Douglas Stewart Fine Books Pty Ltd

A LATE 18TH - EARLY 19TH CENTURY MANUSCRIPT CONTAINING 234 WATERCOLOUR DEPICTIONS OF MAMMALS OF THE WORLD. Natürliche Abbildungen der Saügenden, Vierfüßigen Thiere, geordnet und gemahlet von I.F.B. Klügman und gesamlet von P.F. Colye. I bis III Ordnung, Stralsund 1784. Small quarto (190 x 150 mm), full speckled calf; spine with raised bands and embossed title; later endpapers, 234 watercolours on individual leaves; each work numbered at upper right in red ink (bound in sequence from I – CCLV, thus several have been removed at some stage), some leaves loose. Many of the works are dated at lower right. The series, as stated on the title page, was commenced in 1784, and the latest date inscribed on any of the pages is 1813. The works appear to have been copied from existing publications of natural history and exploration. Each illustration has a manuscript caption, usually with scientific name. The sequence of categorisation of mammals has been deliberately chosen and the groupings are bound as follows: Examples of the human race from all known parts of the world – Europe, Africa, the Americas, Asia and the South Seas (including Australian Aborigines and a Maori woman after Parkinson), inhabitants of the New Hebrides and Tahiti (with a portrait of Omai), “extraordinary humans” such as albinos, giants, and the London Stachelschweinmensch (Porcupine Man); anthropological studies of skulls of different races; examples of other primates; lemurs; bats (including flying fox); sloths; anteaters (including echidna after Shaw & Nodder); armadillos; rhinoceri; elephants; seals; manatee; canines (domesticated and wild, including the Australian dingo); felines (domesticated and wild). The watercolours are in a fine state of preservation, uniformly clean and with vibrant colour, executed recto only. The manuscript was created by an obviously gifted amateur artist in Stralsund, a mediaeval trading port on the Baltic Sea, in the region formerly known as Pomerania. Although it has always had a German-speaking population and strong German civic and economic influence, Stralsund was actually under Swedish control from 1715-1807, when it was taken by Napoleon’s army. After the Congress of Vienna in 1815 it formally became part of Prussian Pomerania. This unique and extensive archive of watercolours is in a sense a wunderkammer of exotic specimens of natural history. Eighteenth century artworks depicting Australian Aborigines, whether copies or not, are very rarely offered for sale.

Lithograph measuring 670 x 495mm, framed. Signed by Brack and dated in pencil lower right, editioned lower left 10/25. Grishin catalogue: pr23. ‘In the process of simplification and through the use of a monochrome technique where “the meticulous execution make this lithograph almost indistinguishable from a drawing”, Brack has arrived at a stark and powerful statement’. -­‐ Sasha Grishin, The Art of John Brack, p.135, quoting Dr. Ursula Hoff. Collections: National Gallery of Australia (1/25)

Etching. 12 x 8 cm (plateline), old mount burn, signed and dated 'J.M. 1895' in image upper right, inscribed in pencil 'With J. Mather's comp[limen]ts to Mr. Grimwade - 7.95'.

THOMASSIN, Philippe (1562 – 1622) # 130 Published in Rome, before 1602 Thomassin’s allegorical work, engraved after the 1541 painting by Giorgio Vasari (now held in the Uffizi, Florence), depicts Adam, Eve, Moses, kings, priests and soldiers all tethered to the bottom of a fig tree, around which the Serpent is coiled. Atop the tree is the Virgin surrounded by angels. The work displays a compositional complexity well articulated by the medium of engraving, with strong contrasts between the tone of the figures and the depth of the background. Philippe Thomassin was a French engraver, printer and publisher, the son of a master goldsmith in Troyes who moved to Rome in 1585, where he would work for the rest of his life. He was known as a publisher, printer, and artist in his own right, as well as a teacher, his most well known student being Jacques Callot. Thomassin specialised in producing engravings after religious paintings which he published in partnership with his brother-in-law Jean Turpin (c. 1561 – 1626). Upon dissolution of their partnership in 1602, Thomassin gave Turpin his copperplates, about 240 in total, and his name was removed from the plates. A strong and even impression on laid paper, in excellent condition with very minor repairs to a couple of short tears Provenance: The Berry Collection, Melbourne

Chromolithograph, 620 x 870 mm, laid down on acid free backing paper, a few very minor edge tears expertly repaired, loose manuscript label removed from verso: '23. Neuseeländer'. [Germany?] : s.n., [1880s]. A fine copy. This striking composition, well-preserved and retaining the subtle contrasts of its original palette of browns and greens, is highly reminiscent of the work of the German artist Gustav Mutzel, in particular his chromolithograph 'Eine Australierfamilie von Neu-Sudwales', [Berlin?] : s.n., [188-?], held in the collection of the National Library of Australia [nla.pic-an11009482]. The NLA chromolithograph by Mutzel has been heavily influenced by the tableau images of Aborigines of the Clarence River region of northern New South Wales, taken by the German-born photographer J.W. Lindt in Grafton in the early 1870s, as has indeed the chromolithograph we offer here. (See, in particular, Lindt's photograph taken in 1874, 'Portrait of an Aboriginal man and woman with hunting weapons posing with dead kangaroo', held in the collection of the State Library of Victoria [SLV H1486]). This present composition has, however, replaced the eerie sterility of Lindt's studio backdrop and props with the movement in the background scene of men carrying a canoe to the water's edge and the man on the right carrying the dead kangaroo. The man on the left is making fire and the woman at the centre is using a grinding stone. A woven bag hangs from the bound boughs behind them. In the foreground the artist has depicted an array of implements including a coolamon, shield, boomerang, woomera and barbed fishing spear. The label verso would seem to suggest that this chromolithograph was from a series of ethnological scenes printed in Germany - despite the clearly erroneous identification of the subjects as 'Neuseeländer'.

Lithograph. 1905. 266 x 362mm (paper), printed in black, unsigned as issued, fine condition. Framed.

Lithograph on paper. 1973 21.5 x 24 cm (image) Edition: 75 Signed lower right Provenance: The Estate of the late Beryl Whiteley

La Chûte des Anges ribelles LASINIO, Carlo (1759 – 1838) # 137 [Affreschi celebri del XIV e XV secolo] Engraving 390 x 445mm Published in Florence, 1821 The central image in Laninio‘s engraving is St Michael the Archangel and the army of angels battling the rebel demons during Satan’s uprising as described in the book of Revelations. The Holy Father watches over this scene from Heaven while the defeated demons descend towards a fiery underworld ruled by Lucifer. Lasinio bases his composition after the fresco by Spinello Aretino in the Compagnia di Sant’Angelo in Arezzo originally painted c. 1371-1410. The image is plate 26 of a 31 plate series by Lasinio each individually published by Niccolo Pagni in Florence between 1813 – 1827 based on a series of frescoes in the local area. The plates were later re-issued with a title page and text in 1841 in book form. Lasinio was a noted Florentine printmaker and collector of the late eighteenth and early nineteenth centuries and one-time Professor of Engraving in Florence and Curator of the Camp Santo in Pisa. His early work shows the influence of Bartolozzi and in the late 1780s he pioneered early colour-printing producing several hundred colour engravings of artists based on the collection in the Uffizi. A strong impression on wove paper, faint stain to upper third of the print, a short tear to upper edge and minor edge creases. Provenance: The Berry Collection, Melbourne

Transfer lithograph, c 1903. Printed in sanguine from one stone. Dimensions of printed image 245 x 305 mm. "CONDER" within image, lower left; titled "Le (sic) Peau de Chagrin" within image, lower right; signed "Charles Conder" lower left margin; "no. 9" lower right margin. During his time in Australia (1884-90) the English artist Charles Conder became an important figure in the Australian art scene, not the least because of the major part he played in the development of Melbourne's Heidelberg School. In 1899 Conder produced a portfolio of lithographs based on the stories of Balzac. La peau de chagrin (The Magic Skin) illustrates a scene from Balzac's story of the same name, but as Campbell Dodgson notes in his catalogue of Conder's lithographs and etchings (1913, no. 9) this lithograph is not part of that series and was probably made a few years later. Dodgson also states that this lithograph was exhibited at the Society of Twelve (London) in 1905.

Autograph manuscript written in ink, with two pencil sketches; [nd, but probably early 1877]; single sheet (225 x 180 mm), folded. The letter reads: Noch nicht! noch nicht! my dear Black! I am a little behind hand – curious aint it! That confounded Peacock Room has nearly ruined me and I have had to work frightfully to make up for it. It will be all right directly of course but I am woefully pushed. Beseech HRH to be indulgent and appoint some day next week – say Saturday or Friday afternoon at about 5 ‘o’clock and I will try to be ready for her and shall be so enchanted to see her interest in what I have been doing – I think you will like the pictures – manage this my dear Black for your [xxx] [Whistler's signature in form of a butterfly]. Just write a line to say it is all right. The letter discusses a proposed visit from Princess Louise (daughter of Queen Victoria and wife of the Marquis of Lorne). The Princess was herself an artist - a sculptor of note - and Whistler's correspondence indicates she took a keen interest in his work. The two pencil sketches appear to have been drawn before the letter was written. If they are by Whistler, we can assume that they have something to do with a commission he was working on for Princess Louise. The drawings seem to be preliminary sketches for a crest, which features a dog and crossed swords. The stupendously opulent and beautiful Peacock Room was painted by James A. McNeill Whistler during late 1876 and early 1877. The entire room is decorated in oil colour and gold on wood, leather and canvas, its Orientalist theme crowned by Whistler’s painting The Princess from the Land of Porcelain. The Peacock Room is now installed in the Freer Gallery of Art (Smithsonian Institution) in Washington D.C., but was originally designed for use as the dining room in the London (U.K.) residence of Frederick R. Leyland, a wealthy English shipping magnate. In 1904, after the house had changed hands, the American Charles L. Freer, founder of the Freer Gallery of Art, was able to purchase the contents of the room, have it dismantled and shipped to his home in Detroit, where it was installed in an addition to his home in 1905. In 1919 it was once more dismantled and transported to its permanent location in the Freer Gallery in Washington, D.C..

Mezzotint 350 x 256mm Published in Amsterdam, 1678 Valck’s portrait of Queen Mary II of England is drawn from Sir Peter Lely’s oil of 1677 (now in the National Portrait Gallery, London) and shows a fifteen year old Princess recently betrothed to her cousin and Dutch ruler William, Prince of Orange. The couple wed in London in 1677 and moved to The Netherlands, where she lived as consort to her husband Prince for over a decade. From 1685 England was ruled by Mary’s father, King James II, who had converted to Roman Catholicism, to great political concern among the Protestant establishment in England. In 1688 he fathered a son, and heir, who would be raised Roman Catholic and interrupt Mary’s Protestant ascension to the English throne. The English Revolution of 1688 saw the overthrow of King James II and the invasion of England by William upon the request of Parliamentarians to restore the Protestant line. William and Mary would rule as joint Monarchs from 1689 until her death in 1694 at the age of thirty-two. The reign of Mary and William was the only co-regency in England’s history and saw the establishment of the Bill of Rights following the Revolution. Valck’s mezzotint displays typical qualities of richness and softness which create deep tone and texture to the print. Valck’s work is an early example of the medium, and one of the first of an English subject, Peter Lely being an early supporter of the technique as he saw its potential to promote his portraits. Valck was about twenty-six years of age when he completed this portrait. A rich impression on laid paper, pasted on the edges to a backing sheet, small ink handwritten dates of Mary’s reign along the bottom plate line, one short 4mm tear. Provenance: The Berry Collection, Melbourne

Mezzotint 455 x 312mm Published in England, c. 1730-50 Nathanial Oldham of Middlesex was a noteworthy character who served with the British Army in India and ‘inherited a fortune which allowed him to indulge his love of field sports and fine art’ (Tate Gallery). The print by Faber is after an oil by Highmore, which is now lost, Highmore and Oldham enjoying a friendship described as ‘very intimate’ (Einberg & Egerton, p. 48). Oldham was a consummate collector, he spent his vast fortune assembling a variety of objects including natural history specimens which early reports describe as ‘whimsical gimcracks’ rather than articles of merit to men of knowledge and science. His love for curiosities bankrupted him, and despite auctioning off his collection in the 1747 was sent to the King’s Bench prison where died in debt. John Faber the younger moved to England from Holland at a young age and studied engraving under his father, also John Faber. He became well known for his fine quality mezzotint portraits, completing about 165 in his lifetime. This portrait of Oldham, after the lost oil painting, shows the eccentric gentleman out shooting with a male companion and his loyal dog. It is probably set on his estate at Ealing, where Oldham resided from 1728 – 1735. A rich impression on laid paper with good margins, tipped on to backing card along the left margin, an associated short tear extending to the plate line. Provenance: The Berry Collection, Melbourne

Mezzotint 343 x 255mm Published in London, 1690 This portrait of a beautiful young woman is based on a painting by John Riley and sets the subject in an attractive English landscape with an unusual circular building in the background. The wears a loose fitting silk dress and is placing a garland of roses and garden flowers around the neck of a docile lamb seated beside her. Little is known about the sitter, but it is thought that Conway Hackett was the daughter and sole heir of Dr. Thomas Hackett, an Irish Bishop, who married Trafford Smyth, a barrister of Middle Temple. John Smith is considered one of the finest early English mezzotinters, deciding to specialise in this technique from early in his career. Hi was sought out for commissions for numerous noble persons and also developed close working relationships with portrait painters such as Sir Godfrey Kneller to produce mezzotints of their oil paintings. Smith was also a respected subject and landscape printmaker, and widely collected on the continent during his own lifetime, with major collections of his works to be found in Paris, Dresden and Vienna. A strong and even impression on laid paper, tipped along the left margin on to backing card, two short tears along upper margin, very slight surface residue to the neck of the subject. Provenance: The Berry Collection, Melbourne

Circa 1840. Watercolour on card, measuring 150 x 180mm, signed in ink lower right, framed. Augusta Innes Withers (1792 – 1869) was one of the most accomplished natural history artists of her time. Her illustrations, which garnered much critical acclaim from contemporary critics, appeared in numerous publications, including Benjamin Maund’s Botanic Gardens (1826), The Botanist (1836 – 42), James Bateman's Orchidaceae of Mexico and Guatemala (1837-41), the Illustrated Bouquet (1857-63) and the Transactions of the Royal Horticultural Society. She was appointed Flower Painter in Ordinary to Queen Adelaide in 1833 and was also a member of the Society of Lady Artists. This is a rare work of an Australian subject, a Red-Capped Robin, noteworthy for its fine detail and accuracy.

CRANE, Walter (1845-1915) # 1955 Pencil on thick paper, 175 x 137 mm. Signed lower left with Walter Crane's monogram and the date Nov: 1883. Very fine. A charming illustration - apparently unique and unpublished - of an anthropomorphised duck and frog meeting in the rain, with the frog quipping: Nice weather!. Provenance: Sotheby's, Fantasy, illustrated Books and related drawings, London : 31 October 1997, lot 345.

Four hand-painted silhouettes (each 95 x 60 mm) dating from around 1840, mounted within a glazed wooden frame (C.R. Tompkins of Hay Street, Perth, c 1910). The subjects are identified in period hand verso: (left to right) Robert Wallen (of Oatlands and "Harlech", Hawthorn, Melbourne); Alexander Wallen (of Oatlands); Samuel Wallen (of Drumboe Abbey, Ireland); Henry Wallen, F.R.C.S. (of Drumboe Abbey, Ireland). A typed label reads: "ROBERT WALLEN and relatives. Lived at Harlech, Hawthorn, when the suburb was described as a 'village containing a population of a few hundreds, scattered over a large area which comprised two parks and many spacious paddocks'.... " Robert Wallen (1831-93) emigrated to Australia from County Donegal, Ireland with his family in 1852. He became a highly successful stockbroker and financier, as well as a respected journalist with columns in the Age, Leader, Argus and Australasian. He was mayor of Hawthorn Borough in 1878-79. Wallen was also a keen patron of the arts. He was elected president of the Art Union of Victoria (1882) and remained active in that organisation, as either president or vice-president, until his death. From 1889-93 he was a trustee of the National Gallery, Museums, and Public Library of Victoria. He endowed the annual "Robert Wallen Prize" (five guineas) for students of painting at the National Gallery School. (One of the recipients of this prize was Jane Sutherland). He commissioned - for his private collection - the first sculpture in bronze made by Bertram MacKennal: "Lyric Poetry", or "Sappho" (1891) is now in the collection Art Gallery of New South Wales. Ex Richard Berry Collection, Melbourne; previously by descent.

Published in Rome, 1573 Cort’s image of Mary Magdelene repentant in the wilderness is from his series Six Penitent Saints engraved after paintings by Girolamo Muziano (1532 – 1592). She is depicted with long hair standing before a crucifix alone in a rocky landscape with wild vegetation. Cornelis Cort was a Netherlandish engraver born in Hoorn near Alkmaar in 1533. He was active in Flanders and left Antwerp for Italy in 1565, working first in Venice and then in Rome from 1571. He was closely associated with Titian, he lived at his house in Venice from 1565-66 and engraved a number of prints after his paintings. Cort also probably worked for the Medici family while living in Florence from 1569 – 71. A later impression on laid paper, a couple of light stains, old central crease expertly repaired. Provenance: The Berry Collection, Melbourne

BLACKMAN, Charles Circa 1962. Conte on paper, 282 x 385mm, titled and signed, with the Spaghetti Eater, Assisi, verso. Framed, with glass both sides. An ethereal Blackman on the front with an amusing image verso.

Dedicated to the Flag Officers of the British Navy. London : James Gillray, 1796 (the Bohn restrike of 1851). Etching with later hand colouring, 255 x 355mm. Satirical depiction of the public assault on Vancouver by Thomas Pitt, 2nd Baron Camelford, who had sailed with Vancouver on his great voyage and bore resentment against the Captain, due to the harsh punishments meted out for infractions such as romancing native women on Tahiti. Restrike of the 1798 plate by Henry Bohn, with the permission of Gillray’s widow.

# 1211 [France : c. 1900]. Lithograph printed from fours stones in colour, measures 190 x 57 cms (paper), framed in black timber measuring 212 x 79 cms. An extraordinary lifesize poster from the late nineteenth century of a Strongman, a circus performer probably from a travelling show in France. Fine condition.

...of original illustrated correspondence, 1864-1910 CRANE, Walter (1845-1915) # 1914 During the early 1860s the young English artist Walter Crane had befriended the writer, radical thinker and ornithologist John Richard de Capel Wise (1831-1890), and provided the illustrations for his book, The New Forest : its history and its scenery (1862). This was Crane's first published work. Over the next few summers, during the period when Crane had started to illustrate 'yellowbacks' and children's nursery rhyme and fairy tale books for Edmund Evans, Walter Crane and John Wise spent a significant amount of time together at Leam Hall in Derbyshire, where they struck up a close friendship with Anne (Annie) Ashton Booth (nee White) and her sister, Ellen (Nellie) White. This archive of Crane's illustrated correspondence with Annie and Nellie, which commences in 1864 and continues through to 1910, is testament to the very deep affection Crane clearly felt towards the sisters and their family (Thomas Booth, Annie's husband; Charlie Booth, their young son; and Sophia and Susannah, sisters of Annie and Nellie). Although the later portion of the archive is addressed to Annie Booth, the earliest part is shared between Annie and Nellie. The personal letters to Nellie, which include an idealised, romantic sketch of her, as well as a lengthy poem dedicated to her by Crane and evidence of a mutual exchange of photographic carte de visite portraits, betray Crane's infatuation with this striking beauty. Crane's playfully written letters and humorous illustrations depicting croquet afternoons at Leam Hall, sad farewells on his departures back to London, his exquisitely drawn animals, satirical fashion sketches and enchanting Christmas and New Year's greeting cards must have charmed and delighted the sisters. Significantly, following Crane's marriage in 1870 to another woman (Mary, to whom he was to remain married until her death in 1914), there is a ten year hiatus in his correspondence, and when the greetings and messages start up again in 1880, they are only addressed to Annie. The following extracts from Crane's memoirs briefly describe the 'Leam Hall' period of his life, without mentioning the Booths or Whites by name, but indicating that Annie had even purchased several of Crane's works at this time: In the summer of 1863 I joined Mr. Wise again, but this time in Derbyshire, in a then remote valley of the Peak district, ten miles from Sheffield, a little place called Lead Mill, on the Derwent, near Hathersage, where by his usual plan of walking the country he had found lodgings, and a country that he liked. It had, indeed, very great charms, as well as very distinct character. On one side bold crags of gritstone, or "edges," as they were called, breaking above green fields and woods sloping down to the Derwent, meandering over its stony bed, from running shallows into deep brown pools, dear to trout-fishers, and overhung with ashes, oaks, alders, and sycamores; on another side opening out into doughs and valleys leading up to larch woods and high moorlands, purple with heather, and here and there a grey stone seventeenth-century farmhouse. Far away to the west the ridges of the Peak hills and mountains above Castleton were lost in the blue mist. Mr. Wise had thoughts of doing for the Peak district what he had done for the New Forest, and hoped that I might help him as illustrator; but despite the success of his first book, he did not receive sufficient encouragement to go on with the work, which in all its different branches in the thorough way he would have done it would have been remarkably interesting, though no doubt, however congenial, arduous enough for the writer. Book or no book, however, I was enchanted with the country, and set to work sketching with great energy, spending my days by the riverside, or on the moors, or in the woods striving to record in part something of the beauty which surrounded me. I think from this time onwards I spent several months of each year in the summer until 1871 in this valley....The friends we saw most of, perhaps, lived at a delightful house in a garden terraced on the slope of hill almost hidden in trees, known as Leam Hall. The host was a keen sportsman, and spent most of his time either on his grouse moor above, or fly-fishing in the river below. In his good lady I found a patroness, and made several drawings of the neighbouring scenery, of which she was very fond. Croquet was the favourite lawn game in those days, and keen were the struggles over the then comparatively wide hoops, and the vicissitudes of play on a sloping ground whereon many a summer afternoon was whiled away....Towards the end of this summer [1865] my friend Wise somewhat suddenly bade me farewell, and giving up his lodgings, left the valley. I walked with him one evening across Eyam Moor, and did not meet him again until ten years afterwards. He had a way of burying himself in remote districts, and I completely lost sight of him for the time. My intellectual development owed much to him, certainly, and to him I was indebted for my first acquaintance with Emerson. (Walter Crane, An Artists's reminiscences, pp 73-78). This astonishing archive, full of Walter Crane gems, tells perhaps for the first time the story of a formative period in his life and of an enduring friendship about which almost nothing was known previously. The archive came to Australia with Charles (Charlie) Booth when he emigrated from England to Tasmania in 1894, and has passed directly by descent to his grandson, on whose behalf we offer the collection. Scrap album, 230 x 190 mm, tooled gilt morocco (front cover detached), front free endpaper with owner's inscription, Annie Ashton White, Forest House, Babworth, Retford, Notts. and wet stamp of a boar's head, the crest of the Booth family, all edges gilt, approximately 70 leaves (some left blank) with MS entries (poetry and prose) written by friends and family of Annie during the 1860s (the earliest dated August 1860), several albumen photographs of family members (1860s), eleven hand drawn Christmas cards by Walter Crane (dating from the 1860s to 1880s) which are tipped in to the album, together with a further thirteen Walter Crane greetings cards, a group of seven illustrated MS letters from Walter Crane to Mrs Annie Booth and her sister Miss Nellie White (dating from 1864-67), an original MS poem by Walter Crane, and several other Walter Crane sketches and ephemeral items which have all been preserved loose in the back of the album (see complete list below). I. Christmas and New Year's greeting cards by Walter Crane, for Annie Booth and her sister Nellie White: 24 examples (either loose, or laid down on album pages, as indicated): 1864-5 watercolour and ink, 113 x 77 mm, Father Time holding Baby New Year, with scythe and hour glass (album). 1865-66 watercolour and ink, 90 x 125 mm, Father Time, [self portrait as?] Baby New Year, Father Christmas (two variants) (album / loose). 1866-67 watercolour and ink, 93 x 64 mm, Gentleman and lady (two variants) (album / loose). 1867-68 oil, 115 x 40 mm, Church door (album). 1868-69 watercolour and ink, 93 x 64 mm (folding), Angels as postmen (two variants, in the form of miniature letters in envelopes, one for Miss White, the other for Mrs Booth) (loose). 1869-1870 watercolour and ink, 93 x 64 mm, Linked hands (two variants) (loose). 1870-71 gouache and gold ink, 92 x 72 mm, Male and female hands pulling a bon-bon (loose). 1880-81 ink, 180 x 113 mm, Boy with umbrella (album). 1883-84 ink, 147 x 100 mm, Cherub casting grain (album). 1884 watercolour and ink, 137 x 110 mm, Angel steering a boat : Good Luck to You (album). c 1885 watercolour and ink, 120 x 90 mm, Boy on horse jumping a fence (album). 1888-89 ink, 90 x 115 mm, Cherub with a basket (album). 1892-93 watercolour and ink, 175 x 112 mm (folding), Crane and sun, MS dedication to Mrs Booth (loose). 1894-95 watercolour and ink, 90 x 115 mm, Flowers and heart (album). 1896-97 ink, 89 x 114 mm, a Christmas poem by Walter Crane in his own fine, calligraphic hand, MS dedication to Mrs Booth (loose). 1898-99 watercolour and ink, 90 x 115 mm, Explorer with a giant quill, in envelope addressed to Mrs Booth in Walter Crane's hand (loose). 1899-1900 ink, 122 x 74mm (folding), a Christmas poem by Walter Crane in his own fine, calligraphic hand, MS dedication to Mrs Annie A. Booth (loose). 1900-01 ink, 175 x 130 mm, Baby New Year, scythe and hour glass, XXth Century on horizon, with MS poem by Walter Crane, dedication to Mrs Annie A. Booth (album). 1903-04 ink, 89 x 114 mm, Fir trees, MS dedication, to Mrs Booth (loose). 1909-10 ink, 70 x 60 mm, Crane holding holly, on single octavo sheet with Walter Crane's letterhead, holograph letter from Crane to Mrs Booth (loose). II. Printed Christmas and New Year's greeting cards by Walter Crane: 3 examples 1897 linocut (sepia ink), 135 x 110 mm, Lady with basket of flowers, in folding card with MS dedication, to Mrs Annie A. Booth (loose); plus another copy printed on different paper (loose). 1904 woodcut (black ink), 195 x 140 mm (foxed), Greetings from Yew Tree Farm, MS dedication, to Mrs A.A. Booth (loose). III. Other original art work by Walter Crane: 1864-67 A group of seven MS letters from Walter Crane to Mrs Annie Booth and her sister Miss Nellie White, all illustrated with charming pen and ink sketches and caricatures by Walter Crane, the subjects including croquet, fashion, animals, family members and a sketch of the beautiful Miss Nellie White surrounded by male admirers, and an original MS poem by Walter Crane (4 pp, octavo) titled A Ballad of Robin Hood('s Cave), dedicated to Nellie White in memory of a visit she and Walter Crane paid to the high escarpment at Stanage, Derbyshire, one afternoon in 1867. c 1865 Original MS story by Walter Crane, A Circle on Eyam Moor [a supernatural tale of a Derbyshire phenomenon], two octavo sheets, illustrated with pen and wash illustration at the head, 120 x 170 mm (loose). c 1865 Series of seven pen and ink caricatures, approximately 90 x 100 mm each, depicting the artist and friends on a sad journey home after a visit to Leam Hall (laid down on album pages, now loose). c 1865 Three carte de visite designs, each 60 x 92 mm, ink on card. Family crest incorporating the Booth family boar's head; Native Americans paddling a canoe; Pretty young woman in profile (loose). c 1865 Circular medallion, 42 mm diameter, gold ink and watercolour on card with red ribbon attached, with calligraphic message Open Sesame (loose). c 1865 Pen and ink caricature on blue paper, 100 x 100 mm, annotated in pencil: Charley as seen in London in the kilt which... was much admired (loose). c 1880 Watercolour on blue paper, 93 x 135 mm, Lucky Stars (loose). IV. Printed ephemera relating to Walter Crane: 1902 Personal invitation from Walter Crane to attend his exhibition at the Doré Gallery, New Bond Street, London, November 15 1902. Linocut (brown ink), 140 x 80 mm (on card 175 x 105 mm). c 1910 Scottish Widows' Fund Life Assurance Society. Lithographed bookmark, 152 x 58 mm. V. Family photograph album belonging to Mrs Annie Ashton Booth, large oblong octavo (180 x 265 mm), leather bound (lacking front cover), with 50 bromide and albumen silver photos (mostly 100 x 150 mm), all captioned and dated from 1889-1895, many with illustrated borders (the illustrations of rabbits which frame the initial photograph probably in Walter Crane's hand). Several of the photos are views of Leam Hall in Derbyshire, where Walter Crane spent his summers in the 1860s.