JOHN PIPER C.H. (BRITISH 1903-1992) POINTE DU CHATEAU, BRITTANY, c.1960 oil on canvas 71.6cm x 91.6cm (28 ¼in x 36 1/8in) with Marlborough Fine Art, London (mis-labelled as Garn Fawr);Sotheby's London, Modern British & Irish Art, 5 December 2001, lot 54 (sold as Garn Fawr), where acquired by the present owner. Exhibited:Portland Gallery, London, John Piper (1903-1992), 22 February - 10 March 2023, p. 23, illustrated in catalogue. Pointe de Chateau, Brittany was painted on one of Piper’s frequent visits to the French peninsula during the 1960s, where he studied and drew the rocky beaches repeatedly. The current work is markedly different from Piper’s earlier portrayals of the mountains of Snowdonia or the quarries of Portland, which are far more literal representations. Pointe de Chateau, by contrast, is much more abstract, the landscape providing a starting-off point for layers of luminous colour, broad gestural brushstrokes and spontaneous lines of black that dance around the canvas, outlining the stones, cliffs and buildings but also acting independently, as gestures in their own right. Piper is thought to have been inspired by the exhibitions of American Abstract Expressionism at the Tate in the late 50s, where he would have seen works by the likes of Willem de Kooning, Mark Rothko and Jackson Pollock.The significance of this work - in particular, the suggestion that it shows the immediate influence of American painting - has only recently come to light, following a reappraisal of its true date of execution and subject matter, as the painting had previously been mis-labelled by Piper's dealers.
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GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE ARMCHAIR, DESIGNED 1934 birch plywood 75cm high, 59.5cm wide (29 ½in high, 23 3/8in wide) Private Collection, London. English designer Gerald Summers and his partner Marjorie Butcher opened their London shop, Makers of Simple Furniture, in 1931. The firm’s proprietors saw themselves as outsiders, with a mission to create simple and functional furniture responsive to the requirements of the modern home. Confidently employing Summers’ rational approach to design with an emphasis on function, materials, and methods of manufacture, he produced more than 200 designs during its short tenure, before it closed in 1940. Conceived, in Gerald’s words, as “furniture for the concrete age,” these pieces helped shape the notion of the modern interior in Britain.Makers of Simple Furniture’s products found an enthusiastic audience among forward-thinking members of the British public. Department stores and furnishing shops in London, such as Heal’s, carried many of the firm’s stock designs, and pieces were placed in progressive design exhibitions. Today, as more of his designs come to light, we, too, can experience firsthand the rare combination of simplicity, utility, and beauty that distinguishes Gerald’s work in its entirety and makes his furniture as compelling to us in the twenty-first century as it was to the avant-garde in the 1930s.
ROBERT WELCH (BRITISH 1929-2000) FOR OLD HALL 'ALVESTON' 12 PIECE CANTEEN FLATWARE SERVICE, DESIGNED 1961 stamped maker's mark, and hallmarked for Sheffield 1967 and 1972, silver, in a free-standing custom-built three-drawer oak canteen comprising: 12 Table Knives, 12 Table Forks, 12 Dessert Knives, 12 Dessert Forks, 12 Dessert Spoons, 12 Soup Spoons, 12 Tea Spoons, 12 Coffee Spoons, 12 Fish Knives, 12 Fish Forks, 12 Fruit Forks, 12 Fruit Knives, 8 Serving Spoons, 2 Butter Knives, and 2 Sauce Ladles (total of 170 items) the cabinet: 70cm high, 51cm wide, 45.7cm deep (27 ½in high, 20in wide, 18in deep); the serving spoons 22.6cm long (8 7/8in long) Private Collection, London. The cabinet was designed by Robert Welch and made in light oak by Tony McMullen (a lecturer and cabinet maker at Birmingham Polytechnic). Robert Welch designed this service in 1961, taking its name from the Cotswold village where Welch lived. It received several awards including the Design Centre Award in 1965 and The Observer in 1969.
IVON HITCHENS (BRITISH 1893-1979) BLUE RIVER, 1932 signed and dated 32 (lower left), oil on canvas 50.8cm x 76.2cm (20in x 30in) with Leicester Galleries, London;Crane Kalman Gallery, London, from whom acquired by Dorothy and Louis Bohm;The Estate of Dorothy Bohm. Blue River perfectly encapsulates Ivon Hitchens’ work of the early 1930s, his stylish, unique take on modernism that saw him elected to the prestigious Seven & Five Society. Yet this painting also presages the developments in his painting that were to come at the end of the decade, when his vision of the English landscape became increasingly abstracted, the scene before him dissolving into patterns of form and colour which then unfold across the canvas, creating an effect that Hitchens himself described as ‘a visual music’. Hitchens had followed movements in European art very closely, ever since Roger Fry had enraged the British art establishment (and delighted British art students like Hitchens) with his ground-breaking exhibitions of French Post-Impressionism in 1910 and 1912. And in many ways, Hitchens’ work of the 1920s and early 30s is a synthesis of Cézanne, Braque and Matisse, albeit replacing the calme, luxe et volupté of Provence and the Côte d’Azur with a distinctly English palette of leaden blues, pinky greys and restrained greens in every shade. In Blue River we can see these influences clearly: the black outlines on the hills and rocks evoking Matisse, whilst the flat application of blocks of paint – such as the division of the river into a checkerboard of blues – allude to Cubism’s play on perspective, constantly pulling our sense of this being a ‘view’ back to the surface of the canvas, to the making of the painting itself. Yet there are also motifs that are unique to Hitchens. On the left-hand edge, he has stacked forms - a large rock, swathe of meadow and then a stand of trees - to create a solid visual hold, from which the rest of the composition can unfurl. Then there is the exquisite balance between abstraction and figuration, with neither dominant, the sense of flatness and artifice held in tension with a very real sense of light and air. We can see too his variation of brushstrokes, from the broad to the spidery, and the subtle changes in the weighting of paint, between brushes dripping in pigment (which still seems wet, some 90 years later) to ones almost dry. All of this is most notable in the sky, in which broad brushes dipped in four shades of blue and one white dance across the surface of the canvas. Whilst this clearly has a (literal) atmospheric effect, if one views this section in isolation, it is remarkably free and abstract for the period. Indeed, it has something of Helen Frankenthaler or Joan Mitchell about it, the way the brushmarks seem to hang off the surface of the canvas. It’s no wonder, perhaps, that Patrick Heron, the man who effectively interpreted American Abstract Expressionism to an unwitting British audience in the early 1950s, was also the author of the first full monograph on Hitchens in 1952, a book in which Heron often described Hitchens’ work in terms that Clement Greenberg, the great apologist of Abstract Expressionism, would have enjoyed.There is a famous photograph, taken in 1931, the year before Blue River was painted, of Hitchens on the beach at Happisburgh in Norfolk, where he stands alongside Henry and Irina Moore, who in turn are next to Barbara Hepworth and Ben Nicholson (at the start of their affair). Moore and Nicholson are stripped to the waist, Hepworth is tying her hair up, cigarette in mouth, her muscular sculptor’s arms exposed by the top half of a swimming costume. Hitchens, on the other hand, is fully dressed, in shirt, tie, pullover, his tweed jacket fully buttoned up, raincoat slung over his arm, his black beret the only possible nod to la vie bohème. At first glance, he seems like a fish out of water amongst these pioneers of British Modernism. Yet this is to miss the point: he is absolutely one of them. At this point in time, all of these bright young things of the British avant garde are still wedded to some sort of figuration, albeit one transformed thorough the lens of ‘modernist primitivism’ and Cubism. A painting such as Blue River, if looked at closely, is as modernist as anything else coming out of the Mall Studios, Herbert Read’s ‘nest of gentle artists’ shared by Moore, Hepworth and Nicholson, just down the road from Hitchens’ studio in Hampstead. As these Mall Studio artists moved towards abstraction – Hepworth and Nicholson in particular – Hitchens might well have remained wedded to depicting the landscape, but not because he couldn’t let go of the figurative. It was more that those values of simplicity, order and harmony that his contemporaries felt could only be uncovered in the realm of the abstract, were, for him, to be found everywhere in the landscape, out in the open, and all the more fascinating for being impermanent and accidental.
GERALD SUMMERS (BRITISH 1899-1967) FOR MAKERS OF SIMPLE FURNITURE OCCASIONAL TABLE, DESIGNED 1933-4 birch plywood 40.5cm high, 73cm diameter (16in high, 28 ¾in diameter) Private Collection, London. English designer Gerald Summers and his partner Marjorie Butcher opened their London shop, Makers of Simple Furniture, in 1931. The firm’s proprietors saw themselves as outsiders, with a mission to create simple and functional furniture responsive to the requirements of the modern home. Confidently employing Summers’ rational approach to design with an emphasis on function, materials, and methods of manufacture, he produced more than 200 designs during its short tenure, before it closed in 1940. Conceived, in Gerald’s words, as “furniture for the concrete age,” these pieces helped shape the notion of the modern interior in Britain.Makers of Simple Furniture’s products found an enthusiastic audience among forward-thinking members of the British public. Department stores and furnishing shops in London, such as Heal’s, carried many of the firm’s stock designs, and pieces were placed in progressive design exhibitions. Today, as more of his designs come to light, we, too, can experience firsthand the rare combination of simplicity, utility, and beauty that distinguishes Gerald’s work in its entirety and makes his furniture as compelling to us in the twenty-first century as it was to the avant-garde in the 1930s.
BILL CULBERT (NEW ZEALAND/BRITISH 1935-2019) GOLD SPHERE, 1982 signed, dated and inscribed Artists Proof, metal with pin holes, internally fitted with bulb 15cm diameter (5 7/8in diameter) Acquired directly from the artist;Private Collection, London. Bill Culbert is regarded as one of New Zealand’s foremost contemporary artists, renowned for work centred around artificial light, explored across the mediums of painting, photography and, as here, sculptural installation. Found and recycled materials also commonly played a part in his practice. Having begun to establish himself in his home country, in 1957 Culbert accepted a scholarship to study painting at the Royal College of Art, London. A truly international figure, Culbert would spend his career between Provence, France, New Zealand and London, also undertaking residencies in New York and San Franscisco in the 1980s. Light became incorporated into his work in around 1967, after which time it became his central medium. Culbert was fascinated by its qualities, particularly once diffused through repurposed everyday objects and detritus, including plastic bottles and lamp shades.Sculptural installations became the most celebrated aspect of his oeuvre, highlighted in solo exhibitions for prestigious institutions such as the Serpentine Gallery, London (1977, 1979 and 1984), and City Gallery, Wellington, New Zealand (1997). He was also the recipient of many major public commissions, notably Skyline for the Millennium Dome in London (2000), and Void (2006), in the atrium of the Museum of New Zealand Te Papa Tongarewa. In 2013 Culbert represented New Zealand at the 55th Venice Biennale. The works offered here represent a broad span of Culbert’s career. Cubic Projections, part of a series produced in 1968, dates to the very early days of his adoption of light; its aesthetic very much redolent of the Pop and sci-fi sensibilities of ‘Swinging Sixties’ London, sitting at the intersection of hard-edged abstraction and psychedelia. Gold Sphere (1982) is a later exploration of the same pierced spherical form, in which the artist has created a very different light effect and play of shadow. GALAXY RWB (1993) is comprised of the most quintessential materials in Culbert’s practice; a fluorescent tube bulb and two plastic bottles.
Viceregal school. Perú. Central decades of the 18th century (reign of King Ferdinand VI, 1746-1749)“Inauguration of the office of alderman of Lima, of the viceroyalty of Peru, Don Fernando de Rojas Marres” and ”The Exaltation of the House of Nobility of the alderman of Lima, Don Fernando de Rojas Marres”Pair of oil paintings on canvas. 100 x 73 cm. each.The first painting is divided into two parts, the upper part possibly showing the swearing-in or oath of office of the new alderman of Lima, Don Fernando de Rojas Marres of the viceroyalty of Peru, as he climbs the semicircular stairs to the throne from which he will make government decisions. The golden throne is topped by a red curtain and an open crown, clear symbols of power. Behind it, the two Tuscan columns symbolise the strength and fortitude that every ruler must have in order to lead their people. Above the crown, apart from the word ‘fortune’, an allusion to this virtue, the scene is accompanied by two other virtues linked to power and dignitaries, science on the left and fame on the right. The two female figures who bestow symbols of power, the ruler's sceptre and the crown are the ruler's acolytes and witnesses to the scene.The central figure is dressed in the fashion of Ferdinand VI's reign, which dates the painting and its companion piece to the middle decades of the 18th century. To complete the parallelism of the central scene at the top, two noble coats of arms are placed at either end. The one on the right, topped by the helmet of a warrior, indicates the rank of knight or order of nobility of the person, who would in turn belonged to the order of knighthood of Santiago, one of the four most important orders of knighthood in Spain along with those of Calatrava, Montesa and Alcántara. During the restoration of the painting, the change in the iconography of the area of the coat of arms where the eagle is located came to light. Initially there were three vertical golden bands which were covered by the bird, although it is not clear whether this change was made while the painting was being executed or after the work was completed. The other coat of arms, this time with the crown of government, shows very different heraldry with no distinction of knighthood.The change the coat of arms underwent in this painting also affected its counterpart in the other painting.The noble coats of arms could have belonged to Rojas Marres' paternal branch, that of Don Feliciano de Rojas Ponce de León, and to his maternal branch, that of Doña Juana de Marres, or it is also possible that the one on the left could have been his own, that of the alderman, and the one on the right that of his wife, Doña María María Ana Concepción del Castillo Castañeda.Whilst the upper part of the painting represents political power and command over the people and the virtues that accompany the governor in order to govern well, the lower part, the most didactic part of the canvas, shows the values and qualities of the new government through the representation of 32 squares with elements divided into two panels of 16 squares each.The panel on the left represents objects that have explanatory symbolism linked to elements of power, while the panel on the right shows scenes with a written phylactery above them. These panels would have helped to explain the iconological programme, which symbolised the political programme of the new ruler, to the illiterate population, who made up the majority of the indigenous or native peoples at the time.The second painting shows that the importance of the family and its service to the empire rests on the Spanish monarchy and the Catholic faith.As if it were a ‘Tree of Jesse’, the distribution of the different elements that make up the rich and varied composition of the painting are arranged in a highly symmetrical and rational order.The base of the tree rises above the strong figure of the Child Virgin Mary on her throne, iconography that was very popular during the 17th and 18th centuries throughout Latin America, partly due to Zurbarán's paintings that came from the old continent to the ‘New World’. The feather below could refer to the feather of the archangel Saint Gabriel in the Annunciation. Given that the dogma of the Immaculate Conception was a matter of State and of protection by the Hispanic monarchy, the weight of the Crown rests on it and rests on the figure of the Virgin Mary; as one of the columns of Hercules in the coat of arms of Spain, legendary founder of the Hapsburg dynasty, acts as the trunk of the tree with the phylactery bearing the motto ‘NON PLUS ULTRA’, before Charles V and the anagram ‘Victor’ in golden letters.This anagram is flanked by the lion of Spain and the eagle of Saint John, protector of the Spanish monarchy, both also with golden crowns. On this rests the royal crown of the Bourbons, thus constructing the trunk of the compositional tree, where monarchy and religion are the pillars on which the family's noble coat of arms rests, which in turn is crowned by a laurel wreath bearing an angel and a scroll with golden symbols.The different branches of the ‘tree’ are divided according to the symbols and their distribution.In the upper part, the elements depicted are linked to the litanies of the Immaculate Conception, symbols related to the Virgin Mary. At the top is the sun, the eight-pointed star which has been linked to the Virgin Mary since antiquity, and the moon. The king of the day and the queen of the night contemplate the scene. Between there and the middle of the painting are a rose bush and an olive tree on the left, and a bunch of lilies and a cypress on the right, flowers and plants associated with Mary. All the iconographic repertoire, together with the symbols of the Marian litanies in the upper part of the painting, the elements of science (the book, the compass, the globe and the candle that is not extinguished by the four winds, also depicted) and the six virtues in the lower part, justify the service and work of this noble house to the royal house and the Catholic religion, the foundations of the Spanish empire in the Latin American colonies.In conclusion, these two paintings present a political programme for the government of the new ruler of Lima in the 18th century. The importance of this pair of canvases lies precisely in the way they represent this political programme by justifying the noble house as being in the service of the King of Spain and the Catholic faith. To this end, it also makes use of a graceful play of symbols, something rare to see in paintings from Spain itself, but common in the Americas, to educate and explain to the people how their new rulers will exercise their power.We are grateful to the art historian and restorer Ignacio Panicello for cataloguing and identifying these paintings.Provenance: Former collection belonging to Adrián de Rojas Maestre (descendant of the regent of Lima, Don Fernando de Rojas Marres).This family, or part of it, with important historical links, settled in Spain before 1950 at the Finca El Maestre in Seville. The paintings have always belonged to the family.The subject of our paintings, Fernando de Rojas Marrés, was born in Ceuta and died circa 1800 in Madrid.There is a record in the Spanish Historical Archive of his transfer to the Americas as a ‘Merchant of textiles, he went to South America on the ship Aquiles under the charge of Captain Martin Joseph de Echenique, bringing cargo directly to the port of Callao Lima. Record of information and passenger licence to the Indies of Fernando de Rojas y Marres’.
Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383
Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory, the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.
Novo-Hispanic School. Mexico. Late 17th century. Nicolás Correa Juárez Circle."The Mass of Saint Gregory"Oil on copper. 29,5 x 23,8 cm.An exquisite and very unusual, unique depiction of the well-known Mass of Pope Saint Gregory, as the vision of the Blessed Souls being rescued from Purgatory by angels and taken to heaven also appears in the scene. The composition is designed to save space, as it could have been distributed over two sections of a small diptych. To the right of the scene, as is customary, we see a door with a landscape and figures, and/or members of the papal entourage or donors joining in the main act of the Eucharistic miracle. The ‘pray for the souls, present and absent, and pray for their tribulations’ scene is depicted with a great deal of light in order to attract attention. The painter depicts the apparition of Christ to Pope Saint Gregory the Great while he is celebrating mass on Christmas Day in the Roman Basilica of the Holy Cross in Jerusalem with detail and finesse. His assistants also appear, one carrying the cross to guide them and the other with a halo, who also participate in the miracle. Christ, surrounded by the symbols of his Passion, shows his stigmata to assuage the doubts of some of the people present or the Pope's own doubts about Transubstantiation. In some paintings blood appears to flow from the arma christi and is collected in a chalice, but not in this case.Due to its small format, the painting could have been a devotional copper commissioned by a member of the Church, with the aim of moving his soul to devotion and capturing the essence and depth of the Eucharistic celebration at all times, and, at the same time, the vision of hell/purgatory. With it, following the catholic doctrine, he would not forget the sacrament of forgiveness and mercy and would save all souls from their sins and evils that keep them in a constant purgatory. In short, a small copper that embodies the symbol of the Eucharist as a renewal of Christ's sacrifice to save humanity.
Attributed to Luis Juarez (Mexico, circa 1585 - 1639)"Saint Augustine of Hippo and Saint Gregory the Great, Fathers of the Church, and The Four Evangelists"Set of six oils on copper.22.5 x 17 cm (2) each, and 21 x 16 cm (4) each.A magnificent collection of 6 paintings on copper depicting the Evangelists with their iconic symbols and two of the four Fathers of the Church. Matthew with the angel, a man with wings highlighting the humanity of the Son of God; Mark with the lion, a symbol of strength, courage, and royalty; Luke with the bull, a beast of burden, calm and humble, and John with the eagle, the mystic who sees the world from the heights.The two Fathers of the Church depicted are Saint Gregory the Great and Saint Augustine of Hippo. (Possibly the other two, Saint Jerome of Stridon and Saint Ambrose of Milan are missing to complete the octet).Faux ovals contain phrases from their writings, representative of the Gospels or Roman liturgy: "Book of the Genealogy of Jesus, Son of David"; "Behold, I send an angel before you"; "who is famous among all the churches for his preaching of the gospel"; "In the beginning was the Word, and the Word was with God"; "Order our days in Your peace"; and "No one should pass without penance."With vibrant and lively colours, creating a cheerful and dynamic rhythm, the paintings display meticulous attention to detail, as well as soft light and shadows. The figures exhibit an idealised yet "almost real" beauty, balanced and serene, capturing the viewer as a contemplative observer of the saints of the church to imitate and follow.
Painter of the Andean viceroyalty. Attributable to Francisco José de Lerma y Villegas (Caracas, Venezuela. 18th century. Active between 1719 and 1753).“Patronage of Our Lady of Mercy over the Order of the Mercedarians”Oil on canvas.The canvas has some damage.52,5 x 39,5 cm. (with frame: 100 x 61 cm.)The painting with the same subject matter as this one, ‘The Patronage of the Virgin of La Merced’, which is kept in the Museo de Arte Colonial de Caracas Quinta de Anauco, is also by Lerma and is based on an engraving by Cavalli. The two have great similarities.As we read in the Royal Academy of History, ‘In his pictorial works we can observe careful drawing, harmonious colouring and an adequate knowledge of light and shade, as well as the combination of various stylistic features resulting from the imitation of prints and engravings from a wide variety of sources’. Our work is based on the engraving by Pieter de Jode I (1565 - 1639) ‘Our Lady of Mercy’ (PI 626A/3935B).Wonderful canvas from New Spain, richly framed, depicting one of the most popular themes in New Spanish art, the so-called "Patrocinio" (Patronage), which shows the Virgin Mary (in this case) or a saint (cf. parallels with the Patronage of Saint Joseph in this same auction, lot 62) protecting communities, religious orders, corporations and authorities under her mantle (with a clientelistic and corporate scheme typical of the Ancien Régime), as the main recipients of her heavenly benefits.Our Lady of Mercy and the Redemption of the Captives is the Queen and Lady of the Order of Mercy (Latin: Ordo Beatæ Mariæ Virginis de Redemptione Captivorum), a Catholic mendicant religious order, founded in 1218 by Saint Peter Nolasco (ca. 1180-1245) for the redemption of Christian captives in the hands of Muslims. The Mercedarians committed themselves with a fourth vow, to liberate others who were weaker in the faith, even if their lives were endangered by it.This Virgin of Mercy, crowned ‘as queen’ of heaven under the Holy Trinity who contemplates and blesses the moment, protects the order of the Mercedarians, the Pope and the King under her wide mantle, raised and supported by two angels.The Pope we see is Gregory IX, who approved this religious order in 1235 with the Papal Bull "Devotionis vestrae"; next to him is Saint Raymond Nonnatus, another of the ‘principals’ of this order; the king, James I of Aragon, known as ‘the conqueror’ and, next to him, its founder Saint Peter Nolasco, and Saint Mary of Cervelló, left, founder of the female branch of this order, with some more of these Mercedarian sisters.All, without exception, are prostrate on a period checkered tiled floor: the king, the Pope and his bishops, and the entire religious order, kneel before the Virgin Mary and Lady Queen with both knees, an external gesture that expresses the greatest sign of submission.On the floor are scattered shackles, symbols of the redeemed captives.The painting has an imposing period frame, richly carved and gilded, with sections in painted glass (the polychrome is posterior). It is polychromed in blue, with flowery poinsettia, enclosing and completing the beauty and devotion of the painting. Bibliographic reference:- Ojeda, Almerindo. 2005-2024. Project for the Engraved Sources of Spanish Colonial Art (PESSCA). Website located at colonialart.org. Date accessed: 21/10/2024.
Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Immaculate Conception"Oil on copper. Signed and dated "Clapera fecit 1798".There is a small dent in the upper right corner.63,5 x 41,5 cm.Francisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5
Luis Egidio Meléndez (Naples, 1716 – Madrid, 1780)"Still Life with Pears, Peaches, Grapes, and Melon"Oil on canvas. Relined.44 x 63 cm.This painting is an analogous version to the one kept in the Prado Museum, dated 1771 and of almost identical dimensions, 42 x 62 cm (Catalogue No. P000931).As stated in the Prado Museum biography of the artist: "A Spanish painter, born in Italy to a Spanish family of Asturian origin, he was the son of Francisco Antonio, the miniaturist, and nephew of Miguel Jacinto, the portraitist. He began his education in Madrid alongside his father, then attended classes at the Preparatory Board of the Academy of San Fernando and was a pupil of Louis-Michel van Loo, mastering portrait technique, as demonstrated by his magnificent Self-Portrait (Musée du Louvre). His father’s expulsion from the board, and a probable conflict with Van Loo as a result, led to his dismissal from academic studies. He travelled to Italy and later returned to Spain, where he initially worked as a miniaturist, but his most significant contribution was in still life painting, becoming one of the most distinguished still-life painters in the history of the genre. His career belongs to the second half of the 18th century, a period when the century entered a decisive phase, gradually shaped during the reign of Philip V, both by the presence of foreigners at court and by the travels of Spaniards to Italy, along with projects to reorganise artistic education, an era that would reach its peak with Goya. Meléndez's paintings are generally characterised by great sobriety, executed with a solid sense of drawing and perfectionist realism, down to the smallest details. His ordered and clear compositions, with a taste for contrasts of light and shadow, possess an intensity that recalls the best achievements of Sánchez Cotán or Zurbarán."Reference bibliography:https://dbe.rah.es/biografias/16867/luis-egidio-melendez-de-riberahttps://www.museodelprado.es/aprende/enciclopedia/voz/melendez-luis-egidio/e99ecaad-8a11-4614-932f-960df1f833e4https://www.museobbaa.com/obra/bodegon-de-cocina/
Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm. Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him. Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil. While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood. The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity. A true example of love is the pelican that restores its young with its own blood. Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love).
A pair of imari bijin porcelain figures mounted as five-light candelabraThe porcelain figures were mounted in Europe later, in the 19th century.The substantial robed figures decorated in underglaze blue, with overglaze red, black and gilding.The candelabra mounts with rococo scrolling bases, sprouting branches decorated with oak leaves and acorns. Provenance: European private collectionSimilar example:Christies live auction 21919-Lot 137-sold: £35,280 GPBHeight: 70,547cm, Length: 3318cm, Width: 2415cm€ 3 000 - € 5 000
A group of vintage microscopes including, A G Trust microscope, inverted laboratory microscope with associated transformer, with additional scopes and lenses, evaluated by ETI Conformity Services, serial no. 0110918,An unmarked Polish laboratory microscope, with associated transformer, serial no. 880363 and a A Unitron Auto-Illumination microscope, Mica-U3X, MeC3-2196, on custom-made wooden base, with associated light source
An early 19th century French Napoleonic prisoner of war work carved cow bone domino box. Of small proportions, with with simple line cut decoration to the sides and lid, plus a zig-zag pattern to the lip. The sliding lid features a fan shaped tab to facilitate easy removal of the lid. Each of the engraved lines is infilled with red or blue/green dye, thus enhancing the design. The construction style of the box is more unusual than others seen, with the panels seemingly mimicking traditional carpentry dovetail joints. The box is complete with 31 tiny dominos, each with red dot decoration. Approximately 4.1cm x 2.5cm x 2cm, with the lid being longer at 5.9cm. Condition: good. Some normal light wear commensurate with age and use. No cracks or chips to the bone.
A collection of early 19th century letters relating to Admiral Sir William Sidney Smith (1764 - 1840), the ‘Hero of Acre’.Smith was a veteran of the American Revolutionary War, Russo-Swedish War, French Revolutionary War, Napoleonic War, and the Peninsular War.A skilled military leader and strategist, Smith became involved in numerous naval engagements, espionage, and diplomacy, running up substantial debts by way of the latter.The collection comprises of 9 letters, to include:1. Aletter written in the third person, signed W.Sidney Smith to a Mr Birt, giving him the authority to collect the book (of HMS Tigre).Dated May 15th 1802, Rochester, and featuring a small engraved portrait of Smith affixed top left.2. A Masonic invitation, issued to Smith on December 21st 1825, with his address given as Rue de Faubourg, St Honore No.35.3. A letter from Smith to William Dorset Fellowes, author and Royal Naval Officer.Relating to the sending of a printed letter (not included) to the Chiefs and Tribes among the Arabs, Turkish affairs, white slave traffic, the condition of the defences in the Dardanelles, the liberation of Morea, and other topics.4. A letter from Smith to ‘My Dear Friend’ (probably to General Sir Charles Doyle, dated circa 1825.The letter declines an invitation, explaining that ‘Lady Smith’s health is now very precarious’ (Lady Smith died in May 1826).5. A letter written by Robert Fisher to Smith,, requesting a copy of his portrait for inclusion in a work called ‘The National Gallery of Illustrious & Eminent Personages.Admiral Smith has drafted his response on the reverse side, stating ‘The best portraits of Sir SS extant are those painted by Sir Robert Kerr Porter, one of the breach at Acre, the other a full length now in the marine map room at Plymouth’.6. An undated letter from Admiral Edward Pellew, Viscount Exmouth, addressed to ‘Mr Dear Sir Sidney’, and expressing his wish that they would ‘talk over old affairs and new expectations’.7. An autographed memo, dated April 9th 1803, detailing his plans to establish a telegraph between the shore and Commodore of His Majesty’s ships stationed on the coast.8. A letter from Sir Sidney Smith to a ‘Mr Thompson and all his family, and will be happy in the pleasure of their company to a breakfast and a little dance at the boathouse on Tuesday next at 10 o’clock.Unsigned and undated.9. A letter written to a Mr Jackson, ‘Printer Strand’ requesting two dozen lithographed sketches of the balanced carriage may be sent forthwith to him at the above.Dated October 29th 1830, and sent from Suffolk Place, Baths, Pall Mall.Condition varies across pieces, with some browning / foxing to the paper in places, minor tearing to edges, and overall light soiling to the pages.
An early 19th century French Napoleonic prisoner of war work carved bone domino set. Of simple rectangular form, with a slide off lid, which has a tab to the end for easy removal of the lid. Simply decorated, with target motifs to 4 sides, into which has been infilled a red red to accentuate the pattern. The lid is inset with tiny discs of tortoiseshell, each held in place by a small brass stud. The box houses 54 bone dominos, which have been produced in slightly varying thicknesses and sizes, but would all appear to be contemporary to the box. Box size approximately 8.7cm x 2.8cm x 3.4cm, with the lid being slightly longer at 9.8cm. Condition: generally good. Some light wear commensurate with age, but generally a solidly constructed piece. There is a thin sliver of bone missing to the edge of the box where the lid slides in, but this does not detract (seen in picture 2 and 3).
2 early 19th century letters, written by French Revolutionary War, and Napoleonic War Generals, Achille Claude-Marie Tocip Grigny (1766-1806), and Jean-Charles Pichegru (1761-1804). The Grigny manuscript has numerous annotations in the left margin, and is signed Grigny to the reverse side. General Grigny was killed in action at Gaeta in Italy in 1806, being decapitated by a canon ball. General Pichegru is best known as the Royalist conspirator, who plotted in 1803 to overthrow Napoleon’s military regime, with the plan being known as the ‘Pichegru Conspiracy’. Pichegru was betrayed by a friend and was arrested in February 1804, and by April 1804 he was found strangled in prison. Signed ‘Pichegru’ to the bottom right. Condition generally good to both, evidence of both documents having been bound in book, or mounted previously. Some light soling / browning to the paper in places, and a few nibbles to the edge of the Grigny manuscript.
A scarce early 19th century Napoleonic French prisoner of war work domino set. Carved from cow bone, with wonderfully naive engraved designs to each visible face of the box, including a head and shoulder portrait of a lady to the two long sides, and another full length image to the sliding lid. The engraved lines of the design has been infilled with red and green dyes to enhance their appearance. The lid has also been shaped to allow a prominent lip to protrude to one end, facilitating easy opening of the box, plus there are tiny holes to allow the playing of cribbage. The box is constructed simply, being held together by small brass pins, and likely some animal glue. Complete with 49 dominoes to the inside, with some having 9 spots to each half. Approximately 13.7cm x 3.1cm x 4.9cm, with the lid being slightly longer at 16cm. Condition: very good for its age and use. Normal signs of light use externally, but good strong joints, and free of cracks or chips to the bone.
Andrews (William) Famous Frosts and Frost Fairs in Great Britain, one of 400 copies, 3 plates, t.e.g, George Redway, 1887 § "Cavendish" Patience Games, g.e, Thomas de la Rue, 1890, first editions, titles printed in red and black, some very occasional light spotting, but clean copies generally, original cloth, gilt, spine ends and corners, a little bumped, but fine copies generally, 4to & oblong 4to, (2)
![Baldinucci (Filippo) [Opere], 14 vol., engraved portrait, lacking half-titles and ?final leaf of Index in vol.VI (up to U, bu](https://cdn.globalauctionplatform.com/3e7721bc-9437-49c2-bd06-b2100119a9ed/ab78e28c-9822-4ce1-8c8d-b210011bef5c/468x382.jpg)
Baldinucci (Filippo) [Opere], 14 vol., engraved portrait, lacking half-titles and ?final leaf of Index in vol.VI (up to U, but with final errata leaf), bookplate of Lord Dinorben, contemporary half calf, rubbed, a few spine ends worn, [cf.Cicognara 2001, 2000 & 2146, all earlier editions], Milan, 1808-12 § [Orlandi (Pellegrino Antonio)] L'Abecedario Pittorico..., 5 engraved plates of artists' monograms (with pencil annotations), light foxing and water-staining, bookplate of Fintray House library (Forbes family of Aberdeenshire), contemporary vellum, Naples, N. & V. Rispoli, 1733 § Tonci (Salvatore) Descrizione Ragionata della Galleria Doria..., folding engraved plate, light foxing, contemporary patterned-paper wrappers, uncut, stained, upper wrapper defective (repaired), rebacked, [Cicognara 3892], Rome, L.P.Salvioni, 1794 § [Barotti (Carlo) Pitture e Scolture che si trovano nelle Chiese, Luoghi Pubblici, e Sobborghi della Citta' di Ferrara, only edition, large folding engraved map, ink annotation to one margin, slight worming to inner margin of a few leaves, old ink stamp of Vincenzo Colonna to title, contemporary carta rustica, a little stained, [Cicognara 4196], Ferrara, Gisueppe Rinaldi, 1770, the first two with book-labels of art historians Peter & Linda Murray; and 5 others, 8vo & 4to (22)*** An interesting group of works on Italian art.
Schizzi (Folchino, Conte) Un Bel Giorno Poemetto, second edition, half-title, engraved portraits, 7 aquatint plates and plans by Gaetano Durelli after Francesco Durelli, tissue guards, light spotting to text, original embossed turquoise boards, glazed yellow label to spine, rubbed and marked, spine a little worn, folio, Milan, Bettoni, 1827.*** Poem celebrating the building programme undertaken by the former Empress Marie Louise, Napoleon’s widow, in northern Italy. It was originally published in 1825 under the title Il Calomero in an edition of only 200 copies, but was reissued in this revised second edition in 1827 with one additional plate. The fine aquatint plates illustrate new bridges over the Taro and Trebbia rivers, and the new Teatro Ducale, the historic Teatro Farnesiano, and the new Galleria of the Accademia delle Belle Arti, all in Parma.
Newton (Sir Isaac) Observations upon the Prophecies of Daniel, and the Apocalypse of St. John, first edition, contemporary marginal ink annotation to 2L1 & 2T1v, light spotting to title and final few leaves, the odd small stain or light soiling, some very subtle toning to margins, upper hinge cracked at head, modern calf, spine in compartments and lettered in silver (lettering little faded), g.e., 4to, by J. Darby et al., 1733. *** First edition of Newton's only "major work on the subject" of prophecy and symbolic writings.
Salmon (William) The London and Country Builder's Vade Mecum, second edition, engraved frontispiece of felling timber, browned, Macclesfield copy with embossed stamp to title and North Library bookplate, contemporary sheep, worn, [Harris 789; this edition not in BAL], J.Hodges, 1748 § Elmes (James) A Practical Treatise on Architectural Jurisprudence..., only edition, bookplate of Birmingham Law Society, contemporary cloth-backed boards, uncut & unopened, corners worn, label chipped, [BAL 976], 1827 § Nicholson (Peter) The Carpenter's New Guide..., sixth edition, 84 engraved plates, light offsetting, contemporary tree sheep, 1814, all rather worn; and 6 others on building, carpentry etc., 8vo & 4to (9)
Europe.- Lambert (G.C.) Panorama der Main-Neckar-Eisenbahn, folding engraved panorama with extending folding flaps showing town plans of Strasbourg, Baden, Heidelberg, Mannheim & Frankfurt, c.230 (580 with extension) x 2890mm., foxing, one or two small splits to folds, with explanatory text booklet in German, English & French bound in and time-table on yellow paper mounted on inside front cover, original cloth, old paper label to foot of spine, Mannheim, G.Zeiler, [1847] § Panorama der Eisenbahn und Schifffahrt zwischen Prag und Dresden, folding engraved panorama with vignettes by J.Rybicka after Karl Brantl, c.240 x2420mm., some light browning, with explanatory text booklet bound in and map & advertisement leaf mounted on inside front cover, original cloth-backed boards with engraved view of Prag mounted on upper cover, lacking ties, Prag, K.Andre, 1858 § Hölzlhuber (Franz) Kronprinz Rudolf-Bahn. Ansichten längs der Strecke von Kastenreith durch's G'säus bis Selzthal-Liezen, folding lithographed panorama, c.115 x 8050mm., lightly browned at folds, with 8pp. lithographed text mounted inside front cover, original cloth-backed printed boards, Steyr, [1875] § Stiepel (H.T., publisher) Die malerischen Ansichten der...Süd-Norddeutschen Verbindungsbahn von Reichenberg bis Pardubitz, very long folding tinted lithographed panorama with view at each end, c.160 x 12,110mm., foxed, one or two folds repaired, original cloth-backed boards with loop, upper cover detached, Reichenberg, n.d., all on conjoined sheets folding concertina-style, oblong 8vo (4)
Gill (Eric).- Clay (Enid) Sonnets and Verses, number 208 of 450 copies on handmade paper, original cloth-backed boards, uncut, slightly browned, label chipped, 1925 § Gill (Eric) Clothing without Cloth, number 144 of 500 copies, full-page wood-engravings by Gill, some very light offsetting, original red buckram, gilt, g.e., spine faded, 1931 § Clay (Enid) , both with wood-engravings by Eric Gill, some full-page, [Chanticleer 25 & 75; Gill 274 & 20], Waltham St.Lawrence, Golden Cockerel Press; and 2 others illustrated by Gill, 8vo (4)*** The first was Gill's first book for the Golden Cockerel Press, illustrating poems by his sister, and "crowned" by the Double Crown Club for 1925.
Tennis.- de Montbrun (Monsieur le Marquis) Memoires de Monsieur le Marquis de Montbrun, engraved portrait and10 plates (1 or 2 closely trimmed), title page printed in red and black, fore-margin trimmed affecting imprint, some very occasional light marking, late-19th century memorial card loosely inserted, later half calf, joints cracked, rubbed and worn, 12mo, Amsterdam, Nicolas Chevalier, 1701.*** Scarce, with a good early illustration of a tennis match.
Canada.- Schwerin (Ellwood William) Salmonitis. A Treatise on its Symptomology, Pathology and Eradication, signed presentation inscription from the author to front endpaper, photographic illustrations and green decorations throughout, original cloth-backed boards, gilt, faint water stain to upper cover, light rubbing to spine ends, [Wood BSS 120], small folio, privately printed, 1927.*** An appealing and idiosyncratic work, with its tongue-and-cheek title, recording a trip to the River Laval, on the North Shore of the St. Lawrence River, as guests of the Laval Fishing Club (to whom the work is dedicated). The account amusingly ends, "Thus ended the most wonderful trip in the most congenial company it has ever been my pleasure to have been with. It had been perfect except for the main object for which the trip was made, for although the company, weather fishing, food, liquor, etc., were of the best, the trip fell down on the primary motive: IT WAS NOT A CURE. As they would say in the medical profession, the treatment was a success, the the patient did not recover."
Canada.- Sturges (Lee) Salmon Fishing on Cain River New Brunswick, one of 50 copies, signed presentation inscription from author to front endpaper (?pencil), 6 etched plates after Sturges with captioned tissue guards, illustrations throughout, final leaf with pencil sketch, two ink ownership inscriptions to other endpapers, some light finger and similar soiling, ?original boards, corners rubbed, rebacked in morocco, housed within modern custom made morocco-backed drop-back box, [Wood BSS 122], 4to, [Chicago], privately printed, 1919.*** The tale of a 65 mile, week-long canoe trip down the Cains [River] in New Brunswick, fishing for salmon along the way, guided by the well-known Harry Allen (to whom the book is inscribed), who built the camps on the Miramichi, just below the mouth of the Cains and Black Brook. An original film of the trip is now viewable at the Americal Museum of Fly Flishing in Vermont. Scarce among fishing books, it holds a particular place within the history of American fine printing and graphic arts, with the etchings and illustrations after Sturges himself an artist, and the book itself designed and printed by Ralph Fletcher Seymour, a Chicago member of the 'Arts and Crafts' movement.Rare: while the limitation is 50 copies, it is known that likely far fewer exist, due to a fire at the author's house.
Waterloo.- Ackermann (Rudolph publisher) Battle of Waterloo Taken on the Spot after the Action of the 18th June 1815, handcoloured aquatint, light vertical crease, 1 August 1815 with 4 issues of The London Gazette articles, covering the battle and its aftermath, folio & 4to (4) *** A map outlining the events and strategies at the Battle of Waterloo across 15th to 18th June 1815, accompanied by 4 London Gazette articles written across April to July 1815 updating the list of soldiers wounded and killed in action.
Smith (Adam) An Inquiry into the Nature and Causes of the Wealth of Nations, with the Life of the Author, also, a view of the Doctrine of Smith, Compared with that of the French Economists; with a Method of Facilitating the Study of His Works, 3 vol., occasional foxing, some light browning, overall in good condition, 20th century morocco, light fading to spines, extremities a little rubbed, small stain to vol. 1 upper cover, light staining to upper cover, Edinburgh, Silvester Doig and Andrew Stirling, 8vo, [1811].
Catullus (Gaius Valerius) Carmina et in eum commentarius M. Antonii Mureti, edited by Marc-Antoine Muret, first Muret edition, collation: *4 A-Q8 R10, woodcut printer's device to title and verso of otherwise blank final f., R9 errata recto and colophon verso, initial spaces with guide-letters, some mostly light and marginal foxing, lightly browned, hinges split, contemporary limp vellum, ink title to spine, lacking ties, some staining, 8vo (152 x 92mm.), [Venice], Paulus Manutius, 1554.*** Rare copy at auction of the first edition to include the French humanist Marc-Antoine Muret's commentary. So great was the reputation of this Renaissance polymath that Henri II and Catherine de Medici went to hear him lecture. The young Montaigne was one of his pupils. Provenance: Vincenti Mariae Frosini of Pistoia (ink inscription to title). Literature: Adams C1145; Ahmanson-Murphy 459; Renouard 162:19; EDIT 16 CNCE 10364.
Leonard (C. W., publisher) Leonard's Chronological and Geographical Family Guide to the Holy Bible, dissected and linen backed as issued, two vertical lines of light browning, light finger soiling to margins, folding into original blindstamped morocco, lettered in gilt, cloth ties neatly rebacked, rubbed and worn, 8vo, C. W. Leonard, c.1860.*** An attractive guide to the Holy Bible engraved by John Dower. Inside this guide, there are 3 maps and 3 genealogical trees, bordered by a biblical timeline and accompanied by panels of scripture.
Ysendyck (J.J. van) Documents classés de l’art dans les Pays-Bas du Xième au XVIIIième siècle, First-Third Series bound in 10 vol. (rearranged by subject), printed in red & black, 722 plates, with 16ff. text issued with plates of First Series and indices to the plates but without frontispieces to Second & Third Series, contemporary half calf, spines gilt, t.e.g, a little rubbed, Antwerp, 1880-[89] § Clemens, Mellins & Rosenthal. De Dom zu Magdeburg, Parts 1-4 only, no text, 24 lithographed plates & plans, water-stained (marginal to parts 1-3 but affecting plates of part 4), original printed wrappers, uncut, folded & creased, frayed at edges, Magdeburg, Creutz'sche, [?1830] § Hübsch (H.) Bauwerke, Atlas only, 12 engraved or lithographed double-page plates, light foxing, contemporary half roan, upper wrapper bound in (old ink stamp), joints split, Carlsruhe, 1838 § Muster-Plane zu ländlichen Bauwesen, Part I [all published], 15 lithographed plates, some spotting, original printed boards, spotted, spine worn, Stuttgart, [?1840s], all but the first worn; and 10 others, mostly German, folio & large folio; sold not subject to return (26)*** The first is a complete set of this substantial publication, providing excellent photographic illustrations of many of the most impressive late mediaeval, renaissance and 17th century buildings in Belgium and the Netherlands, together with similar illustrations of carved decoration, architectural sculpture, furniture, ironwork etc.The last item shows outline linear elevations, sections and ground plans of model designs for farm houses and their associated farm buildings.
Germany.- Gericke (M. von, publisher) Panorama der Binnen-Alster in Hamburg, folding hand-coloured lithographed panorama, border printed in gold, c.105 x 1525mm., loose in original cloth boards, gilt, Hamburg, M. von Gericke, [c.1850]; Panorama des Elb-Ufers von Hamburg bis Blankenese, tinted lithographed panorama, c.190 x 6600mm., foxing (some heavy), frayed at fore-edge lacking small portion (not affecting text or image), modern cloth-backed boards, old printed wrappers with ties mounted on boards, [cf.Bobins 1598, hand-coloured copy], Hamburg, M. von Gericke, [c.1850] § Jung (Gustav) Panorama der Mosel von Metz bis Coblenz, folding lithographed panorama with vignettes by Friedrichsen after Jung, c.245 x 1310mm., light browning, original printed boards with ties, Coblenz, J.Heinrich Müller, [c.1850] § Grimm (A.L.) Panorama der Bergstrasse [Darmstadt to Heidelberg], with text, folding engraved panorama with vignettes below by G.C.Lambert, c.130 x 1860mm., lightly browned, original cloth-backed printed boards with ties, Darmstadt, C.W.Leske, [c.1840] § Dietrich (Dr. E.V.) Das Elbethal, oder Panoram der Elbe..., fourth edition, text in contemporary cloth-backed boards, worn, folding engraved panorama c.200 x 2360mm., foxed & soiled, Prag & Leitmeritz, C.W.Medau, 1850 , all on conjoined sheets folding concertina-style, rubbed; and 2 other panoramas, 4to & 8vo, most oblong (8)
Ronner (Henriette) Cats and Kittens, portrait, 12 mounted photogravure plates on india paper, broken & loose, original pictorial cloth with illustration mounted in panel on upper cover, soiled, 1894 § Hood (Thomas) Poems, engraved plates by Birket Foster, a good clean copy in original decorated green cloth, gilt, g.e., 1872 § Smith (Albert) Gavarni in London: Sketches of Life and Characters, additional pictorial title and wood-engraved plates, occasional spotting, contemporary half calf, 1849 § Scott (Sir Walter) The Lady of the Lake, 14 mounted albumen photographs (title vignette and 13 plates), foxing, contemporary red morocco, gilt, by Andw. Grieve of Edinburgh, spine gilt, g.e., Edinburgh, 1865 § [Combe (William, imitation)] The Tour of Doctor Syntax through London.., hand-coloured aquatint frontispiece, vignette title and 17 plates only in the style of Rowlandson (of 18, lacking plate of Vauxhall), some light foxing, contemporary half calf, 1820, all but the second rubbed; and 13 others, illustrated, v.s. (18)
Socialism.- Hyndman (Henry) The Historical Basis of Socialism in England, first edition, half-title, 44pp. publisher's catalogue at end, ink ownership name to front free endpaper, half-title starting to work loose at head, occasional very light spotting, margins slightly toned, lower hinge cracked but firm, original cloth, spine with very short tear to head and chipped at ends, sunning to spine, a few faint marks, some wear to corners, Kegan Paul, Trench & Co., 1883; and 2 others by the same, first editions of The Economics of Socialism and Commercial Crises of the Nineteenth Century, 8vo (3)
Cambodia.- Vue Restaurée du Temple de Baïon, Ruines d'Ang-Kor Thôm (Cambodge). No.24, hand-coloured lithograph, some tears and repairs, a few small portions of loss, some light surface soiling, lightly browned, unframed, 332 x 444mm., Pnom-Penh, Cambodia, L. Jammes, [c.1890]; and 2 other Cambodian hand-coloured lithographs by the same, No. 20 & 21, both of sacred theme, v.s. (3) *** The first a view of the temple of Bayon at Angkor Thom. Jammes arrived in Cambodia around 1883 as a teacher, and rose to become director of the École Royale in Phnom-Penh by 1887.
Salmon Fishing Illustration.- Salmon Fishing, title and 7 whole page lithographic plates after drawings by 'R.O.C', presentation gift inscription to front endpaper, a little light finger soiling, original printed wrappers, upper cover nearly loose, slightly worn and toned, [Wood BSS 202], oblong folio, R. & A. Ackerman, 1867.*** A scarce and copy of this excellent example of Victorian sporting humour.
Switzerland.- Leuthold (H.F., publisher) Panorama du Lac de Zurich dessiné depuis l'Hôtel Baur, folding aquatint panorama with view at each end, c.115 x 715mm., with 4pp. 4to publisher's catalogue of views & panoramas folded and pasted to verso, Zurich, [c.1840] § Panorama d'Interlaken, pris depuis la Höhe-Matte, folding lithographed panorama, c.175 x 1090mm., with folding colour plan of Interlaken by Halder, c.420 x 530mm., light spotting to the first, both folding into original boards, rubbed, Interlaken, [c.1840]; and 2 others, Switzerland, 8vo et infra (4)
Hearn (Lafcadio) Japan: An Attempt at Interpretation, half-title, original cloth, fractional bumping to spine extremities, dust-jacket, slight creasing to edges, Japan, 1955 § Lewis (C. S.) Christian Behaviour, first edition, half-title, previous owner's ink initials to front free endpaper, original cloth, dust-jacket, light spotting, slight creasing to edges, 1943 § Economic Advisory Council. Channel Tunnel Committee Report, 2 folding maps at end, one detached and loosely inserted, original paper wrappers, a little rubbed, creasing to edges, 1930 § Yeats-Brown (F.) Golden Horn, half-title, bookplate, original cloth, slight bumping to spine extremities, dust-jacket, loss to spine head, creasing and chipping to edges, 1932; and others, 8vo & 4to (c.90).
Europe.- Panoramas.- Weijer (P.W. van de) Panorama van Utrecht, folding colour lithographed panorama by J.Bos finished by hand, c.80 x 5815mm., occasional light soiling, original cloth, Utrecht, [c.1860] § Stroobant (F.) Panorama du Chemin de Fer de la Vesdre. Liège à Aix-la-Chapelle, folding tinted lithographed illustrated title and panorama with view at head and another mounted on rear pastedown, c.235 x 2200mm., 8pp. text tipped in, original cloth-backed boards with mounted title/illustration, contemporary ink inscription to upper board, Brussels, [c.1853]; and another on the Bosphorus, oblong 8vo (3)
Huxley (Aldous) Prisons, with the "Carceri" Etchings by G.B.Piranesi, number 92 of 212 copies signed by the author, frontispiece and 18 plates, tipped to stubs, light spotting at beginning, small adhesion to lower margin of frontispiece & title, original wrappers, Philadelphia, 1949 § Vitali (Lamberto) Dodici Acquarelli e Disegni di Albert Dürer, number 8 of 450 copies, 12 colour plates, each in folding mount, loose as issued in original drop-back board box, very slightly rubbed, lower corners bumped, Milan, 1970; and 5 others, 4to & folio (7)
British Isles.- Scrope (William) Days and Nights of Salmon Fishing in the Tweed, first edition, half-title, additional tinted lithograph vignette-title and 12 lithograph plates, several hand-coloured, publisher's advertisements to rear, most gatherings loose, a few minor instances of soiling and some light foxing, ink ownership inscription to front pastedown, hinges broken, original green cloth, pictorial gilt with device of otter and salmon (upper) and mermaid fly fishing (lower), spine tone and ends worn, [Wood BSS 53], 8vo, John Murray, 1843.*** First edition of this classic of salmon fishing literature, and recognised as one of the great works of on angling more widely.
![Byron Family.- Hucknall [Tokard] Commission, recording property owners and value, the first entry being that of William Byron](https://cdn.globalauctionplatform.com/3e7721bc-9437-49c2-bd06-b2100119a9ed/a9df542a-232b-407d-a0a8-b210011b4851/468x382.jpg)
Byron Family.- Hucknall [Tokard] Commission, recording property owners and value, the first entry being that of William Byron, fourth Baron Byron, famous for his duel with William Chaworth, manuscript, 1p., a few short tears at folds and very small portions of loss, some very light spotting, lightly browned, 335 x 210mm., 1770; and 3 others, 2 ALs.s both signed Byron including one from Admiral George Anson Byron, seventh Baron Byron, and the infamous 19th century printed facsimile of Lord [George Gordon] Byron's letter denying his authorship of 'The Vampyre', v.s., v.d. (4 pieces). *** First mentioned from the collection of Richard Cotterill.
Normand (Charles) De Vignola der Ambachtslieden, first Dutch edition, half-title, 2 engraved titles and 36 plates, contemporary roan-backed boards, vellum tips, joints split, [BAL 4032, French edition of 1821], Amsterdam, S. de Grebber, 1824 § Wölfer (Marius) Der verbesserte Pisé- und Wellerwandbau nach den neuesten Erfindungen, 28 lithographed plates, lightly browned, original printed blue wrappers, uncut, spine slightly faded, [Not in BAL], Weimar, 1836 § Kugler (Franz) Karl Friedrich Schinkel, engraved portrait, folding facsimile letter, light foxing, later half cloth, original blue printed upper wrapper bound in, with presentation inscription from the author to his friend the art historian Carl Grüneisen (1802-1878) to foot of wrapper, Berlin, 1842 § Vorherr (J.M.C.G.) Andeutungen über die Direktion des öffentlichen Bauwesens in Baiern, 4pp., with folded sheet of 2 lithographed plans of the village of Freudenbach before and after replanning, loose as issued, Munich, 1819, all but the last a little rubbed; and 8 others, German, v.s. (12)*** Normand's discussion of the orders is supplemented by designs of his own for townhouses and villas. Kugler's work on Schinkel is the first biography of the architect, this copy with an interesting association. The last item is a very rare leaflet issued by Johann Michael Christian Gustav von Vorherr (1778-1847), an architect in the service of the Bavarian government and a pioneer of “Landesverschönerung” (landscaped urban planning).
Grew (Nehemiah) Musaeum Regalis Societatis. or A Catalogue & Description Of the Natural and Artificial Rarities Belonging to the Royal Society And preserved at Gresham College... Whereunto is Subjoyned the Comparative Anatomy of Stomachs and Guts, 2 parts in 1, dedication to Royal Society and Daniel Colwall Esq, 31 plates, one folded, lacking portrait frontispiece, ink ownership inscription on title page erased, with some minor damage not affecting text, ms corrections in ink on I3v, M1r, Aa3r, Hh4r, Rr4v, some minor marginal worming to first 4 leaves, marginal foxing and staining, very light toning, bookplate of Robertson Lockett to front pastedown, some spotting to endpapers, contemporary sprinkled calf, neatly and sympathetically rebacked, scuffing at head of spine, rubbing and surface wear to covers, [Osler 2840; Wing G1952], folio, printed by W. Rawlins for the author, [1681].*** Grew (1641-1712) is best known for his important contributions to plant morphology and anatomy. From about 1672, the Royal Society became the focal point of much of Grew's scientific activities and most of his works originated as papers read before the Society. By 1677 he had become one of the Society's secretaries and he was 'requested' to publish this description of the Society's museum - a description which not only lists, but describes in detail, with illustrations, the rarities collected by the Society. The second part, The Comparative Anatomy of Stomachs and Guts, was an important contribution to animal anatomy.
Geological books & maps auction catalogue.- Catalogue de livres et d’une belle collection de cartes géologiques provenant de la biblothèque de feu M. P.-L.-A. Cordier, half-title, occasional spotting or light marking, lightly browned, Paris, Benjamin Duprat, 1861 bound with 2 19th century French publisher's catalogues of scientific books, contemporary textured cloth-backed marbled boards, spine in blind-stamped compartments and titled in gilt, a solid copy, 8vo *** Scarce copy of this sale catalogue for the rich collection of an important figure in the field of Geology. Pierre Louis Antoine Cordier (1777-1861) was a French geologist and mineralogist, who was a founder of The Société géologique de France. He worked at the Muséum national d'histoire naturelle from 1819, when he succeeded Barthélemy Faujas de Saint-Fond to the chair of geology, a position he held until his death. The sale took place in March, 1862, and consisted of 1291 lots. The catalogue includes a substantial life of Cordier and list of his published works. As with all copies there is a gap in the pagination between p.60 (end of the life) and p.[65] (start of the sale).
Bolton (Robert) Mr Bolton's Last and Learned Worke of the Foure last Things, Death, Judgement, Hell, and Heaven, first edition, title within ornate woodcut architectural border, engraved portrait frontispiece, both laid down to sheets, H3 small hole to blank margin and R2 blank margin corner defect, both with paper repairs (obscuring text on leaf rectos), [STC 3243], 1633, bound with Estwick (Nicolas) A learned and godly sermon, preached on the XIX. day of December, anno Dom. MDCXXXI. at the funerall of Mr. Robert Bolton, [STC 10556], 1633, and Bolton (Robert) Two Sermons Preached at Northampton, first gathering soiled, [?STC 3257], 1639, together 3 works in 1, some woodcut initials and ornaments, some light water-staining, endpapers renewed, contemporary calf, rebacked, edges stained red, all three printed by George Miller, 4to.
![Vale Press.- Apuleius (Lucius) De Cupidinis et Psyches..., [one of 310 copies], some light foxing, original holland](https://cdn.globalauctionplatform.com/3e7721bc-9437-49c2-bd06-b2100119a9ed/b7b1f200-eab4-4d5e-99fb-b210011bbdc0/468x382.jpg)
Vale Press.- Apuleius (Lucius) De Cupidinis et Psyches..., [one of 310 copies], some light foxing, original holland-backed boards with printed label on upper cover, uncut, rubbed and soiled, spine fraying, [1901]; The Excellent Narration of the Marriage of Cupide and Psyches, translated by William Adlington 1566, one of 210 copies on paper, printed in red & black, 1897 § Browning (Robert) Dramatic Romances and Lyrics, one of 210 copies, ex-library copy with faint stamp and numbers, 1899, all printed in Vale type, wood-engraved illustrations, borders & decorations by Charles Ricketts, browning to endpapers, the last two original white buckram, uncut, the second soiled with spine browned, [Watry B33, B13 & B26], small folio & 8vo, Vale Press (3)
Mining broadside.- Woman company owner.- [Granting permission to mine coal in Arâches-la-Frasse (Haute-Savoie) to Baroness Françoise-Louise de Warens & Co.], broadside, woodcut decorative initial, manuscript insertions, folds, very small marginal hole, some marginal water-staining, little spotting or light browning, a wide-margined copy, 470 x 325mm., Chambéry, Marc-François Gorrin, [1758]. *** Rare. Warens (1699-1762) was the mistress of Jean-Jacques Rousseau (until around 1754), and was responsible for a number of failed business ventures, including a silk stocking factory. She died in poverty in Chambéry in 1762, of which Rousseau did not learn until six years later.
![Salmon Clubs.- British Isles.- Midland Salmon and Trout Club [Rule Book], maps, some light spotting, original printed wrapper](https://cdn.globalauctionplatform.com/3e7721bc-9437-49c2-bd06-b2100119a9ed/d53567b8-a0b3-40a0-ba93-b210011ac02f/468x382.jpg)
Salmon Clubs.- British Isles.- Midland Salmon and Trout Club [Rule Book], maps, some light spotting, original printed wrappers, a few small marks, privately printed, 1935 § Wigan (Michael) Grimersta: the Story of a Great Fishery, [one of 650 copies], photographic and other illustrations, original cloth, Isle of Lewis, privately printed, 2000, [together Wood BSS 164 & 163], v.s. (2)*** First mentioned: Ephemeral booklets like this are rare. The Midland Salmon and Trout Club was exclusively limited to 50 members, with water on the Severn, Dee, as well as the Blythe and Onny Fisheries. Neville Chamberlain MP is listed as President. Second mentioned: A history of the famous Grimersta Estate founded 1924, a syndicate of 25 members that controls the Grimersta salmon fishery on the Isle of Lewis in the Outer Hebrides. Poet Laureate and angler Ted Hughes was also a member.
![[Davy (Sir Humphry)] Salmonia: or Days of Fly Fishing, first edition, a few scattered instances of light foxing, original dra](https://cdn.globalauctionplatform.com/3e7721bc-9437-49c2-bd06-b2100119a9ed/2be5361e-9a0d-4ce8-8822-b210011a7dca/468x382.jpg)
[Davy (Sir Humphry)] Salmonia: or Days of Fly Fishing, first edition, a few scattered instances of light foxing, original drab boards with paper label to spine, covers detached (but intact), spine cracked but stitching holding firm, housed within modern custom-made morocco-backed drop-back box, 8vo, John Murray, 1828.*** An important early work on salmon fishing, which is recognised as a classic of angling literature.
Loudon (John Claudius) A Treatise on Forming, Improving, and Managing Country Residences..., 2 vol., first edition, half-titles, 32 engraved plates, one double-page, one with overslip, binder's/errata leaf at end of vol.2, light water-staining to plates in vol.1, bookplate of Edward Brice Pearse, old Marks & Co. receipt from 1945 loosely inserted, contemporary half calf, rebacked preserving old spines, corners worn, [BAL 1964], 1806; The Gardener's Magazine, vol.1-6, mixed set, hand-coloured plate, illustrations, occasional spotting, vol.5 with some water-staining, all contemporary half calf, vol.1-4 & 6 uniform half green calf, by George May of Evesham with his ticket, gilt crest & monogram of Edward Rudge to head of spines, spines a little faded, 1826-30, all rubbed; and 26 others, Loudon, mostly Gardener's Magazine (some duplicates and 19 issues of the New Series in original parts 1834-36), 4to & 8vo (34)*** Loudon’s Gardener’s Magazine was the first periodical devoted exclusively to garden subjects and covers garden design, architecture and technology as well as planting and propagation, while his descriptions of visits to English country houses with surrounding gardens and parkland are of particular interest.
Binding.- Genealogy.- Vitignano (Cornelio) Vera genealogia e discendenza della serenissima et invittissima prosapia d'Austria, first edition, collation: A-E4, title with woodcut arms recto and verso, woodcut head- and tail-pieces, decorative initials and printer's device to final verso, sig. D lightly browned, some spotting or light staining, handsome 17th century red morocco richly gilt, with the arms of Cardinal Vidone, covers with central arms within various foliage, sawtooth or filet borders, spine in four compartments, each with a central star, the uppermost compartment with a later ink number 8, lacking ties, spine ends and corners skilfully restored, little spotting, 4to (binding 214 x 154; text block 208 x 136mm.), Naples, Giovanni Giacomo Carlino for Enrico Bacco, 1599. *** Handsome binding for Cardinal Vidone on a work tracing the genealogy of the House of Austria. Vidone having studied at Pavia and Perugia arrived in Rome during the pontificate of Pope Clement VIII (1592-1605). His rise through the church hierarchy was rapid, eventually earning the important post of Treasurer General of the Apostolic Chamber, and Commissary General of the papal army in 1625, thereby effectively running the entire administration of papal domains. He was made a cardinal on 30th August, 1627. His short period as a cardinal allows us to date this binding quite precisely to between 1627 and the year of his death in 1632.
Lead sheeting.- Remond de Saint-Albine (Pierre) Mémoire sur le Laminage du Plomb, first edition, woodcut ornaments, Macclesfield copy with embossed stamp to title and South Library bookplate, contemporary vellum-backed boards, spine titled in manuscript, Paris, Pierre Prault, 1731; another edition, third edition (first illustrated edition), title with engraved vignette of foundry, 3 folding engraved plates by Dheulland, some light spotting or soiling, contemporary marbled wrappers, uncut, spine repaired, Paris, Jacques Guerin, 1746 § [Le Normant (A., suppliers of rolled lead sheeting)] Mémoire sur le Plomb Laminé qui se fabrique a Paris et a Déville-les-Rouen, ?first edition, half-title (soiled), stitched, Orleans, 1822, 4to & 8vo (3)*** An interesting group of works on rolled lead sheeting for roofing and gutters. Rolled lead had been in use in Britain since 1670 but there was resistance in France from the guild of plumbers. Remond de Sainte-Albine proposes the advantages of rolled sheet versus cast lead and explains the manufacturing techniques. The final work proves that the argument was still ongoing nearly a hundred years later. We have been unable to trace another copy of this edition although there are a few copies in libraries of an 1807 Parisian edition by Hénée.
Petrarchan love poems.- Contile (Luca) Le rime di messer Luca Contile divise in tre parti, con discorsi, et argomenti di m. Francesco Patritio et m. Antonio Borghes, first edition, woodcut printer's device to title, head-pieces and historiated initials, some worming in text, occasional spotting or light staining, lightly browned, 17th century sheep, gilt spine in compartments and with red morcoco label, joints starting, but holding firm, spine ends and corners worn, rubbed and extensively scuffed, [Gamba 1333; Fontanini I, p. 498; EDIT 16 CNCE 13182], 8vo, Venice, Francesco Sansovino & Co., 1560. *** Handsomely printed first edition of these love poems in the style of Petrarch, written by this Italian poet, playwright, historian and diplomat.
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