534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 656
PAIR OF OXBLOOD LEATHER CHESTERFIELD BUTTONED ARMCHAIRSCondition report: Rip to the bottom of one seat cushion lining. One armchair has a button missing at the bottom edge. No discernible repairs or rips otherwise. Some general wear, in keeping with age and use, including a few light scuffs. Additional images available.
Los 8
oil on canvas76cm x 63cm (29.75in x 24.75in)Footnote: Note:Extract from Barns-Graham's notebook c.1940-1947WBG/1/4/1/2pg 89-90OCT. 30th [1940] Wrote to Mr [Hubert] Wellington today. I have begun two portraits since writing in this. Margarita Medina. + Mrs Rogers. BOTH 25 x 30.[…]MRS ROGERS of “The Sloop”. I am painting in the Sloop [Inn]. This is a job. The light is poor + time limited. 2.45-4 pm. I hope to keep this a decorative composition. In a different colour scheme to my recent paintings -using … Yellow, Alizarine [sp], Crimson, Viridian GreenShe is a handsome clear-cut woman with most distinctive hair dressing + a charming attractive personality. Tall + angular. With a sensous [sp] mouth yet almost hard face. Something of the Duchess of Windsor style. So she has often been told + I can see it.Mrs Rogers gives me tea after upstairs in a tiny well furnished room overlooking the harbour. A wonderful orange russet thick carpet + when the light is on it – oh!
Los 54
signed, numbered and dated 'ADAMS OO/ 1980' (to base), bronze9cm high, 7cm wide (3.5in high, 2.75in iwde)Footnote: Literature: Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 680. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
Los 53
steel wire painted grey on black base23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide)Footnote: Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
Los 51
signed 'ADAMS' (to reverse), painted earthenware25cm diameter (9.8in diameter)Footnote: Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humphries, London, 1992, cat no. 138c, illus. pg.38 with a paper design.Note: This is possibly from a set of 10 different designs, although Grieve only identifies three. Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
Los 52
from an edition of 6, bronze15.5cm high, 10.2cm wide (6.1in high, 4in wide)Footnote: Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 157.Note: This sculpture inspired Wilhelmina Barns-Grahams painting Ultramarine II, 2000 (Lynne Green, 2011, p.276). Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
Los 81
designed 1913clear, frosted and grey stained glass, with an associated metal ceiling-rosestencilled R. LALIQUE150cm (59in) high; 113.5cm (44 5/8in) diameterFootnote: Literature for similar examples:L'Exposition des Arts Decoratifs. La Section Français, Art et Decoration, July 1925, p. 219;M.-C. Lalique, Lalique, Geneva, 1988, p.82;F. Marchilac, René Lalique: Mâitre-Verrier, Paris, 2011, p. 641, no. 2258. Until the beginning of the 20th Century largely depended on candles, gas, oil or fire. Only then did the use of electricity become more common-place. It is not surprising that hanging lights appealed to a progressive designer like René Lalique and so by 1902 he had begun designing them. He produced 20 versions to be executed in cire perdue, with a production range including a staggering 135 designs. Lights mattered to Lalique and his creations are still much appreciated around the world today. He was a genius in his utilising varied techniques; so in this chandelier we see him combining intaglio, moulded, clear and frosted glass - all adding interest as light plays over the surfaces and penetrates them. He also used staining to provide greater definition of details. The subject of La Chasse is a long-established subject in both fine and applied works of art and one that Lalique returned to on a number of occasions. Lalique used it on a plate, bowl and vase but this chandelier is the largest and most impressive example of them all. It provided an opportunity for Lalique to display his passion for nature – both flora and fauna - the inspiration behind so many of his designs. In the chandelier, he positioned the trees in the plates while the animals are focussed around the central dish form which spatially creates a sense of the stags running through the forest pursued by dogs. IMPORTANT INFO FOR ‡ LOTSLots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2. Collections of Purchased ‡ Lots:For items marked with the ‡ (denoting additional VAT payable at a reduced rate of 5% on the hammer price) additional time should be allowed for Customs clearance by HMRC if the item is to remain in the UK. For items being exported out of the UK these items can be shipped via Crown Fine Art or via another approved shipper with a temporary admissions account.
Los 1095
Brian Duffy (British, 1933-2010) / Alan Waldie (British, 1940-2016). Birdcage with large 'packet' of Benson and Hedges cigarettes inside. This piece was created by photographer Brian Duffy and Art director Alan Waldie for the successful 1979 advertising campaign for the brand, although this version was not used in the advert itself. 49 x 32 x 32cm. Provenance: obtained by the vendor from the advertising agency. This piece was created for in the award winning Benson & Hedges campaign for the agency Collett Dickenson & Pearce in 1977 with art director Alan Waldie. This version created was not the final one used for the advert itself. New laws had restricted the use of conventional images of people smoking cigarettes and they decided to play with scale and dimension to create a surreal illusion. Duffy enjoyed technical challenges and projected a black & white negative through an old Rank spot projector light to create the bird shadow. Today this would be easily created in Photoshop. This initial series of photographs consolidated the concept which other photographers were to follow and Duffy is recognised as one of the top 100 most influential photographers of all time. As time went on Duffy became anti-smoking and withdrew from cigarette advertising.
Los 1
Aldus.- Statius (Publius Papinius) Statii Sylvarum Libri quinque Thebaidos libri duodecim Achilleidos duo...Orthographia et flexus dictionum graecarum omnium apud Statium..., 2 parts in 1, first Aldine edition, collation: a-z8 A-F8 G4 A-B8 C4; a-e8, lacking blank leaf i8 but with final leaf of woodcut printer's device, with C4 (second colophon at end of Achilleidos) misbound at end before printer's device and c3-6 of Orthographia misbound after C2 of Achilleidos, initial spaces with guide-letters (some supplied in ink in contemporary hand), some light browning or soiling, bookplate of James Lewis Knight Bruce of Roehampton, nineteenth century red straight-grain morocco with gilt fillet border, g.e., a little rubbed, spine slightly faded, [Adams S1670; Ahmanson-Murphy 61; EDIT 16 CNCE 36141; Renouard 35:7], 8vo (155 x 95mm.), Venice, Aldus Manutius, 1502.⁂ Handsome copy of the first Aldine edition, with colophons dated November and August 1502.
Los 109
de Serres (John) A General Inventorie of the History of France, woodcut illustrations, head- and tail-pieces, early ink ownership inscription to title, some marginal annotations, lacking 5X6 London, 4H3 & 4H4 defective with loss of text, a few small marginal defects (not affecting text), occasional spotting and staining, endpapers creased and coming loose, contemporary calf, joints worn but firm, [STC 22244], George Eld, 1607 § Boccacio (Giovanni) The Novels and Tales of the Renowned John Boccacio, engraved portrait frontispiece, ink annotations (including to title and frontispiece), small hole slight loss of text D1, marginal wormhole K-L2, marginal tear (no text loss) 2N, lacking 3K3-4 and final blank, foxing and spotting, contemporary calf, covers detached, covers and spine worn, [Wing B3378], Awnsham Churchill, 1684 § Drayton (Michael) Poly-Olbion, engraved pictorial title, 5 pages of manuscript notes in a contemporary Secretary hand (all one hand) and other manuscript notes in various hands, two dated 1694 and 1735, lacking plates and maps, some light damp-staining lower edge, some spotting and finger soiling, lacking covers, spine worn, [STC 7226], for M. Lownes et al., [1612]; and c.115 others, mainly literature and history C17th-19th, v.s. (c.120)
Los 112
Godwin (Francis, Bishop) Annales of England. Containing the Reignes of Henry the Eighth, Edward the Sixt. Queene Mary, translated by Morgan Godwyn, 3 parts in 1 vol., first edition in English, 2 titles within elaborate woodcut boarders (lacking title to second part, 2E1), woodcut portrait of Henry VIII (lacking other portraits), lacking M2 and 2V6 (blank), initial blank loose, small marginal mauve ink stain 2Q4-2Y4, some marginal soiling, some spotting, contemporary calf, upper cover near detached, lower coming loose, spine and corners worn, [STC 11947], A. Islip and W. Stansby, 1630 § Atkinson (James) and H. Wilson, A Compleat System of Navigation, 2 parts in 1 vol., 18 plates (mainly folding, 1 with moveable paper parts, 1 torn), B4 marginal defect with text loss, some small worm holes (mainly marginal but some affecting text), some spotting and marginal finger soiling, contemporary calf, worn, Dublin, Boulter Grierson, 1767 § Dati (Carlo) Prose Fiorentine Raccolte, vol. 1 (all published), half-title, ink stamp to title, Florence, Nuova Stamperia, 1661, bound with Della Casa (Giovanni) Due Orazioni per muovere i Veneziani, Lyon, Bartholomew Martin, [1716], together 2 works in 1, some light spotting, vellum, spine toned; and c.115 others, mainly literature and history C17th-19th (c.120)
Los 114
Spenser (Edmund) The Works of that famous English poet, double column, engraved frontispiece, title in red and black, 4K2 advertisement f., marginal split to frontispiece, neat tear to L2 within text, but without loss, occasional spotting and light staining (including a little ink), contemporary mottled calf, gilt spine in compartments, spine ends and corners worn, joints splitting, but holding firm, rubbed and scuffed, [Pforzheimer 980; Wing S4965], folio, Printed by Henry Hills, for Jonathan Edwin, at the Three Roses in Ludgate-street, 1679.⁂ Includes Theodore Bathurst's translation of The Shepheardes Calendar.
![[Brontë (Anne)] "Acton Bell". The Tenant of Wildfell Hall, third edition, ink ownership inscription to title, lacking half-ti](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/4f4859ae-16d7-476b-a416-adc200f8726e/468x382.jpg)
Los 147
[Brontë (Anne)] "Acton Bell". The Tenant of Wildfell Hall, third edition, ink ownership inscription to title, lacking half-title and single page advertisement at rear, occasional light finger soiling, lower hinge starting, contemporary half calf, rubbed, 1854 § Melmoth (William) The Works of Homer, 40 plates, 1 folding map, light offsetting, occasional spotting, contemporary half calf, rebacked, corners worn, [1780] § Shaw (Bernard) The Intelligent Woman's Guide to Socialism and Capitalism, first edition, original pictorial cloth, joints and extremities lightly scuffed, t.e.g., 1928; and c.105 others, mainly C18th-20th, v.s. (c.110)
Los 154
NO RESERVE Connoisseur (The), An Illustrated Magazine For Collectors, vol. 1-7 only (of 24), plates and illustrations, ex-Birmingham Assay Office Library stamp to free endpapers, 1903 § Bettsworth (John) Correct Tables of Interest...Together with Tables of Brokerage and for Valuing Annuities, upper hinge weak, [c.1820] § Barry (Dr. Frederick) Report on an Epidemic of Small-Pox at Sheffield during 1887-88, plates, some cracking at gutter, modern cloth, 1889, occasional light spotting and browning, all but last with original cloth, quite rubbed; and c.50 others, mostly literature and topography, v.s (c.55)
Los 155
Wilde (Oscar).- Stuart-Young (J. M.) Osrac, The Self-Sufficient, And Other Poems, With a Memoir of the Late Oscar Wilde, half-title, portrait frontispiece, 5 plain plates, the odd light patch of soiling or discolouration to margins but a very clean copy generally, original decorative cloth, gilt, very lightly rubbed and faded at margins, corners bumped and a little worn, t.e.g., 4to, 1905.⁂ A strange and unusual piece of Wildeana, including a forged inscription and alleged facsimile letters of Wilde to Young
Los 157
NO RESERVE Lewis (Wyndham) Blasting and Bombardiering, frontispiece and plates, original cloth, light wear to corners, dust-jacket, darkened, spine ends and corners chipped and creased, rubbing to extremities, 1937 § Hersey (John) The Wall, original cloth, dust-jacket by Barnett Freedman, chipping and creasing to head and foot, extremities rubbed, 1950 § Moore (George) Aphrodite in Aulis, limited edition signed by the author, original boards, gilt, slip-case (rather marked and worn), 1930, first or first English editions; and a large quantity of others, modern literature, v.s. (12 boxes)
Los 16
Cooper (Thomas) Thesaurus linguae Romanae & Britannicae, printed in double column, partly in black letter, lacking initial and final blanks, title with bear and ragged staff woodcut device and with various ink or pencil inscriptions (soiled and lacking upper outer corner, laid down), occasional light browning, a few ink stains, slight worming to inner margin, nineteenth century ink inscriptions to front free endpapers, nineteenth century calf ruled and stamped in blind, rubbed, loose in binding, upper cover detached, [STC 5689], folio, printed in the shop of Henry Bynneman [by Henry Denham], 1584.
Los 160
NO RESERVE Spark (Muriel) The Prime of Miss Jean Brodie, jacket spine ends and corners a little chipped and creased, short tear and some creasing to head of panels, light surface soiling to rear panel, 1961 § Smith (Dodie) The Starlight Barking, illustrations, jacket with rubbing to spine tips and corners, 1967, first editions, original cloth, dust-jackets; and a large quantity of others, v.s. (12 boxes)
Los 162
Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 8 vol., 1983-1990 § Sprenger (Jacobus) and Heinrich Kramer. Malleus Maleficarum, light fading to spine, 1968 § Chaucer (Geoffrey) Troilus & Criseyde, 1990, plates or illustrations, original boards or cloth, slip-cases, some light rubbing but generally excellent; and c.35 others, The Folio Society, v.s. (c.45)
![Durrell (Lawrence) Monsieur [3 copies], signed by the author, 1974; Livia, signed by the author, jacket with short tear to fo](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/b004542e-3278-40bc-bc9a-adc200f8379a/468x382.jpg)
Los 164
Durrell (Lawrence) Monsieur [3 copies], signed by the author, 1974; Livia, signed by the author, jacket with short tear to foot, 1978; Constance, 1982; Sebastian [3 copies], 1983, first editions, original boards, dust-jackets, some light toning to spines, light rubbing to head and foot; and 2 others, Avignon Quintet, 8vo (10)
Los 165
Hemingway (Ernest) The Fifth Column,original cloth, some staining to spine head and foot, dust-jacket, defective at spine head and foot, spine lightly toned, folds a little rubbed, 1939 § Coward (Noel) To Step Aside, original cloth, spine sunned, dust-jacket, small chips and tears at extremities, some toning, especially to spine, 1939 § Chesterton (G. K.) The Incredulity of Father Brown, ink ownership inscription to front endpaper, very occasional light spotting, original cloth, spine head and foot worn, 1926, all first editions; and c.100 others literature, mainly C20th, 8vo, (c.100)
Los 166
Tolkien (J.R.R.) Farmer Giles of Ham, colour frontispiece and illustrations by Pauline Baynes, jacket with some light marking and surface soiling, very short tear to head of lower panel, but generally excellent overall, 1949 § Wells (H. G.) Mr. Blettsworthy on Rumpole Island, covers rather mottled and marked, jacket spine ends and corners a little chipped, light rubbing and surface soiling, 1928; and 9 others, science fiction and fantasy, including a 1930s Invisible Man in a dust-jacket and a few unbound galley proofs, 8vo (11)
![Wodehouse (P.G.) Ukridge, very occasional light foxing, original pictorial cloth, spine head and foot lightly bumped, [1924]](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/17424334-3231-4291-8cea-adc200f8d890/468x382.jpg)
Los 167
Wodehouse (P.G.) Ukridge, very occasional light foxing, original pictorial cloth, spine head and foot lightly bumped, [1924] § Wilson (Colin) Ritual in the Dark, original cloth, dust-jacket, spine toned, very small chips to spine head and foot and folds, 1960 § Remarque (Erich Maria) A Time to Love and a Time to Die, original cloth, dust-jacket, spine very lightly toned, folds a little rubbed, 1954, all first editions; and c.110 others literature and history, mainly C20th, v.s. (c.110)
Los 171
Rackham (Arthur) The Land of Enchantment, light finger-soiling, rebacked, with original back-strip laid down, cloth rubbed and faded, 1907 § Corelli (Marie) The Devil's Motor, margins toned, [1910] § Corvo (Frederic Baron, translator) The Rubaiyat Of Umar Khaiyam, browning to endpapers, dust-jacket, some chipping and creasing to head and foot, affecting title at head of spine, 1924 § Crane (Walter) A Romance of the Three R's, loss to spine, 1886, plates or illustrations, occasional light spotting, original decorative boards or cloth, some rubbing to extremities, corners bumped; and 8 others, children's and illustrated, v.s. (12)
Los 174
Rackham (Arthur).- Swinburne (Algernon Charles) The Springtide of Life, Poems of Childhood, number 523 of 765 copies signed by the artist, 9 tipped-in colour plates and illustrations by Arthur Rackham, ownership inscription to pastedown, occasional light spotting and soiling, paper defect affecting blank margin (p.73), original vellum-backed boards, gilt, rather soiled, corners bumped, t.e.g., 4to, 1918.
![[Bower Alcock (Catherine)], ''Brian De Shane''. De Sade, limited edition, illustrations by Beresford Egan, occasional very li](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/5b9702c5-7f14-4f50-935a-adc200f87ba2/468x382.jpg)
Los 178
[Bower Alcock (Catherine)], ''Brian De Shane''. De Sade, limited edition, illustrations by Beresford Egan, occasional very light soiling, original cloth, some discolouration and corners bumped, dust-jacket, light toning to spine, with ink inscription, some light creasing to head and foot, 4to, [1929].
Los 185
Africa.- Livingstone (David) Missionary Travels and Researches in South Africa, first edition, folding wood engraved frontispiece (with light spotting) and 23 plates, 1 folding table, 1 folding map only (of two), black and white illustrations, occasional light spotting, upper hinge cracked, lower starting, staining from earlier tape restoration, original cloth, spine gilt, spine head defective, foot a little worn, 1857 § Park (Mungo) The Journal of a Mission to the Interior of Africa, folding map, bookplate to upper pastedown, spotting, paper restoration to front endpaper, upper hinge broken, lower weak, original half calf, book plate to upper cover, worn, uncut, 1815 § Burton (Isabel) The Life of Captain Sir Richard Burton, black and white plates, book label to front pastedown, occasional spotting, hinges cracked, original pictorial cloth, some staining, small tears to joints, spine head and foot rubbed, 1898; and 36 others travel and topography, v.s. (39)
Los 190
NO RESERVE Middle East.- Marigny (François Augier, l'Abbé de) Histoire des Arabes sous le gouvernement des califes, 4 vol., first edition, titles with woodcut ornament, woodcut head- and tail-pieces and decorative initials, lacking half-titles, a few short marginal tears and a hole, occasional spotting and light staining, lightly browned, engraved armorial bookplates of Robert, Earl of Holderness, modern bookplates of J. Perdios, contemporary speckled calf, gilt spines in compartments and with red and black leather labels, joints starting, but holding firm, spine ends and corners worn, rubbed, Paris, Widow Estienne & Son [& others], 1750; and 2 others, Saladin, 1758 (lacking maps), 12mo (6)
![Lake District.- [West (Thomas)] A Guide to the Lakes, in Cumberland, Westmorland, and Lancashire, third edition, half-title,](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/f98b158c-cd8b-4f6f-95ab-adc200f92517/468x382.jpg)
Los 210
Lake District.- [West (Thomas)] A Guide to the Lakes, in Cumberland, Westmorland, and Lancashire, third edition, half-title, engraved frontispiece, folding map and 4 additional folding maps bound in, head of title and margin of maps inscribed "Lord Borwick", advertisement leaf at end, contemporary tree calf, spine gilt, 1784; another edition, fifth edition. engraved frontispiece, folding map and one plate, uncut in original boards, printed spine a little rubbed and cracked, 1793; another edition, sixth edition, half-title, folding engraved map, 2 engraved plates and 16 aquatint plates, some light offsetting, contemporary tree calf, gilt, head of spine nicked, 1796 § Hutchinson (W.) An Excursion to the Lakes, first edition, 19 folding engraved plates, a few with tears at folds, some foxing and soiling, contemporary calf, rebacked, corners repaired, 1776; and 3 others similar, 8vo (7)
Los 227
Hunting.- Edwards (Lionel) My Irish Sketchbook, dust-jacket, chipped and creased at head and foot, 1938 § Mackay-Smith (Alexander) The Songs of Foxhunting, limited edition, signed by the author, 1974 § "Snaffles". 'Osses and Obstacles, ink ownership inscription to pastedown, dust-jacket, a few chips and tears to head and foot, 1935 § Jalland (G. H.) The Sporting Adventures of Mr. Popple, a few illustrations with crude hand-colouring, endpapers browned, some splitting at gutter, ink ownership inscription to front cover, boards rubbed [c.1900], plates or illustrations, some occasional light spotting, original cloth or boards; and 39 others similar, hunting, v.s. (43)
Los 232
Wine.- Simon (André L.) The History of the Wine Trade in England, vol. 1 only (of 3), signed presentation inscription from the author to front free endpaper, endpapers and title a little browned, some cracking to gutter, spine ends and corners bumped, 1906; The Noble Grapes and the Great Wines of France, plates, dust-jacket, price clipped, 1957 § González Gordon (Manuel) Jerez-Xerez Scheris, limited edition signed by the author, illustrations, light spotting to endpapers, the odd short tear to margin, 1948, all with bookplate of Simon Richard Smallwood to pastedowns, original cloth or boards, lightly rubbed; and c.40 others, wine related, v.s. (c.40)⁂ Simon Richard Smallwood became a Master of Wine in 1970, the self-proclaimed first to hold an Australian passport. He served as wine adviser for Woolley & Wallis, auctioneers in Salisbury, and lectured on the history of wine shipping.
Los 242
NO RESERVE Birds.- Mudie (Robert) The Feathered Tribes of the British Islands, third edition, 2 vol., 19 engraved hand-coloured plates, wood-cut illustrations, the odd page with margins restored or repaired tears, occasional light spotting and finger-soling, ink ownership inscriptions to pastedowns and free endpapers, original blind-stamped cloth, rebacked, preserving original back-strip, lightly rubbed and soiled, corners bumped, 8vo, 1841.
Los 25
Fielding (Henry) Amelia, 4 vol., first edition, with final blank in vol.1 and the 'Universal-Register Office' leaf at end of vol. 2 (both often lacking), occasional light browning or water-staining, a few leaves in vol.2 becoming loose, contemporary calf, gilt, a little rubbed and marked, corners and spine ends worn, some joints split, [Rothschild 853], 12mo, for A. Millar, 1752.⁂ The author's final novel. It is regarded as the first novel of social protest, concerning issues such as poverty and prisons, and was an influence on Dickens.
Los 255
Gardening.- Step (Edward) and William Watson. Favourite Flowers of Garden and Greenhouse, 4 vol., 316 coloured plates by D. Bois, a few working loose, occasional very light spotting, some splitting at gutter, original cloth, lettered in gilt, rubbed with some soiling, corners and spine ends bumped, t.e.g., [1896-7]; and 9 others, gardening, 8vo (13)
Los 259
NO RESERVE Gardens.- Ingram (Collingwood) Ornamental Cherries, 1948; A Garden of Memories, 1970; Isles of the Seven Seas, light spotting, ownership ink and embossed stamps to half-title, frontispiece and title, 1936, first editions, plates or illustrations, original cloth or boards, the last two with dust-jackets, rubbed, the last frayed, 8vo (3)
Los 261
Gardens.- M'Intosh (Charles) The New and Improved Gardener, and Modern Horticulturist, hand-coloured engraved frontispiece and additional vignette title, engraved portrait, 24 hand-coloured plates, numerous wood-engraved illustrations, some light foxing, handsome contemporary tree calf, gilt, spine gilt, slightly rubbed, spine a little faded, 8vo, 1859.⁂ Charles M'Intosh or McIntosh (1794-1864) was descended from several generations of gardeners to the Duke of Atholl. Having worked in Scotland and for Sir Thomas Baring at Stratton Park, Hants., he became gardener to Prince Leopold of Saxe-Coburg, later King of the Belgians, in both Esher in Surrey and in Belgium, and later to the Duke of Buccleuch at Dalkeith Palace near Edinburgh, where he developed magnificent gardens, particularly developing the vast hot-houses which became his speciality. The author of several books, this work was first published as The Practical Gardener in 2 volumes 1828-29 and reissued in one volume as The New Improved Gardener... in 1839, running into several editions. This copy contains the usual 10 hand-coloured plates of flowers but also a further 10 plates of fruit (pineapple, strawberry, peach, grape, plum, melon, cherry etc.) and 4 plates of garden buildings, all hand-coloured.
Los 267
Lake Disctrict.- Robinson (Thomas) An Essay towards a Natural History of Westmorland and Cumberland, 2 parts in 1, first edition, advertisement leaf at end, some light browning and marginal water-staining, ink inscription of Edward Conduitt at head of title, contemporary panelled calf, rebacked, corners repaired, 8vo, Printed by J. L. for W. Freeman, 1709.⁂ Part 1 largely covers minerals, rocks, metals and mines.⁂
Los 279
Midwifery.- Mauquest de La Motte (Guillaume) A general treatise of midwifry: illustrated with upwards of four hundred curious observations and reflexions concerning that art, translated by Thomas Tomkyns, first edition in English, some spotting or mostly light foxing, occasional staining, contemporary calf, gilt, rebacked, preserving original backstrip in compartments, corners restored, rubbed and scuffed, [G&M 6150; Wellcome III, p.439], Printed for James Waugh, at the Turk's Head, in Gracechurch-Street, 1746; and another 18th century French Midwifery, 8vo (2)⁂ 'an important treatise in its time: it shows that Mauquest de la Motte applied podalic version to head preservation' (G&M). This English translation was prepared at the suggestion of William Smellie.
Los 28
Walpole (Horace, 4th Earl of Orford).- Hamilton (Anthony) Memoires du Comte de Grammont, edited by Horace Walpole, [one of 100 copies], engraved frontispiece and 2 plates, the Countess of Sefton's copy with ink inscription to front endpaper dated 1774, slight offsetting to title, some light staining towards beginning and end, plates browned, contemporary calf, gilt, rebacked and repaired, rubbed, upper edge of upper cover darkened, [Hazen 18], Strawberry Hill Press, 1772 § Walpole (Horace, 4th Earl of Orford) The Works, 7 vol. including 2 vol. Letters, engraved portrait and plates, contemporary russia-backed calf or half russia, joints split, 1798-1818, 4to (8)⁂ The first is one of the scarcest Strawberry Hill items.
![Architecture.- [Briseux (Charles-Etienne)] Architecture moderne ou L'art de bien batir pour toutes sortes de personnes tant p](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/325eb160-bb6c-4efc-9398-adc200f8d5d5/468x382.jpg)
Los 282
Architecture.- [Briseux (Charles-Etienne)] Architecture moderne ou L'art de bien batir pour toutes sortes de personnes tant pour les maisons des particuliers que pour les palais, 2 vol., first edition, engraved frontispiece to vol.1, additional double-page decorative title to vol.2 and 150 plates, of which 144 in vol.2, sometimes 2 or 3 to a single sheet, woodcut head-pieces and decorative initials, approbation f., p.38 short tear at head, without loss, water-staining at head, mostly marginal, spotting or mostly light foxing, occasional staining, lightly browned, bookplates of Bibliothèque Demondesir, contemporary mottled calf, gilt spines in compartments and with double leather labels, some gilt restored, rubbed, [Fowler 67; Millard French Books, 40], 4to, Paris, Claude Jombert, 1728 [additional title of vol.2 dated 1729]. ⁂ 'In contrast to earlier works on the architectural theory, which were mainly concerned with theoretical discussions of the orders and related problems of proportioning or ornamentation, this treatise is concerned only with material related to practical problems of planning and construction' (Millard).
Los 283
Architecture.- Bullet (Pierre) L'Architecture pratique qui comprend le detail du toise & des devis des ouvrages de massonerie, charpenterie, new edition, engraved frontispiece and 13 plates, of which 4 folding, 2 folding tables, woodcut diagrams, approbation f. at end, occasional spotting and light staining, contemporary mottled calf, richly gilt spine in compartments, 1 upper corner bumped, [Berlin Kat. 2542; cf. Fowler 72 and Cicognara 456 (first edition)], a good copy, 8vo, Paris, Jean-Thomas Hérissant, 1762.
Los 288
Evans (Myfanwy, editor) Axis, A Quarterly Review of Contemporary Abstract Painting & Sculpture, nos. 1, 2 and 4-8, chromolithographed plates, photographic illustrations, original wrappers, rubbed, light soiling, vol. 5 cover detached, slight chipping to extremities, 4to, 1935-7.⁂ Includes plates and illustrations after Paul Nash, Joan Miro, Barbara Hepworth, Henry Moore, Picasso and others.
Los 29
Lucretius Carus (Titus) De rerum natura libri sex, light foxing at beginning and end, attractive contemporary red straight-grain morocco, covers ruled in gilt with small circles containing star in corners, spine gilt, g.e., rubbed at edges, a few marks to lower cover, [Gaskell 50], Birmingham, John Baskerville, 1773; another edition, engraved frontispiece and 6 plates by Duclos after van Mieris, title with woodcut printer's device, engraved head-pieces, short tear to fore-margin of Z4, engraved bookplate of R. La Touche Junr., contemporary calf, gilt, spine gilt but lacking label, upper joint split, spine ends worn, lower corners bumped, [Cohen-de Ricci 664 "très jolies figures"], Paris, Ant.Coustelier, 1744, 12mo (2)
Los 32
Prisons.- Howard (John) The State of the Prisons in England and Wales...and an account of some Foreign Prisons and Hospitals, fourth edition, lacking half-title, with 22 engraved plates and plans, 10 folding, light offsetting, marginal tear to one leaf, Tervoe bookplate, contemporary tree calf, rubbed, rebacked preserving old spine, new label, 1792; and an 1834 'Act for the better Regulation of Chimney Sweepers...', 4to & folio (2)⁂ Including Brossais du Perray's 'Historical remarks and anecdotes on the Castle of the Bastille' at end.
Los 36
Cobbett (William) Cobbett's Cottage-Economy, Nos.1-6 only (of 9: August 1821-January 1822), engraved plate of brewing machines (torn and repaired), advertisement leaf at end of No.6, bound from the original parts with Monthly Sermons vol.1 No.6 and Monthly Religious Tracts vol.1 nos.1-3, one with proof corrections in pencil, light browning, modern ink inscription to head of first issue and front pastedown, contemporary half sheep, rubbed, upper cover detached, 1821-22; Democratic Principles Illustrated by Example. By Peter Porcupine, Part the First, 24pp., title stained, tipped into modern wrappers, uncut, J.Wright, 1798; ...Part the Second, 52pp., twelfth edition, disbound, trimmed, J.Wright, 1798; A History of the Protestant Reformation in England and Ireland, 2 vol. in 1, modern roan-backed marbled boards, 1829 § Spater (George) William Cobbett: The Poor Man's Friend, 2 vol., illustrations, original cloth, dust-jackets, Cambridge, 1982; and 3 others by or about Cobbett, 8vo et infra (9)⁂ The first contains Cobbett's famous guide for rural labourers with information on brewing, making bread, keeping cows and pigs.
Los 39
Logic.- De Morgan (Augustus) A Budget of Paradoxes, first edition in book form, 24pp. publishers' catalogue at end, light spotting, original cloth, rubbed, spine browned and worn at ends, 1872; and another on logic, 8vo (2)⁂ Including De Morgan's reply to Sir William Hamilton concerning the idea of a qualified predicate in logic, an argument which involved George Boole and eventually resulted in the creation of Boolean algebra.
Loading...-
534297 Los(e)/Seite