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534325 Los(e)/Seite
Los 79
A Pair of Old Sheffield Plate Three-Light Candleabra, Apparently Unmarked, First Half 19th Century, on circular base with gadrooned band, the stem tapering, the detachable branches with two scrolling reeded arms, terminating in spool-shaped sockets with gadrooned nozzles and wax-pans, with a further central socket and detachable flammiform finial, 47cm high (2)
Los 153
A Pair of Silver Plate Three-Light Candelabra, Apparently Unmarked, Probably First Half 19th Century, the bases each circular and with a band of foliage, shells and flowers, the stems tapering, the detachable branches with two reeded arms, each terminating in a spool-shaped socket, with a further central socket, filled, 51cm high (2)
Los 154
A Pair of Silver Plate Four-Light Candelabra, each on triform base, with tapering fluted stems and with three branches, each terminating in a shaped socket, with a further central branch, 55cm highApparently unmarked. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a loss to the plating at the high points. The bases are filled.
Los 59
A Collection of Assorted Silver Plate, including a pair of three-light candleabra; an oval gallery tray with gadrooned border; an egg-cruet; a punch-bowl and other items (one shelf)The egg-cruet complete with six cups and six Fiddle pattern spoons. There is some overall surface scratching and wear, consistent with age and use as well as some minor dents. The wear is noticeable as a softening to the silver plate at the high points.
Los 179
A Chinese Porcelain Jar, Chenghua reign mark but not of the period, painted in underglaze blue with a mountainous landscape and two figures conversing, six character mark in underglaze blue, 13.5cm high, together with a similar jar with inscriptions to the rear (2)Jar - tiny hair crack to the unglazed neck. No other damage. Free from restoration. Some light glaze scratches.Second jar - no damage or repair. Some slight wear and surface scratches.
Los 165
An Early 20th Century Meissen Teapot, floral painted with panels of courting couples, together with a pair of later Meissien plates (3)Teapot - very minor losses to the finial. Some small chips to the rim of the pot. No cracks or repair. Light surface wear.Plates - No chips, cracks or repair. Some slight surface wear.
Los 183
A Chinese Porcealin Snuff Bottle, Qianlong mark but not of the period, painted in iron red with two figures, together with another porcelain bottle formed as a buddha and two snuff bottles with erotic decoration, one carved from a coquilla nut (4)Iron red bottle - no chips, cracks or repair, heavy wear to the enamelBuddha - general light wear onlyErotic porcelain bottle - good conditionCoquilla - good condition.
Los 1009
Cheap and Chic Moschino Black Wool Cropped Jacket with cream military style trim, and a Cheap and Chic Black Wool Skirt with black velvet mounts (size 8),Tomasz Starzewski Black Velvet and Yellow Satin Jacket with round neck, large gilt and 'jewelled' decorative button fastening, long-line in style, faux side pockets (size 10),(3)Moschino Jacket - 38" bust, 17.5" from bottom of collar to hem. Some wear and rubbing to cream trim. Skirt - slight wear.Tomasz Starzewski jacket - some light rubbing and wear to the satin, some discolouration to the button holes.
Los 1067
Circa 1990s Yves Saint Laurent Tan Leather Cross Body Bag, with stitched ribbed pocket to the front, buckle fastening and printed fabric logo lining, 15cm by 18cm by 5cm Sold on Behalf of the Terry Family of York (Terry’s Chocolates) Very slight wear, some rubbing to the corners, light creasing.
Los 1124
Dona Salmon (20th Century)Portrait of a ladySigned, signed and dated Nov. 1955, oil on canvas, 49cm by 39cmSome surface dirt and discoloured varnish. Stretcher shadow with associated vertical, linear craquelure. Sporadic patches of dark spots to surface. Patches of fine craquelure, mostly notable in the green background. Light crease/linear push mark from back to front running diagonally. Push mark from front to back within the lady's hair, which has broken the canvas, with associated paint losses in evidence. Small gouge above this in the green background, with associated paint loss and retouch. Othe small imperfections and nicks to the surface in this area and elsewhere. Not examined under UV light. See images.
Los 1081
Saint Laurent Rive Gauche Cotton Quilted Jacket in a blue paisley pattern with cream and brown woven trims to the edges, cotton lining, (size F34)Sold on Behalf of the Terry Family of York (Terry’s Chocolates)Apart from a little rubbing to the brown embroidery around the cuffs and neckline mainly, it is in good clean condition, some light bobbling to the lining around the armholes - See extra images.
Los 1174
After David Shepherd CBE, FRSA, FGRA (1931 -2017) "Cool Waters" Signed and numbered 403/850, coloured print, together with a further two signed and numbered coloured prints after the same artist "Indian Summer" and "The White Tiger of Rewa", 48.5cm by 78.5cm (3) (two unframed) The latter two sold with the certificate of authenticity Cool Waters: Some light dirt and debris trapped beneath glass. Slight cockle to sheet. In an overall good and clean state of presentation. Not examined out of the frame. White Tiger of Rewa: In an overall good and clean state of presentation with very light, minor stain to white border. Indian Summer: Broadly comparable to the other unframed example.
Los 1070
Modern Ladies Costume comprising Claudie Pierlot white cotton floral dress with ruffle to the hem, buttons on the front (size 38), Heidi Klein green and grey cotton and silk snakeskin print kaftan top, drawstring neck and three quarter length sleeves (size 1), Saint Laurent white spotty sleeveless silk shirt with covered buttons down the front (size F36), Ralph Lauren faux wrap style fine knitted pink top, short sleeves, with tags (size S), and pink suede trousers with original tags (size 6), Trell cheesecloth bias cut, halterneck checked dress with collar and side zip, (6) Sold on Behalf of the Terry Family of York (Terry’s Chocolates) Claudie Pierlot - with original tag, unworn but couple of light marks around the button hole. Heidi Klein kaftan top - unworn with original tag. Saint Laurent spotty top - slight wear. Trell dress - hem loose and some wear. Ralph Lauren top - unworn with tags. Suede trousers - slight rubbing with tags.
Los 1096
Chanel Clothing comprising a cream cotton a-line drop waist dress of woven design with round neck, elbow length sleeves, two patch pockets with Chanel buttons (size 36),patterned silk slip dress with spaghetti straps and lace trim to the bust (size 38),a white and pink tiered dress with spaghetti straps, woven with floral motifs to the skirt with scalloped hems (size 38),(3)Sold on Behalf of the Terry Family of York (Terry’s Chocolates)Cream drop waist dress - discolouration to the neckline inside and out, some discolouration and wear overall, slight staining under the arms.Silk slip dress - slight wear, straps restitched.White and pink dress - couple of light 'dust' marks, and slight wear.
Los 890
Doxa D-Light Chronograph Quarz, HerrenarmbanduhrGehäuse Rotgold-Doublé (Dm 42 mm), weißes Zifferblatt mit Stabziffern, große Stopp-Sekunde, kl. Sek. bei 3, Datum bei 4, Minuten und Stundenzähler bei 6 und 9, Ref. Nr. 172.90.011.02, Schweizer Quarzwerk funktionsfähig, kaum getragen an Lederband, mit Box und Papieren von 2016
Los 112
This retired Swarovski figurine is made from clear faceted crystal, and the flower has a Jonquil (light yellow) center. Swarovski acid stamp on bottom. The box measures 6"L x 6"W x 4"H. Artist: Elke KumarIssued: 2006-2009Dimensions: 2.5"L x 3.5"W x 2.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Los 78
This retired limited edition Santa Mo figurine is sparkling in Light Siam crystal with White Alabaster and clear crystal details. Swarovski acid stamp on bottom. The box measures 3.25"dia. x 4.5"H. Artist: Stefanie NedereggerIssued: 2011Dimensions: 1.75"L x 1"W x 2"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Los 108
This retired Swarovski crystal lionfish is made from clear faceted crystal and has very light salmon crystal fins. Swarovski acid stamp on bottom. The box measures 5"dia. x 4"H. Artist: Martin ZendronIssued: 2002-2005Dimensions: 2.5"L x 2.75"W x 2.25"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Los 96
Part of the Feathered Beauties collection. Clear crystal bodies, Light Sapphire blue and Peridot colored tails, orange beaks and jet crystal eyes perched on frosted base. Swarovski backstamp. 680627. This item has its original box: 6"L x 6"W x 4"H. Artist: Michael StameyIssued: 2005 - 2016Dimensions: 2.25"L x 3"W x 3.5"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Los 114
This retired piece is made up of faceted clear crystal for the vase, rhodium rose stems and light pink crystal roses. Swarovski acid stamp on bottom. The box measures 3.25"dia. x 4.75"H. Artist: Gabriele StameyIssued: 2003-2008Dimensions: 1.75"dia. x 2.5"HManufacturer: SwarovskiCountry of Origin: AustriaCondition: Age related wear.
Los 29
Elegant, tapered crystal vase is beautifully crafted with intricate cut patterns that reflect light and illuminate your home. Waterford sticker and acid mark on base. Issued: 20th centuryDimensions: 6"H x 4.25" dia.Manufacturer: WaterfordCountry of Origin: IrelandCondition: New condition, never used.
Los 32
Attributed to Luis Juarez (Mexico, circa 1585 - 1639)"Saint Augustine of Hippo and Saint Gregory the Great, Fathers of the Church, and The Four Evangelists"Set of six oils on copper.22.5 x 17 cm (2) each, and 21 x 16 cm (4) each.A magnificent collection of 6 paintings on copper depicting the Evangelists with their iconic symbols and two of the four Fathers of the Church. Matthew with the angel, a man with wings highlighting the humanity of the Son of God; Mark with the lion, a symbol of strength, courage, and royalty; Luke with the bull, a beast of burden, calm and humble, and John with the eagle, the mystic who sees the world from the heights.The two Fathers of the Church depicted are Saint Gregory the Great and Saint Augustine of Hippo. (Possibly the other two, Saint Jerome of Stridon and Saint Ambrose of Milan are missing to complete the octet).Faux ovals contain phrases from their writings, representative of the Gospels or Roman liturgy: "Book of the Genealogy of Jesus, Son of David"; "Behold, I send an angel before you"; "who is famous among all the churches for his preaching of the gospel"; "In the beginning was the Word, and the Word was with God"; "Order our days in Your peace"; and "No one should pass without penance."With vibrant and lively colours, creating a cheerful and dynamic rhythm, the paintings display meticulous attention to detail, as well as soft light and shadows. The figures exhibit an idealised yet "almost real" beauty, balanced and serene, capturing the viewer as a contemplative observer of the saints of the church to imitate and follow.
Los 11
Juan Baptista Franconio. Late 16th century, based on the casting of Michelangelo Buonarroti's model."Christ"Gilded bronze sculpture.22.5 x 21 cm.Magnificent gilded bronze Christ. This is one of the pieces obtained by casting bronze from the model by Michelangelo, which Juan Baptista Franconio, an Italian silversmith, brought to Seville in 1597 from Rome, where he settled.The significance of the Christ by Michelangelo was such that it was one of the inspirational works of art that led Juan Martínez Montañés to create his Christ of the Chalices. Francisco Pacheco recounts this in his posthumously published "Art of Painting" in Seville in 1649.He mentions that Martínez Montañés made this sculpture following the posture of another Christ, describing it as follows: "Michaelangelo, the illustrious light of painting and sculpture, made a crucifix with four nails for a model, which we can now enjoy. Juan Baptista Franconio, a brave silversmith, brought it to this city, cast in bronze, in 1597, and after enriching all painters and sculptors with it, he gave the original to Pablo de Céspedes, a canon of the Holy Church of Córdoba, who held it with great esteem around his neck." It is now known that the original is, for the moment, unaccounted for.Pacheco also specifies in his writing that he applied on January 17th (1600) a matte polychrome to the first of these four-nail crucifixes he cast. One of the painters whose work was enriched by being able to capture such a sculptural marvel on canvas, was Diego Velázquez, due to family ties, as he was Pacheco's son-in-law. In Anselmo López Morais' article “Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense)” (Crucifix by Michelangelo (A specimen in a private collection in Ourense))' the 'two portraits he made in 1620 in Seville of Mother Jerónima de la Fuente (one in the Prado Museum in Madrid and another, where [the crucifix] can be seen clearly, in the Fernández Araoz Collection, also in Madrid)' are mentioned. Precisely this article is very useful in order to contrast similarities between this sculpture and the one mentioned by Michelangelo cast by Franconio. Among other things, it states: "The news from Pacheco was collected by Manuel Gómez-Moreno who, intrigued for a long time by a series of metal images obtained by casting, attributes them, with many doubts, to the Granada sculptor Alonso Cano, but later identifies them as those obtained from the Crucifix by Michelangelo mentioned in the 'Art of Painting'."López Morais continues quoting Gómez-Moreno to define the detailed characteristics of the 22 cm Crucifix: "it imposes by its very sobriety of resources, an imposing start that enlarges such a small work, [and] the body hangs limp, with absolute mass symmetry, as in real life; the head, which is small, falls on the chest and leans slightly to the right; the hands contract, clenched; the left leg crosses over the right, as revealed by Saint Brigid, flattening the calf upon contact, and the foot is deformed by the pressure of the nail; the almost embryonic nature of his virile organs matches a narrowness of hips that gives predominance to the chest over the other members; the belly sinks, and the complexion, emaciated, accentuates bony reliefs rather than muscles, except in the arms where tension makes even the arteries visible, but it is all modelled with unsurpassed delicacy and art." In Spain, there are several known silver or bronze specimens considered to be original castings from Franconio. Originals are found in the Museum of Caminos in Astorga, Palacio de Oriente in Madrid, the Gómez-Moreno Museum in Granada, the Caja de Ahorros de Segovia, the Cathedral of Seville, and the Ducal Palace of Gandía, among others. Some others are unsure whether they were cast from the original or even at that time.The Metropolitan Museum of Art in New York has a Christ and the two thieves in its collection with the registration number 37.28a–d, and currently attributes authorship for this figure of Christ as based on a model by Michelangelo Buonarroti. The question arises as to whether it was a casting made in Rome, a hypothesis supported by the context of the set, or whether, like ours, it is one of the examples made from Franconio, which is based, according to the MET, on "the quality of modeling and casting, both crisp and fluid, [which] brings it closer to numerous surviving silver copies in Spain". Provenance: Fernández Araoz Collection. Reference bibliography:- López Morais, Anselmo. (1988). Crucifijo de Miguel Ángel (Un ejemplar en colección particular de Orense). "Porta da aira: revista de historia del arte orensano", Nº 1, 97-107.- Metropolitan Museum of Art. (s.f.). "Christ and the Two Thieves Crucified". https://www.metmuseum.org/art/collection/search/197995
Los 38
Viceregal School. Cuzco. Peru. 17th Century."Isaiah's vision"Oil on canvas. Re-stretched.204 x 181 cm.Symbolic and apocalyptic painting about Isaiah's vision of the true God and the seraphim, whose desire is to elevate spirits that are lower in the hierarchy to Him and carry out divine justice.An unusual and curious painting that serves as a biblical and scenographic summary of various texts from the Book of Revelation by John, and others from the prophets Ezekiel or Isaiah. The prophet Isaiah mentions in 6:2: "Above him stood the seraphim. Each had six wings: with two he covered his face, and with two he covered his feet, and with two he flew."In the upper left corner of the painting, we find one of these seraphim, which can only be seen by those who have been elevated to a higher dimension, that is, to a state where heaven opens up to them. Like Isaiah, one of the four Prophets of the Old Testament. The seraphim belong to the highest rank of the angelic hierarchy and are the praisers of God, constantly proclaiming His Holiness.A similar example can be found in Catalonia in the murals of the church of Santa Eulalia at the National Art Museum of Catalonia, where these seraphim, angelic beings that surround God on His throne, are depicted. They can also be found in the art on several Catalan Romanesque apses.Seraphim have the mission of purifying everything around them, so they are destined to protect the holiest places.In the Bible, they are mentioned as a vision of God that Isaiah had in the Temple, where they were singing praise: "Holy, holy, holy is the Lord Almighty; the whole earth is full of his glory."They protect themselves from the light of God by covering their heads with two wings, as they are constantly accompanying the Lord on the throne. For this purpose, and to be able to see the presence of God, they have eyes on their wings and all over their bodies.In the upper right corner, we see Isaiah, who had the vision in which he was taken to the throne of God, where they were (Chapter 6). There, he saw the true King and the seraphim full of ardour and purity, with which they love the divine, desiring to elevate the spirits of lower hierarchy toward God.This seraph with a bull's face (to John, they appear as a lion, a bull, a man, and a flying eagle) "holds a harp" (Revelation 5:8), a symbol of worship and praise in the Old Testament, with which they sing and declare the holiness of God, participating in God's justice, for when He opens the first four seals and unleashes the four horsemen who come to destroy (we see one of these horsemen below in the centre), their voices, powerful as thunder, tell them 'Come' (VENI..., at the beginning of the Latin phylactery lying at the base of the painting) (Revelation 6:1-8). Each rider responds to the call of his seraph, a powerful creature indicating the power he possesses.In summary, this is a painting that symbolically speaks of these beings and Isaiah's vision, an exalted order of angels whose main purpose is worship and who are, in some way, involved in carrying out divine justice.The painting was perhaps created for the refectory or choir of a cloistered religious convent, a place filled with "higher" beings seeking to prostrate and worship the Lamb (Revelation 5:13), beings who cloister their lives to experience the vision of Isaiah up close, to sit on the throne and become the praise, honour, glory, and power of God, forever and ever (Revelation 5:11-12).The painting makes it clear to the beholder that "the Lord is God, and there is no other besides Him.""
Los 36
Francisco Gomez de Valencia (Granada 1657 - Mexico, first half of the 18th century)"Memento Mori"Oil on burlap. Signed and dated 1681 on the back.140 x 107 cm.An exquisite depiction of the transience of existence, painted by Francisco Gómez de Valencia and dated 1681 on the back of the canvas: "Franc• Gomez fat. año [year] 1681".This Spanish Baroque painter, born in Granada in 1657, was the son of the painter Felipe Gómez de Valencia and followed his father's style as a member of the family workshop, one of the most active Granada workshops in the second half of the 17th century, influenced, like many others of the period, by Alonso Cano, "el Racionero" who was artistically dominant at the time.In 1679, his father passed away, and he took over the workshop until at least 1685, the date of the last documented appearance of the painter in Granada. The oil painting we have here for auction dates from this period.Professors Gloria Espinosa and María Teresa Suárez, in a recent and highly interesting article (2023) in which they reveal new documentary sources about the artist's biography and a previously unknown canvas, conclude that "Francisco Gómez de Valencia must have arrived in Mexico around 1687" and not in 1699, as previously thought in other studies. The painter, after three undocumented years, reappears in 1688 in Mexico City, in a document which reports on his genealogy, previously unknown until the publication of said article. Further information provided by Espinosa and Suárez regarding the Granadan painter is from 1693 when he was appointed Family of the Holy Inquisition, a position that provided economic stability, "in addition to the promotion and social prestige he desired," reasons why he is likely to have left his home town. The last piece of information about Gómez de Valencia, also in New Spain, dates back to 1711 where his delicate health at the age of 54 is documented.Of his probable extensive production, eleven canvases are currently kept in the Museum of Fine Arts of Granada —among them, the "Virgin of Sorrows" and the "Lamentation before Dead Christ," with clear influences from his father, from Flemish painters, and "el Racionero" — and the "Assumption of the Virgin" in the National Museum of San Carlos, Mexico. In addition, we would like to highlight the "Presentation of the Virgin in the Temple," attributed by Raquel Prados in 1999, and another artwork which was unknown until last year when Espinosa and Suárez brought it to light. It is an "Ascension of Christ," which is reproduced in the aforementioned article, and is kept in the National Center for Conservation and Registration of Movable Artistic Heritage of Mexico, where, along with more than five hundred paintings, it had remained shut up in the so-called 'Pandora's Box' for almost half a century. For more information, please refer to the article, which we cite in the bibliography.To these two canvases, we now add the "Memento Mori" presented in this auction, further enriching a catalog that surely has much more to discover. It is essential to note that our painting is dated, unlike most of his corpus, allowing us to place it with total certainty in Granada, as in 1681, as Raquel Prados reports, he "resided in Placeta de Chavarría with his mother, brothers, and Ana de Valencia, his wife." By that time, in fact, our painter had already taken over the family workshop two years earlier and had taken on the commissions that Felipe Gómez de Valencia had left behind orphaned.In this painting we can appreciate the sense of sweetness in colours and an ease in drawing that he inherited from his father. With delicate strokes, he captures a baroque, theatrical scene, almost like a meditation from cell in a convent, in a still life, indoor setting.The human soul or guardian angel reminds a repentant knight of the transience of life, emphasising the vanity of existence. In a room with a bed and canopy, the praying figure is led by the song of the angel, who hints with a pointing hand that nature decomposes, but that the soul can be immortal; it shows him a still life full of symbols: at the centre a skull or skeleton shines, a "memento mori," a reminder that death is inevitable; an hourglass reminds him of the passage of time; it rests on a book, which traditionally alludes to excessive pride in learning. But everything passes.And after these, other objects allude hopefully to the afterlife. The painting has a moralistic message that encourages the viewer to consider their own mortality and how they live their life. This still life compares the vain nature of mortal life with the possibility of eternal life. The Cross is presented as the purpose of his commitment, as well as the rosary that will allow him to live in prayer, and the whip hanging from the table, inviting him to live in penance and mortification.It seems that the painter is devoted to the Virgin Mary, whom he places above, being crowned as Queen and Lady by the Holy Trinity.To conclude, this serene painting does not suggest decay or sadness but carries a legacy of hopeful aspirations beyond life itself. Reference bibliography:- Espinosa Spínola, Gloria y Suárez Molina, María Teresa. (2023). Francisco Gómez de Valencia, un pintor del siglo XVII entre Granada y México. “Boletín de Arte-UMA”, n.º 44, Departamento de Historia del Arte, Universidad de Málaga, pp. 75-85. https://dx.doi.org/10.24310/ba.44.2023.16195- Prados, Raquel. (1999). Un lienzo inédito de Francisco Gómez de Valencia. “Cuadernos De Arte De La Universidad De Granada”, 30, 303–310. https://revistaseug.ugr.es/index.php/caug/article/view/9101
Los 4
A fairground carved wooden admission sign by C J Spooner, c.1890, Burton-on-Trent, surmounted by a royal armorial and flanked by cherubs, inscribed 'Admission one penny', originally taken from a Bioscope show,102cm wide6cm deep28cm highCondition ReportFull restoration and repainting undertaken by John Barker, braced to the reverse, old supports screwed in place holding the crest, possibly part of original construction, light knocks and scratches to the paint in places
Los 195
Sweden.- Thersner (Ulrick & Thora) Fordna och Närvarande Sverige; La Suede Ancienne et Moderne, 3 vol., text in Swedish and French, half-title, aquatint vignette title, 6 vignette part titles (2 aquatint & 4 lithographed) and 372 plates on 366 sheets, 130 aquatint and 236 lithographed, some tinted, list of subscribers tipped into vol.1 (foxed), plates with occasional light spotting and a couple of small stains, mostly marginal, 'Julita' in vol.2 with slight abrasions, a few marginal tears and repairs, some lithographed plates browned, contemporary half roan, spines gilt, lilac endpapers with clover leaves printed in green and gold, rubbed, some wear to spine ends and splits to joints, oblong folio, Stockholm, [1817-67]. *** Monumental work with magnificent plates featuring the castles and mansions of Sweden, completed by Thersner's daughter Thora. Rare to find complete with all the plates.
![Voyages.- [Prevost (Abbé) and others.] Histoire Générale des Voyages ou Nouvelle Collection de toutes les Relations de Voyage](https://cdn.globalauctionplatform.com/b851303b-4446-40fb-ad36-b120007e9696/a3f75b7f-3f5d-4e70-9713-b1200084f74a/468x382.jpg)
Los 204
Voyages.- [Prevost (Abbé) and others.] Histoire Générale des Voyages ou Nouvelle Collection de toutes les Relations de Voyages par Mer et par Terre..., 19 vol. only (of 20), some with half-titles, titles printed in red and black, engraved portrait frontispiece, c.555 engraved maps, plans and plates, many double-page or folding, folding letterpress table to vol. 13, bookplate of the Rev. F. Hutcheson with ownership inscription "F. Hutcheson 1776" to titles, vol. 1 with one folding map chipped at edges and loosely inserted and rear free endpapers torn and frayed, vol. 6 large folding map with 2 short tears without loss, vol. 18 title with imprint trimmed and laid down, vol. 19 worm trace to fore-margin towards end, a few folding plates creased or little chipped at margins, occasional spotting or light browning, occasional light soiling or damp-staining, but in general very good copies, contemporary mottled calf, spines gilt in compartments and with morocco labels (some chipped), some worming to joints, rubbed and worn in places, [Hill 1391; Sabin 65402], 4to, Paris [vol. 17 Amsterdam], Didot [and others], 1746-1770; sold not subject to return. *** "An important and scarce collection" (Hill) including voyages to Africa, China, India, the Americas and elsewhere. Volumes 1-7 are a translation of Green’s A new general collection of voyages and travels, first published in 1745, and the Abbé Provost compiled volumes 8-15. Volume 16 is the general index for the work, and volume 17 (Amsterdam, Arkestée et Merkus) gives the account of the Dutch East Indies, taken from the edition printed at La Haye. Volumes 18, 19 and 20 (the last not present in this set, as often), published in 1768, 1770 and 1789 respectively, are a continuation of the work by MM. Querlon and De Surgy.
Los 67
France.- Brandling (Henry Charles) Views in the North of France, 12 hand-coloured tinted lithographs mounted on card, light foxing or soiling to some mounts, one or two creased at corners, loose as issued with text booklet in facsimile in original pictorial board portfolio, lacking ties, rubbed and marked, edges a little worn, rebacked in morocco, flaps renewed, [Abbey, Travel 98], by the Author, 1848 § Clutton (Henry) Illustrations of Mediaeval Architecture in France, 16 tinted lithographed plates, illustrations, occasional marginal spotting to plates, some becoming loose, ex-library copy with unobtrusive embossed stamp to lower outer corner of frontispiece and title, original cloth, rubbed, rebacked, 1856, folio (2)*** The first contains attractive views of Northern French cathedrals and street scenes, and is rarely found with the descriptive text.
Los 218
World.- Smith (Charles) Smith's New General Atlas..., title and 46 maps, including 2 double-page maps, hence numbered to 48, engraved maps with original hand-colouring, light surface dirt and occasional marginal finger-soiling, title with owner's signature dated 1820, contemporary half-calf over marbled boards, upper cover detached, spine completely split, crudely taped back together, very worn, folio, 1816.
Los 184
Southeast Asia.- Innes (Emily) The Chersonese: with the gliding off, 2 vol., first edition, frontispieces, newspaper clipping showing 'The Treaty of Pangkor' loosely inserted, original pictorial cloth, gilt, slight bumping to corner and extremities, vol. 2 with light mottling to fore-edge of lower board, 8vo, 1885. *** Scarce. An interesting work by the wife of a colonial administrator, on how she found Malaysia after 6 years living there. In her conclusion she worries about the Chinese influence in Malaysia, noting that "He is no more fit to cope with the irrepressible Chinaman than coaches and steam-engines."
Los 41
Britain.- Camden (William) Camden's Britannia, Newly Translated into English...by Edmund Gibson, engraved portrait frontispiece (marginal repairs), 8 engraved plates of coins, 50 maps by Robert Morden, 2 folding (Kent & Norfolk) and the rest double-page mounted on stubs, engraved and woodcut illustrations, lacking 2U1-2 but with *2U1-2 in duplicate, title with ink ownership name to head and short tear into imprint repaired without loss, maps and a few illustrations with contemporary hand-colouring, a few with additional place names or details supplied in manuscript (see Westmorland), a few maps trimmed within platemark, map of Scotland with small loss at central fold, one or two other small holes within plates, a few marginal defects, some short tears and repairs to text and plates without loss, 2Z2 paper-flaw hole within text and engraved illustration to verso, [2]c1 flaw to upper corner with loss to a few letters, some light soiling, final few ff. creased and little frayed, contemporary panelled calf, rebacked and recornered, worn, covers detached, [Wing C359], folio, F. Collins, for A. Swalle...and A. & J. Churchill, 1695. *** First edition of Gibson's translation and the first with Morden's maps.
![Middle East.- Peel (William Robert Wellesley, 1st Earl Peel) Palestine Royal Commission Report [Cmd. 5479], 8 folding maps on](https://cdn.globalauctionplatform.com/b851303b-4446-40fb-ad36-b120007e9696/b782fb77-53d7-433d-af10-b12000846551/468x382.jpg)
Los 134
Middle East.- Peel (William Robert Wellesley, 1st Earl Peel) Palestine Royal Commission Report [Cmd. 5479], 8 folding maps only (of 9), most colour, 6 detached and loosely inserted, one with small marginal loss, rust marks at margins, scattered faint spotting, ex-Department of Education with occasional ink-stamps, original blue printed wrappers, small paper label to upper cover, loss to spine foot, light soiling, creasing to edges, lower cover becoming detached, 8vo, 1937. *** This work paved the way for the partition of Palestine, the end of British administration, and the formation of the state of Israel in 1948. The 'report, published in July 1937, was a model of insight, precision and lucidity. Seldom, if ever, has an intricate political problem been so clearly analysed by men who had little previous knowledge of the issues' (Lacquer, A History of Zionism, 1989, p.514)
Los 64
Europe.- Six Views of Waterloo. drawn on stone from sketches taken on the spot 1816, 6 lithographs, marginal creasing and light soiling, original printed paper wrappers, lacking lower cover, previous owner's printed paper label to upper cover, rubbed, chipping and small loss to edges and extremities, a little soiled, R. Ackermann, 1830 § Beattie (William) The Waldenses or Protestant Valleys of Piedmont, Dauphiny and the Ban de la Roche, engraved portrait frontispiece, additional engraved title, plates, tissue-guards, one folding map, occasional marginal spotting, ex-library with usual label and occasional ink-stamps, original cloth, a little rubbed, bumping to corners and extremities, 1838; folio & 4to (2).
Los 83
India.- Peacocke (Stephen Ponsonby) Four plates from 'Views in the Neilgherry & Koondah, Western Ghauts, Madras, at & about the Stations of Ootacamund and Concor, and the Segoor, Koondah and Conor Passes', lithographs with hand-colouring, on sturdy wove paper, sheets 370 x 530 mm (14 1/2 x 20 3/4 in), minor handling creases, light spotting and surface dirt, unframed, Paul Gauci, [1847] (4)Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent*** Plates include: Mr Groves' House, Waterfall, Kaitee; View at Ootacamund Neilgherries; View from the Upper Bungalow, Canoor; and Avalanche.
Los 142
Middle East.- Thesiger (Wilfred) The Marsh Arabs, maps and photographic illustrations, ink gift inscription to front free endpaper, dust-jacket, price-clipped, a little rubbed, short tear to head, 1964 § Philby (Harry St John Bridger) Sheba's Daughters being a Record of Travel in Southern Arabia, photographic plates, folding map at end, corner from front free endpaper clipped, occasional light spotting, marginal fading to covers, spine sunned, 1939; Forty Years in the Wilderness, map, photographic illustrations, dust-jacket, rubbed, 1957, first editions, original cloth; and c.25 others, mostly relating to the Middle East, 8vo and 12mo (c.30)
Los 42
Britain.- Visscher (Nicolas) and others. Collection of six maps of the British Isles, including Visscher's 'Magnae Britanniae Tabula; Comprehendens, Angliae, Scotiae, ac Hiberniae Regna', Valk's 'magna Britannia, aut Anglia, Scoti et Hibernia...', Robert's 'Carte des Grandes Routes d'Angleterre, d'Ecosse, et d'Irlande', Jaillot's 'Les Isles Britanniques qui contiennent les Royaumes d'Angleterre, Escosse, et Irlande...'Homann's 'Magnae Britanniae Pars Meridionalis in qua Regnum Angliae...', and De L'Isle's 'Les Isles Britanniques ou sont...', engravings, all with some hand-colouring, various sizes but all double-page approx. 500 x 600 mm (19 3/4 x 23 3/4 in), or larger, minor handling creases and light surface dirt, unframed, 17th and 18th century (6)
Los 82
India.- Orme (Edward) Two views of India, from different publications, including 'A View in the North Street of Fort St. George' from '24 Views in Indostan', and 'A House at Bankipore, the Residence of Wm. Hunter', etchings and aquatints with full hand-colouring, the first mentioned image 340 x 435 mm (13 3/8 x 17 1/8 in), the latter 280 x 370 mm (11 x 14 1/2 in), minor handling creases, light spotting and surface dirt, unframed, 1804-1805 (2)Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.
![Middle East.- [Bell (Gertrude)] The Arab of Mesopotamia, first edition, map frontispiece, light browning to margins, ori](https://cdn.globalauctionplatform.com/b851303b-4446-40fb-ad36-b120007e9696/7db617a3-6fb4-4349-813b-b12000844282/468x382.jpg)
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