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Preisdatenbank abonnierenHERMES SILK SCARF,in the Tigers pattern, designed by Joachim Metz, circa 1979, in Hermes branded boxThe scarf measures 88 x 88cm; there is some light staining to the lower central and lower right areas, some light fraying, further marks and light general wear; box heavily worn, scuffed, creased and stained; this is a genuine original Hermes scarf. Additional images available
BALDOMERO GALOFRE JIMÉNEZ (Reus, Tarragona, 1849 - Barcelona, 1902).El cortejo" ("Courtship").Oil on panel.Signed in the lower right corner.Slight faults in the frame.Measurements: 50 x 34 cm; 74 x 55 cm (frame).A horseman has stopped under the balcony of a lady to invite her to go out. She, wrapped in a white silk mantilla, turns her back to us when answering the call. The courting scene is set in a meadow of lush vegetation, which even climbs up the wall of the house, embellishing its façade. In the distance, the white houses of an Andalusian village can be made out. The canvas is painted with lively, precious brushstrokes, capable of bringing out the qualities of each detail and at the same time giving an overall impression: flashes of light, mossy surfaces, satin garments, etc. The succession of shots is magnificent. The succession of planes appears magnificently constructed in depth through a subtle and naturalistic tonal gradation.Baldomero Galofre began his training at the La Lonja School in Barcelona, where he was a pupil of Martí Alsina, and later completed his studies in Madrid. He became known in 1866 at the Fine Arts Exhibition in Barcelona, where he took part again in 1870, and in 1868 he took part in the Aragonese Exhibition in Saragossa with landscapes and studies. In 1874 he obtained a grant to further his studies in Rome, where he lived for ten years. There he attended the Accademia Chigi and the Circulo Internacional de Arte and met Mariano Fortuny in the last months of his life, following the stylistic guidelines of his compatriot. On his return to Barcelona in 1884 he held a personal exhibition which was very well received; Narciso Oller praised his great naturalism and showed him as an example against history painting. Four years later, in a new individual exhibition, this time in Madrid, one of his works was acquired by the Queen Regent. In 1903, in a special room in the Barcelona Museum, Galofre presented an important exhibition of his work. He developed a luminous, detailed style and painted landscapes and popular scenes in the style of Fortuny. He was also an extraordinary draughtsman. He is currently represented in the MACBA and the Museum of Art and History of Reus, among other public and private collections.
MANUEL CUSÍ FERRET (Vilanova i La Geltrú, Barcelona, 1857 - Barcelona, 1919)."Dancer in the Dressing Room".Oil on canvas.Signed in the upper left corner.Slight flaws in the frame.Work published in "Manuel Cusí. Devotion to beauty".Measurements: 72 x 52 cm; 118 x 97 cm (frame).A young dancer has just received a bouquet of flowers from an admirer. The painting focuses on the moment when she, amused and visibly flattered, reads the card that accompanies the exuberant bouquet. She is attended to by a servant girl, who remains partially in the semi-darkness. Cusí shows great mastery in the recreation of the veils of the tulle, its transparencies and the fluffy flounce of the skirt. In the satin of the slippers, the satin that envelops the supple torso and the soft flesh tones of the girl, we can recognise Cusí's hand.An outstanding exponent of the Catalan realist school, Cusí was one of the most brilliant chroniclers of everyday life in 19th-century Catalonia. He studied at the Escuela de La Lonja in Barcelona and completed his training in Paris in the late 1970s in the studio of Leon Bonnat. On his return to Spain he devoted himself to painting in different genres, including still life, the figure, portraiture, genre painting and intimate scenes. As an official portraitist he painted Alfonso XIII for the Diputación Provincial de Barcelona. In 1880 he exhibited for the first time at the Sala Parés in Barcelona, together with Santiago Rusiñol and the sculptor Font. From the time of his youth his style stood out for the correctness of his drawing, as well as for his search for chromatic harmony and the capture of light effects. Towards 1881-82 his style began to show a preference for the realism that would mark his most personal work, rejecting all artifice, as a result of the influence of Ramón Martí Alsina. He took part in the main artistic events in Barcelona, such as the exhibitions of the Society of Watercolourists and the first Exhibition of Fine Arts in the city, and showed his work regularly at the Casa Vidal and the Sala Parés. He also presented his works at the National Exhibition of Fine Arts in Madrid, and was awarded the third medal at the Universal Exhibition in Barcelona in 1888. Cusí is represented in the Museu Nacional d'Art de Catalunya, Barcelona City Council, the Museu Víctor Balaguer, the Ateneu and the Circulo del Liceu in Barcelona, as well as in prominent private collections.
CARLOS NADAL FARRERAS (Paris, 1917 - Sitges, Barcelona, 1998)."Casino del Prado", ca. 1970.Mixed media and oil on cardboard.Signed in the lower right corner.Enclosed certificate of authenticity issued by the Nadal Committee.Measurements: 49 x 52 cm; 68 x 71 cm (frame).In this work Carles Nadal offers us a view that combines the urban with the natural in perfect dissolution. The painter constructs the scene evoking more than representing, in a composition where the emptiness and the fluid and free stain of colour take on an unusual prominence, filling the space and evoking changes of light and shade, as well as a warm atmosphere.The son of Santiago Nadal, a painter and decorator based in Paris, Carles Nadal has lived in Barcelona since childhood, where the family moved due to his father's illness. At the age of thirteen he began to work as an apprentice in a decorative painting workshop, and in 1936 he received a grant from Barcelona City Council to study at the Sant Jordi School of Fine Arts. At the outbreak of the Civil War he is recruited into the Republican army, with which he fights on the Aragon and Tremp fronts. At the beginning of 1939 he crossed the French border and was interned in the Saint Cyprien refugee camp, where he remained for several months. He managed to escape and cross the border again, but was arrested and imprisoned in Figueras. On parole he returned to Barcelona, where he continued his artistic career, combining his work as a decorator with his studies in Fine Arts. In 1941 he made his debut in a group exhibition at the Dalmau gallery, receiving good reviews. He finished his studies with good marks, obtaining the recognition of teachers and professors, some of whom became friends and collaborators of the young Nadal. In fact, it was one of them, Luis Muntané, who enabled him to hold his first individual exhibition in 1944, at La Pinacoteca in Barcelona. Two years later he moved to Paris, again with a grant from the Barcelona City Council. There he worked and exhibited with the group Présence de l'Homme, as well as taking part in the Salons d'Automne. Later he attended the Paris School of Fine Arts, thanks to a grant from the French State. In 1948 he married Flore Joris and settled in Brussels, where he remained until the mid-1970s. In Belgium he discovered, as he himself repeatedly stated, light and colour. During these years he continued to show his work both in Spain and Belgium and in France, Germany, Holland, Switzerland, the United Kingdom and the United States. Nadal's painting is post-impressionist in character, intensely colourful, and is based on the search for chromatic force as the most direct means of communication. His awards include the Grand Prix de Spa, Belgium, and his appointment as a member of the Royal Academy of London. His works can be found at MACBA, the Spa Museum in Belgium and the Royal Museum in Brussels.
MARIANO FORTUNY I MARSAL (Reus, Tarragona, 1838 - Rome, 1874)."Don Quixote".Oil on canvas. Re-drawn.Signed in the lower right corner.Size: 41 x 31 cm; 58 x 49 cm (frame).In an austere interior, the artist places an elderly character contemplating attentively a sword. The self-absorption of the protagonist, together with the light treatment that falls through the window and rests on the metal and part of the man's face, give rise to an intimate and somewhat epic atmosphere. Fortuny seems to capture the moment in which the knight, after having stripped himself of his weapons after the battle, seems to see the damage that the battle has inflicted on his inseparable companion, the sword. The artist opted to create an image that portrays a more intimate Quixote, far removed from the dynamism of his anecdotes, far from Sancho, alone and reflective. The theme was not alien to Fortuny, who had already dealt with it between 1852 and 1856, as can be seen in a work belonging to the collection of the Museo Nacional de Arte de Cataluña.Fortuny began his training at the Municipal School of Art in Reus, and in 1850 he moved to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn and enrolled at the School of Fine Arts, where his teachers were Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attended Lorenzale's public school, which determined his inclination towards Romantic painting at this early stage. In 1858 he settled in Rome thanks to a scholarship, and attended the Accademia Chigi. While there, the Diputació de Barcelona invited him to travel to Morocco to paint the warlike encounters that were taking place in the area, which was to be a turning point in his career. The light of Morocco and the exoticism of the place and its people led him to take an interest in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly afterwards he began a trip around Europe and finally returned to Rome for good. He attended classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visited Florence and came into contact with the "macchiaioli". From then on he returned to Morocco and Paris, as well as travelling to Toledo, where he discovered the work of El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition at the Paris gallery of Goupil. During these years he moved to Granada, to the Fonda de los Siete Suelos in the Alhambra, with the idea of tackling new themes with the greater freedom afforded by commercial and critical success. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.
FRANCISCO LOZANO SANCHÍS, (Antella, Valencia, 1912 - Valencia, 2000)."Old Mediterranean poppies", 1997.Oil on canvas.Signed in the lower left corner. Signed, dated, dedicated and titled on the back.Size: 23 x 28 cm, 33 x 38 cm (frame).Painter, teacher and member of the Royal Academies of Fine Arts of San Fernando and San Carlos, Francisco Lozano was interested in painting from his youth, and at the age of sixteen he began his training at the Academy of San Carlos in Valencia. He later continued his studies at the Residencia de Pintores de La Alhambra, and after the Civil War he began to make a name for himself. His career would take off in the 1940s, when he began to exhibit regularly in Madrid and other cities. In the capital he was welcomed by Eugenio d'Ors, whose hand in hand he exhibited at the Estilo gallery, and who put him in contact with the artistic and intellectual circles of Madrid at the time. A primarily Mediterranean painter, his work focused from the outset on landscape, although he evolved from the initial influence of Sorolla towards a more personal language, although equally sensitive to light and colour. His is a synthetic, ordered and austere landscape, completely modern. Between 1951 and 1952 he travelled to Paris on a grant from the French government, and on his return his recognition was completed with the first prize at the National Exhibition of Fine Arts. That same year he was also a great success at the Venice Biennale. From then on he combined his artistic practice with teaching at the San Carlos Academy, where he held a teaching post from 1955 to 1977. At the same time, he held important exhibitions in Spain, South America, the United States, Germany and the United Kingdom, among other countries, mainly in Mediterranean Europe. Lozano was an honorary member of the Círculo de Bellas Artes (1952), a member of the Valencian Council of Culture (1986) and doctor honoris causa of the Polytechnic University of Valencia (1994), and in 1993 a major retrospective exhibition was devoted to him at the IVAM. His work is currently held in museums such as the Reina Sofía in Madrid, the Fundación Mendoza in Caracas, the Camón Aznar in Zaragoza, the IVAM in Valencia and the Fine Arts Museum in Montevideo, among others.
James Bond You Only Live Twice - Ian Fleming First Edition, first impression Hardback book. Published by Jonathan Cape with dust jacket in 1964. Condition Report: light marks to cloth, gilt lettering bright to upper board and spine, light marks to endpapers, dust-jacket priced 16s., clean edge tears to lower spine, top of spine chipped (with slight loss) light foxing and staining to inner jacket. further within clear protective jacket.
James Bond - Sideshow Collectibles - 1/4 Scale Premium format figure of Sean Connery, limited edition 1503/2000, boxed, 21 inches high. Condition Report: overall clean condition, some light marks to stand, all contained within original polystyrene packaging, original inner box and outer illustrated sleeve with some wear to corners.
James Bond The Man With The Golden Gun - Factory Entertainment Dual signed Limited Edition Replica Golden Gun from 2010, officially licensed by Danjaq LLC and EON and plated in 18 carat gold, signed by both Sir Roger Moore (James Bond) and Sir Christopher Lee (Scaramanga), is a limited edition of only 400 that were made (this being number 115). It comes with the 007 engraved bullet and a bonus set of 5 extra golden bullets, that were only awarded to pre-order customers. Comes complete with display case and original boxes, and accompanying leaflet. Also included are two replica rings in case of the Scaramanga characters signet rings. Condition Report: In excellent condition. Some light handling to packaging.
James Bond The Man With The Golden Gun - A replica golden gun, 24 karat gold-plated replica manufactured by S.D. Studios Ltd., 1994, number 393, the gun assembled from a dummy Colibri lighter, a dummy pen for the barrel, a dummy cigarette case for the handle, a dummy cufflink trigger, with replica bullet engraved 007, in presentation case with combination lock and descriptive plaque, gun length 9.5 inches, box dimensions 12.5 x 8.5 inches. Condition Report: Very good condition, some light scratches and handling marks, only visible on close inspection.
Bible, Polyglot.- Biblia sacra polyglotta complectentia textus originales, Vol.3 only (of 6), general half-title, lacking second P2&3 (duplicates of Pp2&3 erroneously bound in), the odd small hole in text, a few short tears within text (without loss), occasional spotting or light staining, lightly browned, contemporary calf, rebacked, corners worn, rubbed and little scuffed, [Wing B2797a], folio, [Thomas Roycroft], [1656]. sold not subject to return.
Heylyn (Peter) Cosmographie, fifth edition, additional engraved title frayed and detached, printed title in red and black with upper corner torn away with loss to two final letters of 'Cosmographie', 4 folding engraved maps by Robert Vaughan, Europe a little soiled, America with tear at fold, last leaf of text torn and frayed, marginal tears to pp.263-268, some worming to inner margin, occasionally just touching text block, some light foxing and browning, contemporary calf, worn, lacking upper cover, [Wing H1695], folio, Printed for Anne Seile, 1677.
Bridoul (Toussain) The School of the Eucharist Established upon the Miraculous Respects and Acknowledgments..., first English edition, [translated by William Clagett], with initial imprimatur leaf, later ink ownership inscription of J. D. Derry to front free endpaper, small ink mark to head of title, some light water-staining, later roan with black onlays in a figure-of-eight design, rubbed, spine ends chipped, [Wing B4495], 4to, Printed for Randall Taylor, 1687.
Gilchrist (Alexander) Life of William Blake. With Selections from his Poems and other Writings, 2 vol. second edition, portrait frontispieces, plates, light browning to half-titles, foxing to endpapers, original pictorial cloth, gilt, minor bumping to spine ends, slight fraying to corners, a handsome set, uncut, 8vo, 1880.
NO RESERVE Banking, Taxation & Tythes.- Pacy (Joseph) The Reminiscences of a Gauger. Imperial Taxation, past and present, presentation copy from the author's wife, advertisements at end, faint finger-soiling to title, ex-lirbary with label, original cloth, gilt, a little rubbed, slight bumping to corners and extremities, Newark, 1873 § Norfolk (William John) The General Principles of Banking, Bills of Exchange, British Funds, and Foreign Exchanges, first edition, ex-library with discreet ink-stamp to title, faint spotting to title, modern morocco-backed boards, light sunning to spine, 1845 § Herbert (Gideon) A Hand-Book of Guide for the use of Creditors, Debtors, Inspectors and Trustees, advertisements at end, original paper wrappers, ex-library with small shelf-mark label to foot, a little rubbed, slight chipping to corners and edges, Nottingham, [c.1869] § Sulley (R.) The Fallacies of the Protective System Exposed, occasional ink markings, ex-library with ink-stamps, modern library cloth, Manchester, 1841; and others similar, 8vo (9).⁂ The first is inscribed, "Presented by her Aunt Pacy Wife of the Author."
NO RESERVE Milton (John) Paradise Regain'd. A Poem in Four Books, [vol.2 only], bookplate to pastedown, very occasional light foxing, modern calf, endpapers renewed, Birmingham, John Baskerville, 1760 § Walton (Izaak) The Lives of Dr. John Donne, Sire Henry Wotton, Mr. Richard Hooker, Mr. George Herbert, and Dr. Robert Sanderson, engraved frontispiece, 10 plates, illustrations, some light foxing to plates and title, bookplate to pastedown, later straight-grain morocco, bordered in gilt, joints and spine ends rubbed, 1825; and 14 others, including an 11 vol. run of Captain Frederick Marryat's Works, 1865-6, 8vo (16)
Campbell (Dr. J.) Lives of the British Admirals, 4 vol., engraved frontispieces and folding maps, light offsetting to titles, contemporary mottled calf, spines and extremities lightly rubbed, modern morocco spine labels, joints lightly worn but holding firm, Edinburgh, Alexander Donaldson, 1785 § Roberts (George) The Life, Progresses and Rebellion of James, Duke of Monmouth, &c., 2 vol., first edition, engraved frontispiece, plates and maps, original cloth, some nibbling to extremities, lightly rubbed, 1844; and 2 other library sets, 8vo (10)
Tuer (Andrew W.) London Cries with six charming Children, one of 250 signed proof large paper copies, leaves printed recto only, 10 hand-coloured illustrations after Rowlandson, 6 stipple engravings, each in two states, "in the Bartolozzi style" and 27 other illustrations including 3 hand-coloured cuts by Crawhall, occasional light spotting, red crushed half morocco by Zaehnsdorf for Henry Sotheran, very slight fading to spine, 4to, Field and Tuer, Leadenhall Press, [1883].
Naval.- Lever (Darcy) The Young Sea Officer's Sheet Anchor, or a Key to the Leading of Rigging and to Practical Seamanship, second edition, engraved title, 113 engraved plates on 57 sheets, light toning to text, largely marginal damp-staining to plates, contemporary half calf, neatly and sympathetically rebacked, retaining original backstrip, later endpapers, 4to, [1819].
Pamphlets.- Dennis (J.) The Alliance of the Church with the State Neither Sinful nor Unscriptual, presentation inscription from the author to upper wrapper, light foxing, 1834; bound with Wetherell (Sir Charles) Speech on Incorporating the London University, signed presentation inscription from the author to half-title, 1834; and Lord Bishop of Exeter (Henry) A Speech Delivered in the House of Lords, presentation inscription from the author to title, 1836; and c.45 other pamphlets, early 19th century, many inscribed presentation copies from the authors, some with ALs, together in 3 vol., contemporary cloth, rather sunned, some rubbing to covers, manuscript spine labels (faded), joints splitting and fraying in places but holding firm overall, 8vo.
Cooper (James Fenimore) The Jack O'Lantern; (Le Feu-Follet;) or the Privateer, 3 vol., tear to title, one or two light spots, original boards, extremities lightly rubbed, spine paper labels worn, loss to spine tail of vol.2, 1842 § Savage Landor (Walter) Gebir, Count Julian, and other Poems, lightly spotted, original boards, rebacked, lightly rubbed and marked, joints frayed, loss to spine head, 1831, first editions, original boards; and 6 others including a second edition of Bulwer Lytton's 'Not so Bad as We Seem', 1851 and 5 volumes related to Frederick Locker, all either limited or first editions, or signed by the author, v.s. (10)
Blessington (Marguerite Gardiner, Countess of) The Lottery of Life, half-title, bookplate of William C. Parsons, ink ownership inscription of Lady Frances Knox to head of title, some light foxing, contemporary half calf, spine gilt, lightly rubbed, 8vo, Paris, 1842.⁂ A scarce novel by the Countess of Blessington, literary hostess and friend of Byron and Dickens.
NO RESERVE Coleridge (Samuel Taylor) The Friend: A Series of Essays to aid in the Formation of fixed Principles in Politics, Morals, and Religion..., 3 vol., fourth edition, very light marginal toning or occasional foxing, original cloth, extremities bumped, spine ends lightly creased and frayed, 1850 § Browning (Robert) The Poetical Works, 8 vol. in 4, new edition, portrait frontispieces, contemporary half morocco, spine gilt, 1902 § Hogarth (William) The Works, 2 vol., first edition, engraved plates, some offsetting and light foxing, contemporary calf with floral blind-stamped border, spines gilt, morocco labels to vol.2 chipped with loss, corners a little bumped, 1812, light scuffing or rubbing to extremities of each but each attractive sets overall, 8vo (9)
Brooke (Rupert) The Collected Poems, one of 1,000 copies, wood engravings by G. Raverat, endpapers browned, original buckram-backed boards, covers foxed, uncut, Riccardi Press, 1919 § Tennyson (Alfred, Lord) In Memoriam [&] Poems, together 2 vol., woodcut decorations after Charles Ricketts, original buckram, light toning to spines, light surface soiling to covers, [Vale Press], 1900 § Gibbings (Robert) The Wood Engravings..., first edition, colour frontispiece, illustrations occasional spotting, original cloth, covers rubbed, 1959; and 14 others, illustrated books and limited editions, 8vo & 4to (18)
NO RESERVE Evelyn (John) Diary and Correspondence of John Evelyn, F. R. S., 4 vol., new and enlarged edition, frontispieces and plates, some foxing to plates, contemporary calf by Hatchard, ruled in gilt, spine gilt in compartments with morocco spine labels, light rubbing to spine ends, 1854 § Burke (Edmund) Correspondence of the Right Honourable Edmund Burke, 4 vol., first edition, edited by Charles William et al., engraved portrait frontispiece to vol.1, lightly foxed, original blind stamped cloth, spine ends and extremities frayed and nibbled, covers a little marked, 1844, 8vo (8)
NO RESERVE Harland (John) and T. T. Wilkinson. Lancashire Legends, Traditions, Pageants, Sports, &c., . . . first edition, an Appendix containing a Rare Tract on the Lancashire Witches, portrait frontispiece, vignette title, list of subscribers, bookplate of F. Reddaway, toning and light finger marks to pages, later full-calf, gilt, spine decorated in gilt within compartments, inner dentelles, gilt, g.e., light marks to boards and corners a little bumped, 1873 § Cruikshank (George) and John Collier. Tim Bobbin's Lancashire Dialect; and Poems, 6 etched plates by George and Robert Cruikshank, toning and browning, bookplate of F. Reddaway, rebound half calf marbled boards, gilt, lightly rubbed, spine decorated in gilt within compartments g.e., 1828 § A' Beckett (Gilbert Abbott) The Comic History of England, 2 vol., first edition and an early reprint, 1847-1853; The Comic History of Rome, [c. 1880] each illustrated with full-page hand-coloured engravings and woodcuts by John Leech, , toning, browning and occasional foxing, bookplates of F. Reddaway, uniform original full brown cloth, gilt, rubbed and marked, spines ends and corners bumped, 8vo (5)
[Abbott (Edwin A.)], "A Square". Flatland, A Romance of Many Dimensions, first edition, half-title, illustrations by the author, small portion at head of half-title cut away, not affecting text, some light spotting, mostly to endpapers, original card wrappers, uncut, pictorial dust-jacket, browned with scattered spotting, chipped at corners and spine ends, internal chip to spine, 4to, 1884.
Haggard (H. Rider) Allan's Wife and other tales, 30pp. advertisements, some cracking to hinges, spine darkened, extremities a little rubbed, 1889; Elissa, light rubbing and toning to spine, extremities rubbed, New York, 1900, first or first American editions, plates and illustrations, original cloth; and 6 others by the same, 8vo (8)
Britain.- Lipscomb (George) The History and Antiquities of the County of Buckingham, 4 vol., titles printed in red and black, 47 engraved plates and maps, illustrations, light foxing to plates, contemporary polished calf, gilt, spines gilt in compartments, vol. 1 upper cover detached, 1847; and 9 others, British topography, 4to (13)
NO RESERVE Kipling (Rudyard) A Fleet in Being. Notes of Two Trips with the Channel Squadron, first edition, half-title, cracked hinges, original cloth, light spotting, a little rubbed, bumping to corners and extremities, 1898.; Sea Warfare., first American edition, signed by author, half-title, original cloth, small stain to upper cover, slight bumping to corners and extremities, 1917; Kipling (Rudyard) and C. R. L. Fletcher. A History of England, first edition, illustrations, maps, previous owner's ink inscription, original pictorial cloth, 1911; and others similar, v.s. (5).
NO RESERVE Beare (Geraldine, editor) Index To The Strand Magazine 1891-1950, first edition, Editor's Presentation copy, half-title, errata slip tipped-in, light spotting, original cloth, slight bumping to corners and extremities, 1982 § The Working Men's College Journal, Volume III, 1894-95. The Working Men's College, light spotting, original cloth, slight bumping to corners and extremities, nd. § Marble (A.R.). The Nobel Prize Winners in Literature, first edition, half-title, portrait frontispiece, illustrations, original cloth, slight bumping to corners and extremities, 1925; and others similar, 8vo (9).
Attwell (Mabel Lucie).- [Dodgson (Charles Lutwidge)], "Lewis Carroll". Alice in Wonderland, frontispiece and a few other plates detached, some marginal chipping corners worn, rubbed, n.d. § Lucie Attwell's Children's Book, light foxing, spine label chipped at foot, n.d. § Barrie (J. M.) Peter Pan and Wendy, ink inscription to endpaper, light foxing, light bumping to spine ends and corners, 1946, plates and illustrations by Mabel Lucie Attwell, original pictorial cloth or boards; and 2 others by the same (5)
NO RESERVE Foujita (Tsuguharu).- Yamata (Kikou) Les Huit Renommées, one of 300 copies on Velin, signed presentation inscription from the author to dedication p., illustrations by Foujita, lacking leaf after p.10, light finger-soiling, upper hinge broken, original wrappers, chipped, browned and worn, 4to, Paris, 1927; sold not subject to return.
Gill (Eric).- Donne (John) The Holy Sonnets, one of 550 copies signed by Eric Gill, 4 full-page illustrations by Gill, some very faint off-setting, light browning to endpapers, original cloth, gilt, very light scuffing to extremities, uncut, dust-jacket, joints and folds rubbed or with closed tears, spine and fold ends chipped, 8vo, 1938.
Derrière le Miroir. Francis Bacon, No.162, folding colour plate of triptych, 3 full-page colour lithographs, colour illustrations, lacking 1 gathering (constituting 2 sides of text and 2 two full-page lithographs), loose as issued in original pictorial wrappers with colour lithograph by Bacon, very lightly rubbed at extremities, a few light marks to lower cover but an excellent clean copy overall, 4to, Paris, 1966.
Horology.- Vuilliamy (B. L.) A Portion of the Papers Relating to the Great Clock for the New Palace at Westminster, signed presentation inscription to title and A.L.s from B. L. Vulliamy to Thomas Gaisford, Dean of Christchurch, tipped into front free endpaper, light marginal soiling, original wrappers, spotted and stained, spines splitting, covers creased, 4to, 1848.
Africa.- Churchill (Sir Winston Spencer) London to Ladysmith via Pretoria, first edition, 3 folding maps (1 colour), plans in text, 2pp. of advertisements and 32pp. publisher's catalogue at end, contemporary ink ownership name to front free endpaper, light scattered spotting, first and second map fore-edge creased, original pictorial cloth, corners bumped, a little discoloured, spine faded, [Woods A4a], 8vo, 1900.
NO RESERVE America.- Birkbeck (Morris) Notes on a Journey in America, from the Coast of Virginia to the Territory of Illinois, fourth edition, folding engraved map, hand-coloured in outline, occasional light spotting, original boards, spine label chipped and browned, spine ends and corners lightly bumped, spine chipped at foot, 8vo, 1818.
Lesage (Alain René) Histoire de Gil Blas de Santillane, 4 vol., half titles, engraved plates by Bornet, Charpentier and Duplessi-Bertaux under the direction of Hubert, some light foxing, 20th century dark green crushed morocco, gilt, spines gilt in compartments, t.e.g., 8vo, Paris, Didot Jeune, L'An Troisieme, [1795]
NO RESERVE Arabic Grammar.- [Nassef (Hazrat Hefni Effendi)] [Grammar lessons for primary school students], some contemporary marginalia, occasional spotting or light staining, lightly browned, contemporary half roan, gilt spine in compartments, corners worn, rubbed, [Boulaq, Cairo], [Royal Printers], [1897]; and a 19th century Koran, 8vo (2)
Sporting.- Clarke (Mrs J. Stirling) The Habit & the Horse; a Treatise on Female Equitation, first edition, frontispiece and 8 plates, light spotting, blue half morocco for Henry Sotheran,gilt, spotting to covers, 1857 § Baillie-Grohman (Wm. A. and F., editors)The Master of Game by Edward, Second Duke of York, one of 600 copies, colour frontispiece, plates, captioned tissue-guards, scattered spotting, lower joint split, spine chipped and worn, 1904; and 11 others, sporting, v.s. (13)
Central Asia.- De Hell (Xavier Hommaire) Travels in the Steppes of the Caspian Sea, The Cimea, The Caucasus..., first English edition, ink presentation gift inscription to front endpaper, contemporary calf, spine gilt with morocco label, a little sunned with some light surface wear, 8vo, 1847.⁂ De Hell, a French geologist, explored the boarder lands of the Black and Caspian Seas from 1838 to 1842 - primarily the physical structure of the Crimea and the Steppes of New Russia, and the communication between the Black and Caspian Seas before the Bosphorus erupts into the Sea of Marmara.
Europe.- [Bayard (Taylor), editor] Picturesque Europe, 5 vol., half-titles, additional engraved titles, engraved plates and illustrations, contemporary ink ownership inscription to front free endpapers, occasional light spotting, vol. 5 with some creasing to fore-edge, original publisher's morocco, lettered and decorated in gilt, rubbed at joints and extremities, a few small stains, g.e., large 4to, London, Paris & New York, [c.1880].⁂ The first two volumes on the British Isles, the latter three on mainland Europe.
Europe.- Breval (John Durant) Remarks on Several Parts of Europe, Relating Chiefly to their Antiquities and History, 2 vol. in 1, 43 engraved plates, some folding, list of subscribers (misbound after a2), vol.1 lacking index ff. 4G&H1&2, first title ink stained (mostly marginal), plate of North prospect of Taormina frayed at outer margin, affecting image, folding Gergenti plate with 2 small marginal holes, a narrow stripe of light browning and some marginal soiling, occasional spotting or light staining, light browning in places, modern half calf, spine in compartments and with earlier red morocco label, Printed for H. Lintot, in Fleet-Street, 1738; and vol.1 only of the 1726 edition (not collated and water-stained), folio (2) sold not subject to return.
Philosophy.- Xenophon. In hoc volumine continentur infrascripta opera Xenophontis, title in red and black, marginal ink annotations, title with small amount of worming to blank portions, A2 small amount of worming with loss of a few letters, worming to final 6 ff., mainly minor but with significant loss of text to last, some uniform browning, lower hinge broken at lower stitching, contemporary vellum, remnants of leather ties, some staining, loss to spine, [Renouard Alde, 311.37; Ahmanson-Murphy 1141], Lyon, Barthélemy Trot, 1511 § Tesauro (Emanuele) Il Cannocchiale Aristotelico, half-title, engraved frontispiece (top edge trimmed, affecting image), engraved portrait of author a10 verso, woodcut head-pieces and initials, ink ownership inscription to front endpaper, paper, some light marginal foxing, upper hinge broken at half-title, back-strip peeling away, contemporary vellum, ink title to spine, stained and also with some ink letters, Venice, Paolo Baglioni, 1674; and 3 others, similar, 8vo & 4to (5) ⁂ I. A rare Lyonnaise counterfeit edition, illicitly printed in octavo and in italic type: innovations inaugurated by Aldo Manuzio in 1501 and protected by a ten-year privilege. The Lyonnaise fleur-de-lys on the title-page and Trot's name in the colophon begin to appear between 1510-1511, that is, during the last years of Aldo's privilege.
India.- Goa.- Fernandes (Francisco Xavier Ernesto) India Portugueza Estudos Economico-Sociales. Memoria do governo do Sr. Conselheiro Joaquim José Machado, portrait frontispiece, library stamp on title, light foxing, ink inscription on half-title, later boards, spine faded, original upper wrapper (creased and laid down with restoration to foot), Bastora, Tipografia Rangel, 1905; and a c.1900 photograph of rural Indian prisoners under guard, 8vo (2)⁂ Rare survey of Goa, printed in the India village of Bastora and dedicated to the former governor of Portuguese India.
⁂ Please note, the description for this lot has changed. Madeira & Gibraltar.- Two panorama photograph views, 3 and 4 albumen prints joined together with tape verso to form panoramas, overall images 925 x 180mm (35 1/2 x 7in) and 510 x 150mm (20 x 6in), light handling creases and toned edges, [c.1890s].
Mountaineering.- Hillary (Sir Edmund) and Desmond Doig. High in the Thin Cold Air, first edition, signed presentation inscription from Hillary to title, plates, pictorial endpapers, original boards, light rubbing to spine tips and corners, dust-jacket, spine chipped at head, closed tear to rear panel, light creasing to head and foot, extremities a little rubbed, 8vo, Garden City, NY, 1962.
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