.

London. 1866.A photograph album containing thirteen heavy card leaves into which are inserted (on each side of the leaf) four small 'carte de visite' photographs. There is a total of 104 photographs. Leaves measure 282x200mm and the photographs in their frames 84x50mm. On a blank preliminary is written in coloured ink with gold highlights: "Presented to Mr B.B.Toussaint by the Teachers & Friends of Holloway Ragged Schools with much esteem & regret at parting. Nov 1866". In a heavy green morocco binding decorated with relief patterns, with brass clasps. All edges gilt. Silk endpapers.

Amsterdam: n.p.. [1964].Paper scroll (2760x430mm) with a facsimile (translated into English) of Huges's manifesto, written while in prison, for an expanded consciousness achieved through the control of blood to the brain. which gives the work its alternative name: The Mechanism of BrainBloodVolume (BBV). The original manuscript of Homo Sapiens Correctus was written in Dutch in 1962. In 1964, a facsimile was issued in both Dutch and in an English translation.

n.p. . n.d. [1937]. A collection of typescripts of thirteen short stories by Lise Deharme with five signed drawings by Jean Cocteau. Some of the stories are drafts with manuscript or typed amendments and some in fair copy. Each story, with its illustration, is loosely inserted into a card folder. Also present is the original pink file which contained the stories and drawings. On the cover of this is inscribed, in De harme’s hand: “Lise Deharme, 146 rue de Grenelle, Paris VII. Quleque dessins de Cocteau”. All housed in a custom made box with paper label to spine.

London: Burgess William & Co. early 20th century.Souvenir Japanese crêpe paper handkerchief with an outer border of purple pansy-type flowers and green foliage. In the centre is a picture (signed W. B [?] 84) of a poor mother with two young children. Above this is printed "Souvenir Programme of The Provincial Unemployed Demonstration" and either side of the picture are the texts "The profit of the earth is for all Eccles v.9" and "Labour is the source of all wealth". Below the picture are the details of the demonstration.

West Smethwick . 1933.A Ruskin single-handed vase with a wide-flared neck decorated with a high fired sang-de-bœuf and mottled green and white glaze with specks of green and black. 200mm high, 115mm wide at opening. Base is marked "Ruskin. 1933. England". A beautiful example of the distinctive Ruskin High Fired Flambé process in one of the most striking colours used by the pottery. As William Howson Taylor explained in his 1912 booklet on Ruskin Pottery (see previous item), the aims of the Pottery were "good potting, beauty of form, and rich or tender colouring".

c1918.Black and white photograph (238x189mm) of Charlie Chaplin and Harry Lauder signed by both of them. Light creasing and some rubbing. Chaplin and Lauder were the leading comic performers of their day. They only appeared together in one short 1918 film (which is probably when this photograph was taken). Signed photographs of the two together seem to be extremely rare and we have been unable to trace another one. Sold with this photograph is another photograph of Lauder inscribed by him to "Margo" and a postcard with a printed sketch of Lauder.

Baden, Switzerland: Kodoji Press. 2007.Limited edition, number 15 of 20 with an original signed and numbered print: "New Graffiti #2 (CHURCHYARD) 2005". Book: 385x275mm. Unpaginated. Signed by Nanna Hänninen. Bound in grey and black linen over boards, lettering stamped in black to upper cover. Thirteen double-page reproductions of a series of digital c-prints on diasec. Short essay by Urs Stahel in English and German. Biography of Nanna Hänninen. Book is housed in a grey card slipcase with white label printed in black. Book and slipcase are in excellent, fine condition.

Film poster for Maury Dexter's 1968 film "Mary Jane" which sets out to expose the "shocking facts behind the marijuana controversy". Two moody boys look into each other's eyes while one rests his hand on the other's shoulder. A girl in round dark glasses dances in that "groovy" late sixties style. Perhaps her name is Mary Jane.

Film poster for Albert Zugsmith's 1962 Confessions of an Opium Eater, starring Vincent Price. 340x280mm. Mounted on white card but unframed. Excellent condition. Shows Price with an opium pipe out of which Linda Ho appears screaming in a stream of smoke.

Paris: Hautecoeur Martinet. 1830-1835.Lithograph with hand colouring (255x190mm) by an unknown artist. Printed by Delaunois. The image, which might be from the satirical journal "La Caricature" although this is not clear, shows a young woman with two babies standing outside a priests' house. A priest has come to answer the door and she is asking him for charity. He is saying that since the revolution priest are like her (i.e. short of money). The doors open to reveal five priests drinking and cavorting.

Paris: Gabriel Aubert. 1830-1835.Lithograph with hand colouring (255x190mm) by Eugene Forest. The image, from the satirical journal "La Caricature" shows a a closed door the upper half of which is glazed and behind which sits a sleeping man. The sign above the door reads "Parle z'o consierje SVP". The window opens to reveal the said concierge as a rude and angry and ill-tempered individual meeting any request with "Qui demandez vous?" Good to see the French hotels have changed little over the years.

Paris: Gabriel Aubert. 1830-1835.Lithograph with hand colouring (255x190mm) by Eugene Forest. The image, from the satirical journal "La Caricature" shows a young woman with a roast bird on a plate about to open a door. A poor man is holding out his hand asking for food. She is clearly saying "On ne peut pas vous donner". The door opens to reveal a red-faced, rotund old woman sitting half asleep at a table with an open bottle of wine next to her.

Paris: Gabriel Aubert. 1830-1835.Lithograph with hand colouring (255x190mm) by A. Menut. The image, from the satirical journal "La Caricature" shows a young woman at her dressing table looking towards the window with a closed curtain across it. The curtain opens to reveal a young man climbing in through the window. A rather naughty looking cat gives us, the viewer, a knowing look. These prints containing a door or window which opens to reveal a visual joke not anticipated by the principal image are a feature of "La Caricature". Mounted on white card but unframed.

Paris: Gabriel Aubert. 1830-1835.Lithograph with hand colouring (255x190mm). Artist unknown. The image, from the satirical journal "La Caricature" shows a young woman and an old woman (possibly a nun) both kneeling outside a confession box. The door of the box opens to reveal a priest eagerly listening to the sins of the young woman which are, one presumes, somewhat juicier than those of the devout vieille dame at her prie dieu. These prints containing a door or window which opens to reveal a visual joke not anticipated by the principal image are a feature of "La Caricature".

A set of four charming watercolours (each 113x195mm) taken from Rowlandson's Dr Syntax series. "Dr Syntax losing his way". "Dr Syntax copying the wit of the Window". "Rural Sports". "Dr Syntax disputing his bill with the landlady".