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Preisdatenbank abonnierenColour Change Fluorite Ring, a 6ct square cushion cut, sapphire blue, fluorite, which changes colour to a vibrant purple in UV, candlelight or incandescent light; fluorite being one of very few gemstones to have this property which visibly resembles colour change sapphire; here set with three graduated white topaz to each shoulder in platinum vermeil and silver with a scroll work gallery; size O
Items related to Corporal Paddy Carey of the Highland Light Infantry to include a silver metal Highland Light Infantry medal for Middleweight boxing winner 1930 'Corporal P Carey' in a Phillips of Aldershot box, a Aldershot Command Athletic Association Javelin runners up medal 1929, a photograph album with title 'E Carey His Book' containing images of soldiers, barracks, dogs etc., a white metal HLI cap badge and a group of HLI buttons including Pitt, Gaunt and Smith and Wright.
A 19th Century Gothic brass worked chandelier light of two tier ecclesiastical circular form. Each tier with pierced foliate decoration and torch style mounts. Brass chains through supporting each tier. Measures approx; 90cm x 60cm diameter. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
A large 19th Century Victorian oil copper porch lantern of typical street lamp light form. Shaped top with four glass panels housing the interior glass flume oil lamp. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
A pair of 19th Century Gothic style converted table lamp light of brass worked construction having foliate worked gallery tops with turned stems below. Each raised on circular base. Sold as untested. Measures approx; 65cm. COLLECTION; Anyone wishing to collect this item in-person, please note this lot is located offsite and collection will be required from a 'BA' (Bath) postcode, by appointment only. Exact location given after payment received. For anyone else, our usual courier service is available as usual, please find details on the shipping tab .
George Formby signed 6x4 vintage black and white post card photo. George Formby, OBE (born George Hoy Booth; 26 May 1904 - 6 March 1961) was an English actor, singer-songwriter and comedian who became known to a worldwide audience through his films of the 1930s and 1940s. On stage, screen and record he sang light, comical songs, usually playing the ukulele or banjolele, and became the United Kingdom's highest-paid entertainer. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Max Miller signed 7x5 album page. Thomas Henry Sargent (21 November 1894 - 7 May 1963), known professionally by his stage name Max Miller and billed as The Cheeky Chappie, was an English comedian often considered the greatest stand-up of his generation. [1] He came from humble beginnings and left school at the age of 12. At the outbreak of the First World War, he volunteered for the army. During his time in the forces, he started a troupe concert party. On leaving the army, he took up work as a light comedian, dancer, and singer. He toured extensively, appearing in variety, revues and by the early 1930s reached the top of the bill in the large music halls including the London Palladium. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
GONZALO BILBAO MARTÍNEZ (Seville, 1860- Madrid, 1938)."Landscape".Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower right corner.Measurements: 90 x 75 cm.This work is certified by the scholar Don Gerardo Pérez Calero, Emeritus Professor of Art History at the University of Seville, who has published numerous articles, the work of Gonzalo Bilbao being one of his main lines of research. Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. During these years he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Sunset".Oil on canvas.Relined.Signed in the lower right corner.Attached certificate of Dr. Joan Campana Tubon.It presents a patch in the left inferior zone.Measurements: 75 x 87 cm; 93 x 105 cm (frame).In this painting by Joaquim Mir, the wide sky takes centre stage, opening up in the bluish vault a deep crimson caesura. Likewise, the light at twilight falls on the landscape with its small chapel, unfolding a daring symphony of emerald greens and bright yellows between shady hollows. Joaquim Mir reduces nature to its basic elements through an excellent handling of light and colour, but at the same time he avoids abstraction, always suggesting the pulse that beats beneath the forms.Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the studio of the painter Luis Graner. He soon felt uncomfortable with the official teaching, which was anchored in a conception of realist painting, and so in 1893 he founded the "Colla del Safrà" (Safrà Group) with other colleagues to explore together the pictorial initiatives of the end of the century. In 1896 they even participated as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works: "La huerta del rector" ("The Rector's Vegetable Garden") and "El vendedor de naranjas" ("The Orange Seller"). From 1897 he also frequented the artistic environment of "Els Quatre Gats", which helped him to mature in the compositional study of landscapes with figures in different planes of depth. During these years he took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. When he was unsuccessful, he went with Santiago Rusiñol to Mallorca, a trip that was to be a definitive turning point in his career. Mir was dazzled by the Mallorcan landscape, which was an inexhaustible source of inspiration for him. From then on, the artist deployed a whole combination of impossible colours, the result of his personal interpretation of the island's majestic nature. The brushstrokes grew longer and became stains that almost made objects and spatial references disappear. In 1901 he exhibited the fruit of this first Mallorcan period in a solo exhibition at the Sala Parés in Barcelona, and again won a second medal at the National Exhibition. In 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the surrounding villages that were the protagonists of his painting. He gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. In 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been pursuing since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.
JOSEP MARIA TAMBURINI DALMAU (Barcelona, 1856 - 1932)."Lady with a Flower".Pastel and charcoal on paper.Signed in the lower left corner.Published in the Ilustración Catalana.Size: 60,5 x 45 cm; 80 x 65 cm (frame).In this canvas Josep Maria Tamburini offers us a portrait halfway between the dreamlike and the real, starring a totally physical face, perfectly modelled on the basis of subtle tonal and light gradations, supported by a solid drawing. Around the melancholic face of the lady, the space blurs, as do her clothes, becoming delicate tulles that seem to float around her.A painter and art critic and a leading figure in Catalan modernism, Tamburini began his training at the Escuela de La Lonja in Barcelona, later completing his studies in Paris with L. Bonnat and in Rome. He collaborated as a draughtsman, art critic and poet with the magazine "L'Avenç", one of the most outstanding artistic publications in Catalonia at the turn of the century. He also wrote for "La Vanguardia". As a painter, he began his career in history painting and anecdotal realism, later evolving along the lines of symbolism, strongly influenced by English pre-Raphaelism. He achieved recognition in 1888, when he won a silver medal at the Universal Exhibition in Barcelona. He continued to take part in official exhibitions in Barcelona and Madrid, and was again awarded a prize at the Barcelona Exhibition in 1898, where he won the Queen Regent's Extraordinary Prize. In 1911 he was awarded the Prize of the King and Queen of Spain. As a mature painter, he worked on placidly fantastic, detailed and precious themes, as well as religious subjects and some portraits. He was also a member of the Board of Museums of Barcelona, advisor to the Academy of Fine Arts, teacher at the La Lonja School and co-founder of the Artistic and Literary Society of Catalonia (1911). He is represented in the MACBA, the National Art Museum and Library of Catalonia, the Royal Academy of Sant Jordi, the Casa Lis Museum in Salamanca and the Fine Arts Museums of Valencia and Seville, as well as in numerous private collections.
JOSEP CLARÀ I AYATS (Olot, Girona, 1878 - Barcelona, 1958)."Le coucher".Bronze sculpture with marble base.Signed.With foundry stamp.The base is severely broken on the left side. The sculpture is not anchored to the base.Size: 65 x 20 x 13 cm; 70 x 24 x 18 x 18 cm (base).This work by Josep Clarà falls within the context of Noucentisme, an ideological-aesthetic movement that arose in Catalonia at the beginning of the 20th century as a reaction against modernism, romanticism and, in general and by extension, against all art and the "fin-de-siècle" spirit. Noucentisme was generically opposed to the mentality and spirit of the eighteenth-century with a desire for rigour and a classicism that looked to the classicist past for its ideal models to imitate. Thus, its essential values were order, clarity and moderation. Contrary to the naturalism, psychologism and sentimentalism of the 19th century, he sought the lucid creation of a Mediterranean spirit, in contrast to fin-de-siècle decadentism.Josep Clarà began his training at the Olot School of Drawing with Josep Berga i Boix, and later studied sculpture at the School of Fine Arts in Toulouse, France. After completing his studies, he went to Paris in 1890, where he worked in the studio of Louis Barrias and met Maillol, Bourdelle and Rodin. In fact, Rodin's advice helped him to overcome the modernist influences of his early works. In 1907 he presented "Torment" at the Salon des Artistes Français, a work that shows a Rodinian influence which in his marble "Twilight" (1913, Museo de Santiago de Chile), whose plaster model he presented at the Salon de la Société Nationale in 1908, is diluted in favour of greater clarity and serenity. The following year he presented what was to be the first of his goddesses, a work which finally represented the definitive official recognition of his talent. During these years, his friendship with the dancer Isadora Duncan enabled him to produce his most original and spontaneous drawings; the dynamism of dance did not contradict his search for stability, and gave him a serene light and vivacity. A tireless worker, he received several commissions for monuments, such as "Serenity on the Ruins of Life" (San Isidro Cemetery, Madrid) and "Monument to the Catalan Volunteers" (Ciutadella Park, Barcelona). With the model of the latter he won the Grand Prix in Paris in 1925. At the end of the same year he was appointed a member of the San Fernando Academy of Fine Arts in Madrid. Clarà also produced heads and portraits, in which he displayed a condensed and lively language: "Voluntad" (1911), "Clara Stuart Merrill" (1926), "Adela" (1936), "Señorita Rodríguez Bauzà" (1941). As time went by, the sculptor gave more and more importance to light, and his sculptures became simpler, freeing himself of all sentiment, as can be seen in his first "Static" of 1926. With this new vision, in 1928 he reinterpreted "Diosa" and "Serenidad" (Montjuic garden, Barcelona), and created "Reposo" (MACBA), which won him the medal of honour at the Barcelona International Exhibition (1929). In 1930 Clarà travelled to Greece; two years later he left his Paris residence and settled permanently in Barcelona. In 1934 he won the Damià Campeny Prize for "Desnudo de muchacha" ("Nude of a Girl"). In 1936 he created one of his best works, for its synthesis of simplicity, light and serenity: "Pujanza". He is also the author of "Monument to the Fallen" (1952) in Barcelona.) With the nude "Pomona" (Museum of Havana) he won the Grand Prize at the 1954 Hispano-American Biennial. In 1946 he produced a "Saint Benedict" (Montserrat) which led him towards the study of the seated figure. Thus, his last works were mainly seated maternities and reclining figures. In 1969 the museum that bears his name was inaugurated in Barcelona, where a large part of his work is conserved. He is also present in the Museu Comarcal de la Garrotxa in Olot and in the Museu Nacional d'Art de Catalunya, among others.
Dutch school; last third of the 19th century."Maternity".Oil on canvas.It has restorations.It has an illegible frame in the upper right corner.Label on the back of the framing and gilding.It shows an informative label on the back.Measurements: 49 x 39 cm; 72 x 62 cm (frame).It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)"Arab scene".Oil on canvas.Attached certificate issued by Dr. Gerardo Calero.Signed in the lower right corner.Measurements: 90 x 93 cm.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he made a trip to Italy and France together with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
French school; 19th century."Promenade.Oil on canvas.Signed in the lower left corner "J. Dupre".Size: 32 x 39 cm; 59 x 66 cm (frame).The painter reflects, with a loose and spontaneous technique, which in a certain way is close to impressionist patterns, although in a subtle way, a panoramic view of a promenade, captured from a high perspective. This allows for a panoramic and wide-ranging view of the landscape. The warm yellows and a soft range of greys and blues stand out in the image, an atmospheric combination that shows the last moments of daylight. Only a single figure can be seen in the image, located on the right-hand side of the canvas. The figure has his back turned, so his identity is not clear. Furthermore, due to its small size, it is clear that the artist's interest lies exclusively in depicting the landscape and its atmosphere.The landscape genre began to gain importance during this period, so that painters took their easels out of the studio and focused on the natural landscape outside. In the second half of the 19th century, the influence first of Courbet's realism and later of the French Impressionists would encourage the painting of landscapes taken from nature, the interest in capturing the atmosphere, the rapidity of which, due to changing atmospheric conditions, would lead to the use of an increasingly free and agile brushstroke. In this landscape we can clearly see the inheritance of 19th-century French landscape painting, in the line of Corot and the Barbizon school. It is a naturalistic landscape, captured according to a particular atmosphere, a specific, fleeting moment, immortalised and fixed on the canvas by the artist. The drawing remains in the background, and the expressive power lies entirely in the strength of the brushstroke, which becomes loose and light, creating broad tonal patches that give life to the landscape, reflecting its lights, shadows and atmosphere.
JOSÉ SÁDABA RAMOS (Andalusia, 19th century)."Granada courtyard".Watercolour on paper.Signed and located in the lower right corner.Measurements: 74 x 43 cm; 89 x 58 cm (paspartu).Artist specialised in the realisation of scenes from Granada, on this occasion José Sádaba offers us an Andalusian courtyard bathed by the burning sunlight. The artist enriches the work with an expressive play of light contrasts, capturing the light of Granada with great skill. Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of Romanticism enlivened this trend, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the Romantic fashion, turned its eyes to the people and monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniards and their peculiar customs had to be felt most strongly. Thus, painters from Andalusia and other Spanish regions turned their gaze to the landscape, types and customs of southern Spain, collectively constructing an idyllic and luminous image, full of grace and joy, which coincided with the romantic recreation of the urban bourgeoisie, both national and foreign.
LUIS GRANER ARRUFÍ (Barcelona, 1863 - 1929)."Coastal landscape".Oil on canvas.Signed in the lower right-hand corner.Size: 100,5 x 122,5 cm; 133 x 155,5 cm (frame).The light was the great protagonist of Lluís Graner's work, both in his paintings of interior, where a quinque lighting illuminates the faces congregated in the half-light of the home, and in landscapes like the one we are dealing with, where a diffuse light reverberates everywhere: filtering from the lightly vaporous sky, it slides along the rippling surface of the sea, making land and sky, horizon and mountain dialogue.Luis Graner trained at the Escuela de La Lonja in Barcelona, where he was a pupil of Benito Mercadé and Antonio Caba, and in 1886 he moved to Paris thanks to a grant from the Diputació de Barcelona. During his five years in the French capital he won two third place medals at the Universal Exhibitions of Barcelona (1888) and Paris (1889). Settling back in Barcelona in 1891, he continued to take part in important international exhibitions, such as those of Berlin (1891), Munich (1892) and Düsseldorf (1904). He also submitted works to the National Fine Arts Exhibitions, winning third medals in 1895 and 1897, second in 1901 and a decoration in 1904. That same year Graner created the Sala Mercè, designed by Gaudí, where he organised his "musical visions", shows that combined poetry with music, scenography with cinema. Collaborating with him at this stage were Adrià Gual as director of the performances and Segundo de Chomón, as well as well-known poets (Verdaguer, Carner), musicians (Morera, Lambert) and contemporary stage designers (Moragas, Alarma). At the same time, Graner organised the first talkies, using the technique of placing actors behind the screen to lend their voices. Finally, ruined, he moved to America, where he returned to painting. He made several trips around the United States and Latin America, spending most of his time between New York, where he painted his first solo exhibition in 1910, and California. In 1928 he returned to Barcelona shortly before his death. His paintings, realistic in form, depict the everyday life of humble people, although he also painted landscapes and portraits. In his interior scenes he showed a profound influence of Latour, learned in his Parisian years, which led him to focus on the expressiveness of artificial light. Specialising in genre painting, he also produced landscapes and portraits. His work can be found in the Prado Museum, the MACBA in Barcelona, the National Art Museum of Catalonia, the Hispanic Society in New York and the Balaguer Museum in Vilanova i la Geltrú, among others, as well as in important private Catalan collections.
Agriculture in Scotland.- Macintosh (William) A Treatise concerning the Manner of Fallowing of Ground... for the Increase and Improvement of the Linnen-Manufactories in Scotland, first edition, 7 engraved plates, some folding, contemporary ink ownership inscription to title, lacking front endpapers, light finger-soiling, some plate edges creased, rear endpapers torn with marginal loss, modern panelled calf, [Fussell I p.110], Edinburgh, by Robert Fleming, 1724 § Brown (Robert) Treatise on Rural Affairs, 2 vol., half-titles, marginal paper repairs to c.7ff., heavier to p.xix with some loss to text, some browning, contemporary half calf, extremities rubbed, Edinburgh, for Oliphant and Balfour, 1811 § Coventry (Andrew) Discourses...on Agriculture and Rural Economy, ex-library stamp to title, occasional light spots, original boards, lightly rubbed, [Fussell III p.13], Perkins p.410], Edinburgh, by H. Inglis, 1808; and 11 others on Agriculture in Scotland, v.s. (15)
Cattle.- Tindall (John) Observations on the Breeding and Management of Neat Cattle, first edition, 3 engraved plates, list of subscribers at end, bookplate of Sir Joseph Radcliffe (offset), occasional slight browning, small damp stain to head of final few leaves, joints starting, [Fussell III p.99], Leeds, 1811 § Sinclair (James) History of Shorthorn Cattle, subscriber's edition, signed by the author on additional title-page, numerous plates, 1 loose, endpapers toned, 1907 § Bates (Cadwallader John) Thomas Bates and the Kirklevington Shorthorns, engraved portrait frontispiece and 5 plates, illustrations, folding map at end, closed tear to head of p.225, hinges cracked, original pictorial cloth, gilt, rubbed with a few ink spots, Newcastle Upon Tyne, 1897, half-titles, occasional light spotting, all but last contemporary half calf, rubbed; and others cattle, v.s. (24)
[Morel (Fédéric)] Plaidoyer d'un Mary despere pour l'estrange et admirable caquet de sa Femme, trimmed close at upper and fore-edge, with loss to title and some letters of text, some light spotting and soiling, later maroon boards, rubbed at corners and joints, Paris, Claude Percheron, 1617 § Marlborough (Sarah Churchill, Duchess of) Relation de la Conduite que la Duchesse Douairière de Marlborough...traduite de l'anglois, first French edition, the odd spot, contemporary vellum, spine with title in ink, slightly darkened and rubbed, A La Haye, P. Paupie & A. Johnson, 1742; and others 17th and 18th century French, v.s. (8)⁂ The first is a rare issue of the most famous of Libanius's declamations, with only one other copy cited at the Bibliothèque Nationale de France for this 1617 edition.
[Choisy (François-Timoléon, abbé de)] Le Price Kouchimen, Histoire Tartare. Et Dom Alvar Del Sol, Histoire Napolitaine, Paris, Jacques Estienne, 1710, bound with Memoires du Chevalier de St. George. Traduit de l'anglois, engraved portrait frontispiece, Cologne, Pierre Marteau, 1712, bound with Les Promesses du Roi de France au Pretendant...traduit de l'Anglois, Cologne, Pierre Marteau, 1712, together 3 works in 1 vol., first editions, bookplate of Jacques Vieillard, occasional browning or light foxing, worn trace to rear free endpaper and pastedown, contemporary vellum, yapp edges, spine with title in ink, rubbed with light soiling, spine darkened; and others 18th century French, v.s. (12)
Gerdil (Giacinto Sigismondo) Introduzione allo Studio della Religione, vol. 1 [all published], title with paper repair to fore-edge, not affecting text, second A gathering bound in wrong order, 1755, bound with Dissertazioni Sopra l'origine del senso morale, 1755, together 2 works in 1 vol., first edition, contemporary calf, spine gilt, Torino, nella Stamperia Reale § Sabelli Cartari (Constanzo de) Le Interne Affezioni dell' Uomo, engraved title vignette, head-pieces and initials, occasional slight browning, light damp-stain to lower outer corner, heavier towards end, later paper-backed boards, Padova, Presso i Conzatti, 1774, half-titles, occasional light spotting, covers worn, spine ends chipped; and others 18th and 19th century Italian, v.s. (14)
Gallo (Pietro) Il Potere, e il Dovere dell' Uomo, dedication with engraved coat of arms, woodcut head- & tail-pieces and initials, ink ownership inscription to front free endpaper, dated 1810, damp-staining to fore-edge, heavier to final two gatherings, leaf I8 loose, occasional browning or light spotting, wrappers worn, spine with central vertical split but holding firm, joints split at head and foot, Vienna, Giorgio Lodovico Schulz, [c.1765] § Bondi (Clemente) Orazione Funebre in lode dell' Augustissimo Imperatore e re Leopoldo Secondo, title with woodcut vignette, woodcut tailpiece at end, upper hinge weak, spine worn with loss, Milano, Nell'Imperial Monistero di S. Ambrogio Maggiore, 1792, contemporary wrappers; and 19 others, 18th and 19th century Italian, v.s. (21)
Robertson (William) L'Histoire de L'Amérique...Traduite de l'Anglois, 4 vol., second French edition, [translated by J.B.A. Suard and Hendrik Jansen], vol. 1 with half-title, 4 folding engraved maps and plate at end of vol. 1, vol. 4 with front free endpaper working loose, [Sabin 71991], Paris, Panckoucke, 1778 § [Hawksworth (John), editor] Contes Traduits de l'Anglois, 2 parts in 1 vol., first French edition, [translated by Jean-Louis Blavet], bookplates of M. de Fontaine de la Barberie and Vicomte de Noailles, A1 with small hole causing loss to a few words of preface, first few leaves with some light staining, Paris, Veuve Duchesne & others, 1774, very occasional spotting, contemporary sheep, spines gilt, rubbed; and others 18th century French, 8vo (7)⁂ The first with maps of Mexico and South America, as well as a plate depicting Aztec chronology.
Cattle.- Williams (A. M.) Etchings of Celebrated Shorthorns, 15 etched plates with tissue-guards, margins slightly toned, some light marginal spotting and finger-soiling to plates, foxing to title and endpapers, hinges weak, original boards, gilt, rubbed with some soiling, spine worn with loss, joints split but covers holding, g.e., oblong 4to, 1881.
Regnault-Delalande (François-Léandre) Catalogue Raisonné...du cabinet de feu M. Logette, négociant, half-title with ink ownership inscription of G May, dated 1817, his ink marginalia throughout, some browning, occasional light spotting, later calf-backed boards, Paris, 1817; and others 19th century French, v.s. (17)⁂ May records the name of the buyer and price achieved beside each lot. The sale of 191 lots contained fine prints from the 15th century, including an example of Adam and Eve by Dürer which was purchased by Claussius for 372 francs. Two works by Mantegna, La Sainte Vierge and Les Disciples de Jésus-Christ, fetched 230 and 100 francs. Lucas van Leyden's Pilate of 1510 was sold for 300 francs, and Rembrandt's Résurrection du Lazare with a provenance of the cabinet de Valois achieved 549.95 francs.
NO RESERVE Austrian Civil Code.- Sveobshtii Gradjanskii Zakonik Za Sve Niematske Nasledne Zemle Austriiske Monarkhie, first Serbian edition, 3 parts in 1, contemporary ink ownership name to front free endpaper, occasional very light foxing or staining, late 19th century cloth-backed boards, spine lettered in German, Vienna, Pismeny ts. k. Dvorne i Drzhavne Pechatne [Court and State Printers], 1849.⁂ Rare first, and according to the catalogue of the Austrian National Library, only edition in Serbian of the codified Austrian Civil Law which was published first in 1811 (reprinted up to 1909 with that date). In the year 1849, after the defeat of the revolution, which saw Croats and Serbs (who lived on both sides of the Austro-Turkish border) uniting and rising up against their Hungarian and Austrian masters, the Austrian code was extended to regulate the societies of Hungary, Serbia and Croatia, leading to the present translation. The code was largely the work of Karl Anton Freiherr von Martini and Franz von Zeiller, and draws heavily on the ideals of equality before the law to be found in the Napoleonic code. Heavily revised during the First World War, it remains the basis for Austrian civil law to this day. The Serbs, however, already had a civil code, the work of Jovan Hadzic in 1844, which remains largely in place, explaining the lack of further Serbian editions of the present code.
Spain.- Illustrated philosophical manuscript.- Bonifant (Franciscus) Ph[ilosphi]ae Cursus..., manuscript in Latin and Spanish, on paper, principally in a single italic hand (Bonifant's?), although with others present, several large initials and sub-titles in ink in a variety of styles, 392pp., with an original whole-page watercolour, tipped-in, an original ink illustration, and 2 engraved plates tipped-in, title browned with minor chipping to fore-edge, a few pages with small holes, damp-staining, some light soiling, a few instances of cracking to gutter, worst at first page with title inner margin laid down to front endpaper, but stitching holding firm, endpapers renewed, contemporary vellum, a little creased and toned, ties present, ?Spain, [late 17th - early 18th century]⁂ Philosophy lessons, mostly in Latin, relating predominantly to Saint Thomas Aquinas (stated on title). The original watercolour, still bright in colour, depicts a fountain in the baroque style; at the foot water gushes from a gargoyle's mouth into a pool with two ducks; ornate architectural carving of shields and banners display Aristotelian contradictions while above on a footbridge a countryman drives a donkey with a whip. The original, half-page ink drawing shows the Ptolemaic System of the planets in concentric circles. The two engraved plates relate to Saint Thomas of Villanova and Saint Jerome.
Davies (John, Sir) The Original, Nature, and Immortality of the Soul. A Poem, first Foulis edition, half-title with contemporary ink ownership inscription of David Blare, also doodling in a contemporary hand, some light spotting and soiling, B1 with closed tear to inner margin, affecting a few words, [Gaskell 128], Glasgow, R. & A. Foulis, 1749 § Jurieu (Pierre) Seasonable Advice to all Protestants in Europe of what persuasion soever. For Uniting and Defending themselves against Popish Tryranny...Done out of French, the odd spot, [Wing J1213], for R. Baldwin, 1679 § Whitehead (William) Ann Boleyn to Henry the Eighth. An Epistle, title with woodcut vignette, slight browning, the odd spot or patch of soiling, disbound and loose, [Foxon W434], for R. Dodsley, 1743, all but last with later marbled boards, very lightly rubbed; with 3 others, 17th century Latin, v.s. (6)
NO RESERVE [Spazier (J. G. Karl)] Anti-Phadon, oder Prüfung einiger Hauptbeweise für die Einfachheit und Unsterblichkeit der menschlichen Seele, first edition, some spotting and small paper repairs to first few leaves, modern boards, Leipzig, Crusius, 1785 § La Mettrie (Julien Offray de) La Recherche de la Religion, first edition, some even browning with a few spots, contemporary speckled calf, joints rubbed, Paris, Claude Herissant, 1760 § Ulloa (Juan de) De Anima Disputationes Quatuor, first edition, Rome, Francisci Chracas, 1715; bound with Physica Speculativa, few notes in contemporary hand and small hole to title, woodcut vignette to title, 1713, contemporary vellum, some soiling § Dorat (Claude Joseph) Ma Philosophie...a La Haye, first edition, engraved plate and two head- and tail-pieces, half-title, light dust-soiling, modern wrappers, Paris, chez Delalain, 1771; and 25 others, philosophy and religion, some in German, Italian etc., v.s. (29)
Ash (John) The New and Complete Dictionary of the English Language, 2 vol. in 1, eighteenth and nineteenth century ink ownership inscriptions front pastedown, contemporary calf, joints cracked but firm, wear to spine ends and corners, 1775 § Bottarelli (F.) and G Polidori, The New Italian, English and French Pocket Dictionary, 3 vol., half-titles, occasional very light spotting, modern half calf with red morocco labels, 1826, v.s. (4)
NO RESERVE Law.- Jacobites.- Foster (Sir Michael) A report of some proceedings on the commission for the trial of the rebels in the year 1746, in the county of Surry, second edition, half-title, errata f., occasional spotting or light staining, contemporary calf, spine in compartments and with leather label, upper cover detached, foot of spine and corners little worn, some staining, rubbed and marked, Printed by W. Strahan and M. Woodfall, 1776 § Edmunds (Richard) The Solicitor's guide to the practice of the office of pleas in His Majesty's Court of Exchequer, at Westminster, occasional spotting or light staining, contemporary calf, spine in compartments and with leather label, spine ends and corners worn, stained, rubbed, Printed for T. Cadell, jun. and W. Davies, 1794; and 12 others, 18th century Law, 8vo (14)
Crops.- Peters (Matthew) The Rational Farmer: or a Treatise on Agriculture and Tillage, second edition, 1 folding plate, loose with short tears to folds, not affecting image, occasional damp-staining and slight browning, worming to foot, affecting the odd word, later paper-backed boards, rubbed with a few ink spots, joints starting, [Fussell I pp.96-7], for W. Flexney, 1771 § Dundonald (Archibald Cochrane, 9th Earl of) A Treatise, Shewing the Intimate Connection...between Agriculture and Chemistry, contents leaf with paper repair to fore-edge, not affecting text, occasional light spotting, a few leaves with light damp-staining to head, modern half calf over marbled boards, gilt, very lightly rubbed, [Fussell II p.20; Perkins 367], 1803; and others on crops and land, 8vo & 4to (12)
Hume (David).- Hume (David) Smarre Afhandlingar I Allmanna Hushallningen, first edition in Swedish, neat contemporary ownership signature to title, some light staining or spotting, modern boards, endpapers renewed, Johan A. Carlbohm, 1791; and 14 others on or by Hume, v.s. (15)⁂ Very rare first Swedish translation of Hume's Political Discourses containing nine of the original twelve discourses. OCLC records four copies, at McGill, Harvard, National Library of Scotland and the National Library of Sweden; not recorded in Jessop or Chuo.
[Booth (John)] The Battle of Waterloo... by a Near Observer, fifth edition, 2 folding maps with hand-colouring, one of which with small tear to blank margin, 2 folding engraved plates, ink ownership inscription front endpaper, a few instances of light spotting or finger soiling, nineteenth century half morocco, extremities scuffed, 8vo, for J. Booth, 1815.
NO RESERVE Swift (Jonathan) The Works of Jonathan Swift, and A Life of the Author, 19 vol., second edition, bookplates to pastedown, occasional light spotting, contemporary half morocco, rubbed and faded, Edinburgh, for Archibald Constable, 1824 § Johnson (Samuel) and George Stevens. Annotations Upon King John by William Shakespeare, engraved frontispiece, later ink ownership name to front free endpaper, lightly stained, for John Bell, 1787; and a large quantity of others, literature, v.s. (10 boxes)
Curwen (J. C.) Hints on Agricultural Subjects, second edition, stipple-engraved frontispiece, plates and tables, occasional offsetting or browning, later boards, a little water-stained, 1809 § Finlayson (john) The British Farmer; or a Series of Scientific and Practical Essays on Agriculture..., 8 pp. advertisements at end, very light spotting, original boards, rebacked, lightly rubbed to extremities, 1825 § Cobbett (William) Cottage Economy, stereotype edition, 4 pp. advertisements, lightly spotted, contemporary half calf, 'Society of Writers to the Signet' coat-of-arms blind-stamped to covers in gilt, worn, joints split with upper cover detached, 1822; and c.55 others, 19th and 20th century agriculture, including some reports, v.s. (c.60)
Gaskell (Elizabeth C.) The Life of Charlotte Bronte, 2 vol., first edition, half titles, engraved frontispieces, tissue guard lacking in vol.1, occasional light marks, marbled e/ps. with bookplates of F. Reddaway, lacking advertisements in vol. 2, each with original brown cloth covers and gilt titled spines laid down and bound in at end, later full tree calf, gilt, lightly marked, decorative spines gilt stamped within compartments, inner dentelles, gilt, t.e.g., 8vo, 1857.
Nightingale (Florence) Notes on Nursing: What it Is, and What it is Not, first edition, first or early issue with notice 'The right of Translation is reserved' at foot of title and endpapers of printed adverts, including 'Sir Bernard Burke's ...Peerage...for 1860' to front endpaper, ex-library copy with small label to pastedown and light abrasion mark, faded stamp to title, title browned, original pebbled cloth, gilt-lettered to upper cover, rebacked, lightly marked, corners bumped, 8vo, [1860].
NO RESERVE Dickens (Charles) Our Mutual Friend, 2 vol., first edition in book form, half-titles, wood-engraved frontispieces and 38 plates by Marcus Stone, without advertisements, occasional light foxing, pencil ownership inscriptions to endpapers, original cloth, spines slightly darkened, spine ends and corners bumped with some chipping to spine ends, vol. 1 with short split to head of lower joint, extremities rubbed, but a good example overall, [Eckel pp. 94-5; Smith I, 15], 8vo, Chapman and Hall, 1865; American Notes for General Circulation, 2 vol., second edition, half-titles, ink ownership inscriptions to head of titles, original blind-stamped cloth, slight shelf-lean, light sunning to spines, spine ends and corners a little bumped, light spotting to covers, [cf. Eckel pp.108-9], Chapman and Hall, 1842 § [Wood (Henry)] Change for the American Notes: in letters from London to New York. By an American Lady, first edition, lower hinge weak, original blind-stamped cloth, slight shelf-lean, spine darkened, extremities bumped, rubbed, Wiley & Putnam, 1843; and the special issue of Brother Jonathan containing the first American edition of American Notes, 8vo & 4to (6)⁂ A good group relating to Dickens' travelogue and critique of American society including a scarce riposte by the Yorkshire journalist Henry Wood.
NO RESERVE Houses of Parliament.- Members of Parliament. Return to Two Orders of the Honourable House of Commons ... Return "Of the Names of every Member returned to serve in each Parliament ...", 2 vol., ex-library with usual labels and ink-stamps, later morocco-backed boards, chipping to spine extremities, a little rubbed and worn, 1878; New Retail Beer Act. Abstract of the Act of Parliament ..., light spotting and soiling, ex-library with ink-stamp, original paper wrappers, Nottingham, [1834]; and others including some disbound parliamentary acts, v.s. (37)
NO RESERVE Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 7 vol., maps, ex-library copies with extensive stamps, markings, and labels, new edition, original cloth, lightly marked and bumped, 1900 § McNaughton (Arnold) The Book of Kings: A Royal Genealogy, 3 vol., original cloth, light rubbing to joints, slip-case, Garnstone Press, 1973; and a large quantity of others, history, reference, and non-fiction etc., v.s. (8 boxes)
Deane (Samuel) The New England Farmer; or Georgical Dictionary, second edition, contemporary ink ownership name to title and front free endpaper, latter with newspaper cutting tipped in, title very browned, scattered spotting to first few pp., light foxing throughout, modern half calf, lightly marked, Worcester, MA., Isaiah Thomas, 1797 § Sanders (J. H.) The Breeds of Live Stock, and the principles of Heredity, plates, bookplate to pastedown, ink ownership name to title, modern blue half morocco, spine lightly sunned, Chicago, 1887; and 12 others, American agriculture, and 2 Australian-printed works, v.s. (14)
NO RESERVE Trials.- Roughead (William, editor) Trial of Jessie M'Lachlan, 1950; Trial of Mary Blandy, 1914 § Duncan Smith (A., editor) Trial of Madeleine Smith, 1906 § Tennyson Jessie (F., editor) Trial of Sidney Fox, 1934, illustrations, occasion light marking, ex-library copies with extensive stamps, markings, and library plates, original library cloth, lightly rubbed, extremities frayed and bumped; and c.60 others, trials and similar, v.s. (c.65)
Estienne (Charles) and Jean Liébault. Maison Rustique, or the Countrie Farme... also a short collection of the hunting of the Hart, wilde Bore, Hare, Foxe, Gray, Conie; of Birds and Faulconrie..., translated by Richard Surflet, first edition in English, woodcut device on title, ornaments, initials and illustrations, some full-page including 20 of knot gardens, lacking A1 (blank but for signature "A1") and 3N8 (final leaf of index), title trimmed and window-mounted, slightly faded at head, chipped with loss to a few letters of text, 2A⁴-⁶with tears to foot, paper repairs, affecting text with loss to a couple of words, occasional light soiling, some damp-staining, mostly at beginning and end, later calf, rubbed, rebacked, [STC 10547; Fussell I p.13], 4to, by Edm. Bollifant for Bonham Norton, 1600.
NO RESERVE Dodgson (Charles Lutwidge) "Lewis Carroll". Alice's Adventures in Wonderland, short closed marginal tears to pp.13-19, 1876; Through the Looking-glass and What Alice Found There, 1873, illustrations by John Tenniel, half-title lightly spotted, and on occasion to second mentioned, some light finger-soiling, original cloth, rebacked but preserving original spine strip, extremities rubbed, rather discoloured, 8vo (2)
NO RESERVE Hall (Radclyffe) The Master of the House, first edition, number 92 of 172 copies signed by the author to limitation page, very light even spotting, original vellum-backed cloth, lightly scuffed but a crisp copy overall, original publisher's slip-case (worn and repaired with tape), tall 8vo, 1932.
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