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Los 27
dating: 19th Century provenance: Japan, With light, wooden structure, partially lacquered in black, with golden drawings with floral motifs and Manji-mon. External borders are not lacquered and provided with hooks for mounting on a bow. Leather lower part, with gilded Manji-mon as well. The two quivers provided with nineteen arrows in all, without tip, with gilded plumage. Rare in pair. Era: late Edo period. height total circa 87 cm.
Los 1814
CHAGALL, MARC (1887-1985), 1 Farbholzschnitt aus der Suite "Poèmes", 1968, Paar über belebtem Dorf schwebend, vor hellblauem Hintergrund, Farbholzschnitt/Papier, u.li mit Bleistift num. 198/226, u.re. num. XXIII, HxB: Platte ca. 32x24,5 cm, Passepartoutausschnitt ca. 35x27 cm, Außenmaße Rahmen ca. 57x47 cm. Gebräunt, Lichtrand, fleckig. Im Passepartout hinter Glas gerahmt. VERSO ETIKETT Galerie Valentien, Stuttgart mit Bezeichnung. CHAGALL, MARC (1887-1985), 1 color woodcut from the suite "Poèmes", 1968, couple floating over a lively village, in front of a light blue background, color woodcut / paper, below with pencil num. 198/226, below right num. XXIII, HxW: plate approx. 32x24.5 cm, passepartout cutout approx. 35x27 cm, external dimensions frame approx. 57x47 cm. Browned, light edge, stained. Framed behind glass in a passepartout. VERSO ETIKETT Galerie Valentien, Stuttgart with description.
Los 2834
STEHLEUCHTE Wohl Maison Jansen, 70er Jahre, Messing, Lampe in Form einer Palme mit drei Lichtern auf quadratischem Sockel, H: ca. 155 cm. Normale Alters- und Gebrauchsspuren. STEEL LIGHT Probably Maison Jansen, 70s, brass, lamp in the shape of a palm tree with three lights on a square base, h: ca. 155 cm. Normal signs of age and wear.
Los 1801
RENOIR, AUGUSTE (1841-1919), "Le chapeau épingle", zwei Mädchen mit Hut, die eine der anderen den Hut feststeckend, Radierung/Bütten, in der Platte bezeichnet 'Renoir', HxB: Platte ca. 11,8x8 cm, Blatt ca. 33,5x25,5, Außenmaße Rahmen ca. 43,5x37,5 cm. Gebräunt, Lichtrand. An den Blattkanten mit Papierstreifen im Passepartout montiert, im verglasten Rahmen. RENOIR, AUGUSTE (1841-1919), "Le chapeau épingle", two girls with hats, one of them pinning the hat on to the other, etching / laid paper, inscribed 'Renoir' on the plate, HxW: plate approx. 11.8x8 cm, sheet approx. 33.5x25.5, outer dimensions frame approx. 43, 5x37.5 cm. Tanned, light edge. Mounted on the sheet edges with strips of paper in a mat, in a glazed frame.
Los 3316
Orientteppich mit Seide. NAIN/PERSIEN, 2. Hälfte 20. Jh., 347x258 cm. Der hellbeigefarbene Fond des Innenfeldes ist großzügig gemustert mit einer zentrale Rosette und entsprechenden Eckzwickeln sowie mit Spiralrankwerk. Auch die hellbeigefarbene Hauptbordüre zeigt ein Spiralmuster mit Blüten. Edle Knüpfarbeit von heller Gesamtwirkung. Normale Gebrauchsspuren. Oriental rug with silk. Nain/Persia, 347x258 cm. Light beige coloured medallion carpet with floral bended and curved all over patterned mirror. Light beige main border. Normal traces due to use.
Los 1810
SLEVOGT, MAX (1868-1932), "Faust", Lithographie in Rot/Bütten (u.li. Wasserzeichen), u.li. mit Bleistift von Hand signiert, HxB: Platte ca. 19x15 cm, Blatt ca. 41x30 cm. Gebräunt, Lichtrand, Flecken, Knickspuren; rückseitig Reste von Papierklebestreifen. SLEVOGT, MAX (1868-1932), "Faust", Lithography in red / handmade paper (below left watermark), below left signed by hand in pencil, HxW: plate approx. 19x15 cm, sheet approx. 41x30 cm. Browned, light edge, spots, crease marks; on the reverse remains of adhesive paper strips.
Los 1811
LIEBERMANN, Max, ATTRIBUIERT (1847-1935), "Amsterdamer Judengasse", Radierung/Papier, HxB: Platte ca. 15x20 cm, Blatt ca. 18x23,5 cm, Außenmaße Passepartout ca. 26x34 cm. Gebräunt, Lichtrand, Flecken, Knickspuren. An den Ecken in Passepartout montiert. AUF DEM PASSEPARTOUT mit Bleistift bezeichnet 'Liebermann, Karrenhandel'. LIEBERMANN, Max, ATTRIBUTED (1847-1935), "Amsterdamer Judengasse", etching / paper, HxW: plate approx. 15x20 cm, sheet approx. 18x23.5 cm, external dimensions passe-partout approx. 26x34 cm. Browned, light edge, stains, crease marks. Mounted in a mat at the corners. ON THE PASSEPARTOUT inscribed 'Liebermann, Karrenhandel' in pencil.
Los 73
An early 19th century Italian Micromosaic and cornelian snuff box, depicting Andromache mourning Hector's ashes, with makers initials B.O.F, the gold mounts marked for Luigi Mascelli, Rome, circa 1804-1825engraved to the inner mount with later presentation inscription 'From Countess Newburgh to Col.Maclean, 13th Drs, in token of his late friend the Hon. John Kennedy, 1846'the lid with inset rectangular panel depicting the mourning female, dressed in a white robe and loose gold shroud, her eyes downcast, facing a large green urn raised on a rectangular plinth, together with a contemporary tooled green leather and satin lined presentation box, 8.9cm long, 6.2cm wide and 1.8cm highFootnotes:It is possible that the Countess in the present lot refers to the 7th Countess Newburgh who married the 4th Marquis Bandini. It is hardly surprising therefore that there would have been links to Italy and, more specifically, any micromosaic workshops in Rome during this period.Lieutenant General Allan Thomas Maclean was born in Pennycross, Isle of Mull, Argyllshire, Scotland on 1 May 1793 to Archibald MacLean and Alicia MacLean. He became an Ensign with the 2nd West India Regiment without purchase on the 4th January 1810. He then became Cornet with the 13th Light Dragoons on the 23rd August 1810 again without purchase and served at Waterloo in 1815. Maclean married Agnes Lisle Robertson Forlong in 1843 and had 3 children. He died on the 9th December 1868 at 3 Oxford Square, London.LiteratureJ. H. Gabriel, The Gilbert Collection, Micromosaics, Philip Wilson, 2000.J. H. Gabriel, Micromosaics, Private Collections, 2016.For further information on this lot please visit Bonhams.com
Los 25
A very large Mahal carpetNorth West Persialate 19th century, on rich dark blue ground with interlacing palmettes, lotus flowers and spiralling tendrils, the border filled with madder, ivory and light green/blue geometric foliate detail,638cm x 533cm Footnotes:Please note that this lot is subject to the US embargo on the import of carpets of Iranian origin as of 06.08.2018This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 1515
GB QV 10s grey-green, SG131, heavy Manchester parcel cancel, AC-CA corners,(condition poor); GB QV 2s6d, SG175, mounted mint but creased FH-HF corners; and two 5s, SG176, both used, one with light Leeds cancel the other heavy London cancel; GV high value seahorses, comprising: a 2s6d SG400 mounted mint (badly gum toned); five further used examples; and five used 5s, SG401.
Los 1442
Commonwealth Bermuda 1938-52 perf 14 key type 2s 2s/6d 5s + 102, some usual light brownish streaky gum otherwise fresh m.m. and Ceylon 1938-49 defins the 25c + 3c values with some blunt perfs SG386-397a plus 1946 Victory + 1950 defins SG 400-401 + 413-418 fresh mint to fresh m.m. Cat. over £260.
Los 1508
French Polynesia 1958-68 mainly fine to very good used items (29) on 2 stock pages, Cat. £200+ SG sectional catalogue. French Polynesia 1965-1968 selection (7) SG 48, 49, 50, 51, 54, 67 and 87 fresh m.m. with light hinge traces behind, Cat. £228+ SG sectional. French Ploynesia 1967-68 SG 68-72, 73-80, 81-83, 85-86 and 88-89 fresh m.m. including with odd light hinge traces behind, Cat. £155+. French Polynesia (French Oceanic Settlements) SG 79-82, 180-185, 206-209, 210, 211, 214, 215 fresh mint, Cat. £175+ SG sectional. French P:ollynesia (French Oceanic Settlements) 1941 France Libre overpaints (9) SG 136-139 + 141-145 fresh m.m., including some hinge traces behind and five values with dealer's ring i.d. marks behind, Cat. £290 approximately SG sectional.
Los 182
WIKING Mercedes 220, 1953, Rollachser, Karosserie hellblau, Chassis weiß, ohne Türgriff, glatter Grill ohne Umrandung, schmales Trittbrett, Scheinwerfer bemalt, Bodenprägung "WM im Kreis", GK 140/1D, durch Lichteinwirkung aufgehellt, sonst guter Erhalt. WIKING Mercedes 220, 1953, roll-up axle, body light blue, white chassis, without door handle, plain car grill without border, narrow running board, painted headlights, marking of manufacturer "WM in a circle", yellow cat. 140/1D, lightened by exposure to light, otherwise good condition.
Los 166
WIKING 10-tlg Konvolut Straßenelemente, grün metallic, 1952-1955, bestehend aus 4 x Bogenlampen, 1 x Straßenlaternen, 2 x einarmigen Straßenschildern, bemalt, 2 x Haltestellen, je ohne Sockelprägung und Sockelfarbe vers. (lichtgrau, basaltgrau, anthrazit), 1 x Verkehrsinsel, GK 920/1B bis GK 989/1A, schöner Erhalt. WIKING 10-part convolute road elements, green metallic, 1952-1955, consisting of 4 x arc lamps, 1 x street lamp, 2 x one-armed street signs, painted, 2 x stops, each without marking of manufacturer, base colour different (light grey, basalt grey, anthracite), 1 x traffic refuge, yellow cat. 920/1B to 989/1A, nice condition.
Los 92
WIKING Jeep, feste Achsen, Typ 2, 1952-53, Jeep Drahtachser, olivegrün, Fahrer, mischhellgraublau, beide Hände am Lenkrad, Hände bemalt, Sitze, wässrigblau, Bodenprägung Germany/WM, GK 10/4G, schöner Erhalt. WIKING Jeep, fixed axles, type 2, 1952-53, Jeep olive green, driver mixed light gray blue, both hands on the steering wheel, hands painted, seats watery blue, manufacturer's mark: Germany / WM, GK 10/4G, nice condition.
Los 119
WIKING Mercedes 220, 1953, hellgelbgraue Karosserie, Chassis weiß, glatter Grill ohne Umrandung, Bodenprägung "WM im Kreis", GK 140/1C, schöner Erhalt. WIKING Mercedes 220, 1953, light yellow-gray body, white chassis, smooth grill without border, embossed "WM in a circle", yc. 140 / 1C, nice condition.
Los 2
WIKING VW Käfer Vorserie, um 1972, misch-bunt (gelb-grün), glatte Stoßstangen, gerade Frontscheibe, getönte Verglasung, breite Kennzeichen-Leuchte, Bodenprägung "VW 1300 WIKING GERMANY", entspricht Käfer 1300, Gelber Katalog 30/10, L 4, 6 cm, sehr guter Erhalt! WIKING VW beetle pre-series, around 1972, mixed-colored (yellow-green), smooth bumpers, straight windshield, tinted glazing, wide license plate light, embossed "VW 1300 WIKING GERMANY" on the bottom, corresponds to Beetle 1300, yellow catalog "30/10, L 4, 6 cm, very good condition!
Los 28
WIKING Unimog Werkstattwagen, 1965, Kabine und Pritsche silbergrau, Chassis ultramarin, mit Kran, Werkzeug und Reifenladung, Gelblicht auf Dach ohne Sockel, Bodenprägung "WM", GK 366/1 B, schöner Erhalt, L 6 cm. WIKING Unimog truck 1965, cabin and platform silver-gray, chassis ultramarine, with crane, tools and tire load, yellow light on roof without base, stamped "WM" on the bottom, yc. 366/1 B, nice preservation, L 6 cm.
Los 49
WIKING Mercedes LPS 332 Chemikalien-Tanksattelzug, wohl 1964/65, Vorserie, Chassis hellbraunrot, Auflieger hellgraugrün, Kabine und Tank im Verlauf creme zu beigefarben, Aufkleber "Wiking" kreisförmig, Bodenprägung Kabine "WM Made in Germany", Auflieger, "Wiking 53 n", GK 534/1, schöner Erhalt. WIKING Mercedes LPS 332 chemical tank semitrailer, probably 1964/65, pre-series, chassis light brown-red, trailer light gray-green, cabin and tank in the course of cream to beige, sticker "Wiking" circular, floor embossing cabin "WM Made in Germany", trailer, "Wiking 53 n", yellow cat. 534/1, nice receipt.
Los 26
Jacopo Vignali (Prato Vecchio 1592-1664 Florence)David with the Head of Goliath oil on canvas113.5 x 87.5cm (44 11/16 x 34 7/16in).Footnotes:ProvenanceWith Pennington Museum Treasures, Los Angeles, 1976Private Collection, CaliforniaExhibitedCalifornia State University, Northridge, California, Collection without walls: problems in connoisseurship, October - November 1976, curated by Dr Jean Luc Bordeaux (as by Cristofano Allori)This striking, freshly discovered depiction of David and Goliath has been independently proclaimed by the foremost authorities in their field to be a 'masterpiece' by Jacopo Vignali, one of Florence's leading artists of the early 17th century. We are grateful to Professor Francesca Baldassari for identifying this work on the basis of colour photographs as 'a masterpiece by Jacopo Vignali datable to around 1624 on the basis of other monogrammed and dated works by him of the period, such as the Drunkenness of Noah in the National Gallery in Prague' (see fig. 1). This is an opinion that was corroborated, furthermore, in a recently unearthed letter to the late owner, dated 3 July, 2003, from Professor Mina Gregori, that refers to this 'splendid painting with 'David with the head of Goliath'' of which 'I firmly think that the painter is Jacopo Vignali, one of the best Florentine painters of the XVII century.' With reference to the painting's prior attribution to Cristofano Allori, she writes that 'this painting is one of his [Vignali's] masterpieces.' Professor Gregori continues: 'You can recognise Vignali from the light, very different from Cristofano and more naturalistic, coming from different experiences: And the boy is his usual model.' Both the dramatic composition and outstanding quality of this work represents the height of Vignali's achievement as a representative of a school of painting that valued so highly the importance of disegno.The subject of David and Goliath has inspired some of the greatest works of art of all time, including Donatello's and Michelangelo's sculptures, which Vignali will have been familiar with in his native Florence. There the subject symbolised the courage and resilience of the small city state (and subsequent Grand Duchy) in the face of the larger rising nation states that surrounded it. Florence was all too aware of the threats that encompassed her and consequently David was a perfect symbol of the liberty and freedom of the Florentine people, capturing the unwavering courage, unexpected strength, and historic perseverance that they saw in themselves. Traditionally, David had been portrayed after his victory, triumphant over the slain Goliath. Florentine artists like Verrocchio, Ghiberti and Donatello all depicted their own version of David standing over Goliath's severed head; while Michelangelo and Donatello instead, chose to represent David before the battle. The account of the battle between David and Goliath is told in Book 1 Samuel. Saul and the Israelites were facing the Philistines near the Valley of Elah. Twice a day for 40 days, Goliath, the champion of the Philistines, came out between the lines and challenged the Israelites to send out a champion of their own to decide the outcome in single combat. Only David, a young shepherd, accepted the challenge. Saul reluctantly agreed and offered his armour, which David declined since it was too large, taking only his sling and five stones from a brook. David and Goliath thus confronted each other, David hurling a stone from his sling with all his might which hit Goliath in the centre of his forehead: Goliath fell on his face to the ground, and David then cut off his head. By vanquishing sin David had made Israel safe; his unwavering faith in the face of war, and his subsequent rough path to kingship marked him as a hero; he was further admired for his Psalms, while his righteousness and repentance were extolled consistently throughout the Renaissance and Baroque period. When Saul tried to kill David, not once but several times, David never returned such an attempt, possessing virtues which Italian princes desired for themselves. As a king, David was quick to administer justice to those who deserved it and quick to welcome in outcasts, such as Jonathan's lame son. He defended his kingdom rigorously and victoriously. As a man, David was favoured by God, talented, handsome, and he rose to power at a young age. He was the pre-cursor of Christ, and a symbol of pious perfection. David's image was the perfect commission for a prince of the Church wanting a constant reminder of faithfulness and redemption, or for a secular prince, wanting a public and readily recognizable symbol of power and fidelity.Jacopo Vignali trained under Matteo Rosselli, entering his studio in Florence around 1605 at the age of only thirteen; in 1616 he joined the Accademia del Disegno becoming an academician in 1622. Although Rosselli was to have a lasting influence on his pupil's oeuvre, Vignali gradually evolved his own style distinguished by dramatic light effects, rich colour, painterly technique and a particularly poetic and emotional interpretation of his subjects. His most famous pupil was Carlo Dolci, who was profoundly affected by the intensity of his religious works. Thus Vignali has himself here put a new contemporary interpretation on this subject, employing his and his fellow early seventeenth century Florentine's celebration of rich and colourful fabrics in the use of contemporary costume in depicting a biblical scene, along with the innovative pictorial drama that Caravaggio had recently made popular throughout Italy, and subsequently Europe. Caravaggio had himself treated the subject three times, between circa 1605 and 1610 in masterpieces which are now respectively in the Prado, Vienna and the Villa Borghese. The masterful way in which Vignali handles the paint, the remarkably delicate modelling of the flesh tones and the theatrical elegance of his simple composition illustrate not only Vignali's particular style, but also the broader trends within Florentine painting at the time. Unpublished until now, this canvas is a rare and significant addition to the oeuvre of Jacopo Vignali, who has been regarded as the foremost painter of the Florentine Seicento.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 29
Attributed to Michael Sweerts (Brussels 1618-1664 Goa)The Baptism of Christ oil on canvas105.6 x 87.3cm (41 9/16 x 34 3/8in).Footnotes:ProvenanceIvar Hellberg, Stockholm, before 1946, by whom offeredSale, Stockholms Stads Auktionsverk, Stockholm, 24 November 1998, lot 1419LiteratureR. Kultzen, dissertation, Hamburg, 1954, p. 93, no. 45R. Kultzen, Michael Sweerts, Doornspijk, 1996, p. 137, cat. no. R15, ill, p. 171 (as rejected work)Until 1998 The Baptism was in a Swedish private collection and was only known from an old black and white photograph. Since its subsequent conservation it has been accepted by Lindsey Shaw-Miller as 'an outstanding work from Sweerts maturity' and 'a rare survival from the series of Bathers', which can be dated to between 1656 and 1659, when the artist was working in Brussels after returning from Rome. She refers to 'Its moving atmosphere of submissive humility and suspended moment of focus'. As a religious subject it would be unique in Sweerts's oeuvre but the face of Christ is comparable to a number of Sweerts's portraits and the landscape, lit by an early morning light, is reminiscent of two of Sweerts's known compositions: his Bathing Scene of circa 1655 (on canvas, 110 x 164 cm, in the Musées des Beaux-Arts, Strasbourg) and his Young Men Bathing (on canvas, 63.3 x 87 cm, in the Niedersächsisches Landesmuseum, Hannover). Lindsay Shaw-Miller suggests that this work may be connected with Sweerts leaving Brussels to join the Société des Missions Etrangères as an artist and lay brother, which must have been a dramatic change in his life. It was a commitment to a new calling as poignantly significant as Christ's baptism was and it could be that this portrayal of a moment of dramatic but also humbling change and acceptance had biographical significance for the artist at this crucial point in his life. She thus describes it as 'a very personal interpretation from a pivotal scene in Christ's Life by this deeply religious artist'.For further information on this lot please visit Bonhams.com
Los 10
GILLRAY (JAMES)The Works... from the Original Plates, with the Addition of Many Subjects Not Before Collected, bound in 2 vol. (including the 'Suppressed Plates'), large woodcut vignette on title, engraved frontispiece portrait by Charles James after Gillray, 632 engraved plates (numbered 1-582, bis nos. 100, 207, 379, 379** and 379***, 2 plates numbered 86, without a plate 238 as issued; 45 supplementary plates), up to 4 images per page recto and verso, image 179 shaved touching upper margin, final 15 leaves of first volume with light dampstain in upper margin, front free endpaper loose, light dampstain upper corner of final few leaves of second volume, contemporary red half morocco, first volume worn, dampstain to upper cover, loss to marbling of lower cover, some loss to foot of spine, joints split, second volume rubbed, upper hinge cracked, folio (635 x 480mm.), Henry G. Bohn, [c.1847]Footnotes:Includes the volume of 'suppressed plates', sexually suggestive or scandalously offensive political images which the publisher chose to exclude from the main collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 102
CAMDEN (WILLIAM)Britannia: or, a Chorographical Description of the Flourishing Kingdoms of England, Scotland, and Ireland, and the Islands of Adjacent, 4 vol., second edition ('enlarged by the latest discoveries by Richard Gough'), engraved portrait, 57 mostly folding engraved maps by John Cary, 105 engraved plates, some light browning and spotting, contemporary maroon half morocco, gilt lettering on spines, some uneven fading to spines [Chubb CCLXXII], folio (432 x 270mm.), J. Nichols and Son, for John Stockdale, 1806Footnotes:Provenance: Robert Goff, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![LONDON - PANORAMA[VISSCHER (CLAES JANSZ)] 'London', panoramic view of London from Whitehall to St. Katherine's Dock, from the](https://cdn.globalauctionplatform.com/478fc58d-23a3-4aa2-8e29-ac8a00d3fc8c/66e7e291-1863-4a1c-960f-ac8d00ce5690/468x382.jpg)
Los 104
LONDON - PANORAMA[VISSCHER (CLAES JANSZ)] 'London', panoramic view of London from Whitehall to St. Katherine's Dock, from the South of the Thames, 4 sheets joined, split at one fold, left margin frayed with short tear touching image at upper corner, tear in blank margin of right margin, spotting and light dampstains, approx. 450 x 2205mm., [Anne Evans & Son, 1844]This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 111
TEXASCORDOVA (JACOB DE) Map of the State of Texas. Compiled from the records of the General Land Office of the State by Robert Creuzbauer, Revised and Corrected by Charles W. Pressler, large hand-coloured lithographed map within decorative outer border, 'engraved by J. M. Atwood', showing counties, cities, towns, roads, rivers and Indian villages, inset map of western United States lower right, original fold lines, one upper corner with neat repaired tear, some light spotting and toning, and one or two old stain marks, but generally clean, pencil annotation in blank area, framed preserving publisher's roan covers into which the map folds [cf. Eberstadt, Texas 162:241; Rumsey no. 3366.001; Taliaferro 295 C], 930 x 865mm., New York, J.H. Colton etc., no. 772 William Street, 1856Footnotes:FINE EXAMPLE OF CORDOVA'S LARGE MAP OF TEXAS, being the first edition revised by Charles Pressler and published by Colton, and the first map to show a railway line in Texas, between Richmond and Houston. We have not traced any examples of this edition in auction records.'The most correct and authentic map of Texas ever compiled' (Sam Houston) and 'possibly the finest of the period' (Eberstadt), Jacob De Cordova's map was first published in 1849. De Cordova was an enthusiastic land promoter during the days of the Republic and early statehood. Following the Mexican war, he sought to profit from the flood of settlers expected to arrive in the newly created state, and he commissioned Robert Creuzbaur, an employee of the Texas General Land Office, to compile this map with a view to fuelling his land speculation.The first detailed map of Texas east of the 102nd meridian, it was republished several times before De Cordova sold the rights to Colton in 1855, and it was issued with Pressler's revisions, including the inset map, the following year. The map includes signatures of four Texas senators and representatives, including Sam Houston, who recommended the map to 'every person who desires correct geographical information of our state. To persons desiring to visit Texas, it will be invaluable.'For further information on this lot please visit Bonhams.com
Los 114
WORLDTEESDALE (HENRY) New Chart of the World on Mercator's Projection, with the Tracks of the Most Celebrated & Recent Navigators, very large hand-coloured map engraved by John Dower, on 2 sheets (joined), laid on linen, black silk ribbon border, attached to a contemporary roller with ratchet mechanism and original release pull, the map terminating with contemporary wooden batten with metal ring pull, light soiling, a few small tears and repairs to blank margins, the map rolling into a contemporary semi-circular reeded mahogany and oak case (147 x 2130 x 133mm.), wooden title panel ('World') in black ink on gilt, total dimensions of map approximately 1280 x 1900mm., Henry Teesdale, 1839Footnotes:A FINE COPY OF TEESDALE'S MONUMENTAL WORLD MAP, rolling into a contemporary wooden case for fixing to the wall. Texas was declared a Republic in 1836, but not being recognised by Britain, it is still shown here as part of Mexico.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 124
ILLUMINATED MINIATURESt. Peter standing, holding the keys to heaven and a book, initial 'S' cut from an illuminated Antiphonal on vellum, the 'S' in white against blue and orange ground, the figure in blue, red, green, grey, white and black, fragments of 4-line red staves and black musical notations, tipped onto card, light surface abrasion, mounted, framed and glazed, cutting 128 x 114mm., [Italy, fourteenth century]This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 13
IRELAND – COUNTESS MARKIEVICZAutograph letter signed ('your affectionate unknown cousin Constance de Markievicz') to her Australian cousin, Eva Cumming, pleased 'to find that I have a cousin who is sympathetic & feels the same intense love for our country that I do', talking of the Gore-Booth family and a remarkable family resemblance ('Another curious coincidence is that my sisters name is Eva... There is a curious likeness to my sister in your Photo... but you appear to be dark whereas she is very fair & much thinner...'), describing how she has been 'on the run since last December... The English have lately organised a terrible force to try & exterminate us. We call them the 'Black & Tans'... They have just looted & burnt down Balbriggan, a small town near Dublin – murdering two men in a most brutal manner. They forced their way in to a Dublin hotel two nights ago, & murdered a visitor in his bed. He was Mr Lynch a member of the County Council at Kilmallock, a Sinn Feiner of course...', but finding hope in the people of Ireland ('quite undaunted & determined to win out...'), concluding 'I wish you all knew what we are going through & I know that every just man & woman through the world would instantaneously hold up the English & insist on our being left to carry on our Republic & rule our people as they deserve to be ruled in an orderly & just manner... trading with other nations, & living amicably with all men...', 4 numbered leaves, written on recto only, some wear with small pin holes at folds on page 4, 4to (260 x 195mm.), Liberty Hall, Dublin, [probably written 25/26 September 1920]Footnotes:'THE SAME INTENSE LOVE FOR OUR COUNTRY': Constance Markievicz writes of her hopes for an independent Ireland to an Australian cousin with a shared sympathy for the Irish Republican cause.This long and heartfelt letter is written at what she calls a 'terrible time' for her and the Republicans, particularly due to the creation of the so-called 'Black and Tans' in 1920; as she explains 'They are ex officers & are dressed partially in khaki & partially in the Black of the Policeman' and were notorious for their brutality, sub-judice killings, arson and looting. Having been sentenced to death for her involvement in the Easter Rising of 1916 (she was second-in-command of a troop in the Irish Citizen Army), Markievicz was released in the general amnesty of June 1917, only being spared the firing squad by virtue of her sex. She spent the reminder of her life 'on the run' and in and out of prison. In fact she was in prison in 1918 when she became the first woman elected to the British parliament although, like all Sinn Fein MPs, she refused to take her seat.Our letter is undated, but Markievicz mentions she is writing two nights after the British attack on the town of Balbriggan on 23 September 1920 and the murder of John Lynch in the Royal Exchange Hotel the same night, Lynch supposedly being in Dublin to hand over £23,000 in subscriptions to Michael Collins. It can therefore be assumed that it was written around 25 or 26 September 1920. The heading indicates that it was written from Liberty Hall, the headquarters of the Irish Citizen Army during the Easter Rising, a building of great significance to the Republicans and the meeting point for rebels before their march on the General Post Office in 1916 (Markievicz had also run a soup kitchen there with Maude Gonne during the 1913 lock out). It was badly damaged by naval shelling during the rising and several accounts suggest that Liberty Hall was completely demolished. However, the more recent view is that it was restored and reoccupied following the uprising, which would be confirmed by the fact that Markievicz appears to be sheltering there at this time.Markievicz's fame as Irish republican, suffragist and radical had clearly reached Australia and touched a chord with the large Irish community overseas. Both the events mentioned in the letter were widely reported in Australian newspapers in the last months of 1920 (see for example 'A Letter from the Old Land', Southern Cross, 3 December 1920). Despite the difficulties of her situation, Markievicz responds to her hitherto unknown relative's letter with great warmth and interest, particularly as the cousin appears to have expressed her support for the Irish republican movement. Eva Cumming's unsolicited letter and photograph has clearly piqued her curiosity to discover more about her Australian connections; 'I wish you could find out more about the first Gore Booth who went to Australia. Robert was a family name... have you any old papers? Certificates, letters or Pictures or books? It would be so interesting...' and remarks on the physical similarity between her correspondent and her sister and namesake Eva Gore-Booth, 'She has the same straight brows & rather high forehead... but you appear to be dark whereas she is very fair. & much thinner...'; the 'gazelle' of W.B. Yeats' poem 'The light of evening, Lissadell,/ Great windows open to the south,/ Two girls in silk kimonos both,/ Beautiful, one a gazelle' (In Memory of Eva Gore-Booth and Constance Markievicz, 1927).Eva Mary Cumming died in Sydney in 1985 and would have been nineteen years old at the time of this correspondence. The letter has remained with the family until now.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 132
SMITH (ADAM)Investigacion de la naturaleza y causas de la riqueza de las naciones, 4 vol., FIRST SPANISH EDITION, translated by Josef Alonso Ortiz, half-title in volume 1 (all called for), occasional spotting, small light dampstain in upper fore-corner of title and 8 preliminary leaves of volume 1, upper corner of pp.163-4 of volume 2 torn away (but present, ink page number and 2 words added in margin), contemporary vellum, lettered and numbered in ink on spines, some soiling and light spotting [Goldsmiths 15932; Kress B.2832], 4to (203 x 143mm.), Valladolid, Viuda e hijos de Santander, 1794Footnotes:FIRST EDITION IN SPANISH OF THE WEALTH OF NATIONS, translated by Josef Alonso Ortiz, who adds an appendix on the Spanish National Bank (established in Madrid in 1783) in volume 2. The French translation of Wealth of Nations had been placed on the Inquisition's Index of Prohibited Books, so when Ortiz presented his Spanish translation to the Inquisition in 1793, he did so with extreme care. Noting that his translation was from the English edition (which was not on the Index), Ortiz further argued that he had purged 'it of various impious proposals... and eliminating entirely an article... in which the author favors tolerance on points of religion, so that it stands cleansed of anything that could lead to error or relaxation in moral and religious matters.' He had to submit the manuscript twice before it was accepted for publication. It remained the only Spanish translation for 150 years. See R.S. Smith, 'The Wealth of Nations in Spain and Hispanic America, 1780-1830', Journal of Political Economy, 65(2), 1957, pp.104-125.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 134
TOLSTOY (LEO NIKOLAYEVICH)Anna Karenina, 3 vol., FIRST EDITION, without final blanks, some foxing and light browning throughout, small damp and other stains, old owner's monogram stamp on titles, contemporary ribbed cloth, restored and rebacked in roan (with ticket of 'Bookbinder M. Artynov, Kiev, 7 Bibikov Boulevard'), rubbed, preserved in single slipcase [Kilgour 1196; Simmons, pp.340, 346-7], 8vo (205 x 135mm.), Moscow, T. Ris, 1878Footnotes:FIRST COMPLETE EDITION OF TOLSTOY'S MASTERPIECE.Tolstoy's second great novel, beloved of Dostoevsky ('as art it is perfection') and Thomas Mann ('without equal in European literature'), was serialised over a period of five years in Ruskii Vestnik, beginning in 1873. However, a clash between its editor Mikhail Katkov and Tolstoy prevented publication of the final instalment, so this first edition in book form also marks the first appearance of the complete text.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 136
ZUALLART (JEAN)Il devotissimo viaggio di Gierusalemme... di nuovo ristampato, e corretto, second edition, with engraved folding plate of the Sancta Presepio at Bethlehem but lacking plan of the Church of the Holy Sepulchre, 49 engraved maps, plans and views (some full-page), final blank present, some light soiling and minor dampstaining (mostly at very top and bottom of page), old vellum with title inked on spine, some damage to corners and one or two light stains [Adams Z191; Blackmer 1873; cf. Mortimer Italian 557], 8vo (172 x 120), Rome, Domenico Basa, 1595Footnotes:Second edition of the Belgian Jean Zuallart's description of his six-month pilgrimage to the Holy Land and Palestine, by way of Zakynthos, Crete and Cyprus, illustrated with fine maps and other engravings by Natale Bonifacio after the author's drawings.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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