A 'HAPPY DIAMOND' BRACELET, BY CHOPARDThe yellow gold fancy-link bracelet suspending a glazed heart-shaped charm, containing a collet-set 'floating' brilliant-cut diamond, in 18K gold, signed Chopard & LUC, numbered, length 19.5cmChopard’s Happy Diamonds collections are synonymous with playful fun. The dancing, sparkling design was first created in 1976 by Ronald Kurowski, a designer at Chopard who tried to capture the magic and light of water droplets glinting and gleaming in the light. To do this, he encased a group of loose diamonds between two sapphire crystals and contained the entire in a gold bevelled capsule, thus giving the appearance of loose shimmering diamonds against bare skin. When Karin Scheufele (co-owner at the time of Chopard and mother of the current Co-Presidents) saw the design, she is said to have exclaimed “These diamonds are happiest when they are free”, thus bestowing the iconic name.Although the design was originally created for timepieces, it wasn’t long before it earned its own jewellery line. Caroline Scheufele, Artistic Director and Co-President of Chopard, first used the Happy Diamonds in the tummy of a clown pendant which she designed for herself. The piece turned out to be such a success that she also produced an elephant, a ladybird, a teddy bear and eventually the heart, leading in 1985 to the launch of the Happy Diamonds jewellery line. This also marked the beginning of high jewellery by Chopard.Since then, Caroline Scheufele has continued to breathe new life and glamour into the world of high jewellery. A keen film enthusiast, in 2007 she negotiated a partnership with the Cannes International Festival, making Chopard the official sponsor of the event and giving the house the opportunity to create a new high jewellery collection each year to adorn the stars of the red carpet at Cannes. The partnership is now in its 21st year and Caroline remains at the helm, creating unique works of art for and inspired by the women who wear them.
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A 'HAPPY DIAMOND' PENDANT NECKLACE, BY CHOPARDThe gold belcher-link chain, decorated with a glazed heart-shaped pendant with a collet-set 'floating' brilliant-cut diamond, suspending the polished gold letters 'YOU', mounted in 18K gold, signed Chopard & LUC', numbered, necklace length 43.5cm, pendant length 7.8cmAccompanied with its certificate of originChopard’s Happy Diamonds collections are synonymous with playful fun. The dancing, sparkling design was first created in 1976 by Ronald Kurowski, a designer at Chopard who tried to capture the magic and light of water droplets glinting and gleaming in the light. To do this, he encased a group of loose diamonds between two sapphire crystals and contained the entire in a gold bevelled capsule, thus giving the appearance of loose shimmering diamonds against bare skin. When Karin Scheufele (co-owner at the time of Chopard and mother of the current Co-Presidents) saw the design, she is said to have exclaimed “These diamonds are happiest when they are free”, thus bestowing the iconic name.Although the design was originally created for timepieces, it wasn’t long before it earned its own jewellery line. Caroline Scheufele, Artistic Director and Co-President of Chopard, first used the Happy Diamonds in the tummy of a clown pendant which she designed for herself. The piece turned out to be such a success that she also produced an elephant, a ladybird, a teddy bear and eventually the heart, leading in 1985 to the launch of the Happy Diamonds jewellery line. This also marked the beginning of high jewellery by Chopard.Since then, Caroline Scheufele has continued to breathe new life and glamour into the world of high jewellery. A keen film enthusiast, in 2007 she negotiated a partnership with the Cannes International Festival, making Chopard the official sponsor of the event and giving the house the opportunity to create a new high jewellery collection each year to adorn the stars of the red carpet at Cannes. The partnership is now in its 21st year and Caroline remains at the helm, creating unique works of art for and inspired by the women who wear them.
A PAIR OF 'HAPPY DIAMOND' PENDENT EARRINGS, BY CHOPARDEach glazed heart-shaped surmount, featuring a floating brilliant-cut diamond, suspending the word 'YOU', mounted in 18K gold, signed Chopard, numbered, French assay marks, length 7cmChopard’s Happy Diamonds collections are synonymous with playful fun. The dancing, sparkling design was first created in 1976 by Ronald Kurowski, a designer at Chopard who tried to capture the magic and light of water droplets glinting and gleaming in the light. To do this, he encased a group of loose diamonds between two sapphire crystals and contained the entire in a gold bevelled capsule, thus giving the appearance of loose shimmering diamonds against bare skin. When Karin Scheufele (co-owner at the time of Chopard and mother of the current Co-Presidents) saw the design, she is said to have exclaimed “These diamonds are happiest when they are free”, thus bestowing the iconic name.Although the design was originally created for timepieces, it wasn’t long before it earned its own jewellery line. Caroline Scheufele, Artistic Director and Co-President of Chopard, first used the Happy Diamonds in the tummy of a clown pendant which she designed for herself. The piece turned out to be such a success that she also produced an elephant, a ladybird, a teddy bear and eventually the heart, leading in 1985 to the launch of the Happy Diamonds jewellery line. This also marked the beginning of high jewellery by Chopard.Since then, Caroline Scheufele has continued to breathe new life and glamour into the world of high jewellery. A keen film enthusiast, in 2007 she negotiated a partnership with the Cannes International Festival, making Chopard the official sponsor of the event and giving the house the opportunity to create a new high jewellery collection each year to adorn the stars of the red carpet at Cannes. The partnership is now in its 21st year and Caroline remains at the helm, creating unique works of art for and inspired by the women who wear them.
A NOVELTY BROOCH, BY FREDThe whimsical leopard, textured gold to represent fur, with black enamel spots to the body and emerald eyes, mounted in 18K gold, signed Fred, maker's marks, French assay marks, length 4.3cmFred Samuel (1908-2006) established his jewellery brand in 1936 in Paris, where he spent much of his professional life. Originally from Buenos Aires, Fred imbued his designs with the energy of South America, saying my creations are inspired by the life, the light, the movement, the energy. His passion for life and light is expressed in his jewellery through the use of coloured gemstones and playful motifs. Fred's success as a jewellery designer is attested to by the clients for whom he worked. For example, he supplied jewellery to the royal family of Monaco, including Princess Grace, and more famously, he designed the iconic 23 heart-cut ruby necklace interlaced with diamonds, which was gifted to Julia Roberts by Richard Gere in the film Pretty Woman.
Ozanam Jacques. Récréations mathématiques et physiques, qui contiennent les problêmes & les questions les plus remarquables, & les plus propres à piquer la curiosité... Nouvelle édition totalement refondue & considérablement augmentée... Tome premier [- quatrieme]. Paris, Claude Antoine Jombert, 1778. Un'opera in 4 volumi in-8° (mm 215x140). I. [4], xvj (di xviii, manca fascicolo b), 464 pagine. 20 tavole calcografiche ripiegate in fine numerate in due serie, 1-3 (include una tavola numerata 2bis), e 1-16. Qualche diagramma e tabella nel testo. Testatine silografiche. II. [4], 432 pagine. 28 tavole calcografiche ripiegate in fine, numerate in due serie (1-12 e 1-16). Testatina silografica. III. [4], 463, [1] pagine. 33 tavole calcografiche ripiegate in fine, numerate in 5 serie (1-5; 1-22 con numeri 14-15 sulla stessa tavola; 1-4; 1-2; 1). Testatina silografica. IV. [4], 523, [1] pagine. 8 tavole calcografiche numerate ripiegate in fine. Testatina silografica. Esemplare in barbe, qualche fioritura, qualche carta con piccole macchie. Legatura omogenea coeva in cartonato, titoli manoscritti al dorso. Tracce di polvere e qualche lieve alone ai piatti. Bel set in legatura uniforme in cartonato coevo e completo di tutto l'apparato illustrativo di tavole incise su rame, di quest'opera del matematico francese Jacques Ozanam (1640-1717), pubblicata per la prima volta nel 1694. L'esemplare presenta la Nouvelle édition rivista da Jean-Étienne Montucla (1725-1799): suo il monogramma al frontespizio 'M. de C. G. F.' (si veda Barbier I, 687 e 691). Le Récréations sono l'opera più diffusa e fortunata di Ozanam, di vasta fortuna editoriale anche nel mondo anglosassone nella traduzione inglese.One work in 4 volumes, 8° (215x140 mm). I. [4], xvj (of xviii, lacking quire b), 464 pages. 20 folding copper engraved plates, numbered 1, 2, 2bis, 3 and 1-16. Diagrams and tables in the text. Woodcut head-pieces. II. [4], 432 pages. 28 folding copper engraved plates, numbered 1-12 and 1-16. Woodcut head-piece. III. [4], 463, [1] pages. 33 folding copper engraved plates, numbered 1-5; 1-22 (nos. 14 and 15 on the same plate), 1-4, 1-2, 1. Woodcut head-piece. IV. [4], 523, [1] pages. 8 folding copper engraved plates. Woodcut head-piece. Uncut, some foxing, a few leaves with small stains. Contemporary boards, spine with inked title. Light dusted and spotted. Fine set - in its contemporary boards and complete of all the copper engraved plates - of this work by the French mathematician Jacques Ozanam (1640-1717), first printed in 1694. The copy presents the Nuovelle édition revised by Jean-Étienne Montucla (1725-1799): his monogram 'M. de C. G. F.' is printed on the title-page (see Barbier I, 687 and 691). The Récréations is the most famous work by Ozanam, and enjoyed a wide popularity.
Chimica/Chemistry. Thénard Louis Jacques. Traité de chimie élémentaire, théorique et pratique suivi d'un essai sur la philosophie chimique et d'un précis sur l'analyse... Atlas. Paris, Crochard, 1835.In-4° oblungo (mm 205x298). [2], 22 pagine. 21 tavole calcografiche numerate da 1 a 20 (la numerazione comprende i numeri 9 e 9 bis). Qualche fioritura, lievemente brunito. Cartonato editoriale stampato in nero ai piatti, titoli manoscritti al dorso. Tracce di polvere e qualche macchia ai piatti, rotture e mende al dorso, abrasione al piatto anteriore.Come si legge a pagina 1 l'Atlas contiene la Description, par ordre alphabétique, des ustensiles et de tous les agens mécaniques que l'on doit se procurer dans un laboratoire de chimie, et en général des divers appareils que représent les planches de l'ouvrage: questa dettagliata descrizione della strumentazione era stata inclusa, nelle precedenti edizioni del Traitè de chimie di Thénard, nel Tomo quarto (vedi lotto precedente). "Plates and detailed descriptions of apparatus were provided, and in later eds. were published as a separate volume" (cit. DSB, XIII, 313). Oblong 4° (205x298 mm). [2], 22 pages. 21 copper engraved plates numbered 1-9, 9bis, 10-20. Foxing, light browning. Publisher's boards printed in black, inked title on the spine. Covers stained and dusted, the upper one rather rubbed. Spine worn. As stated on page 1, the Atlas contains the "Description, par ordre alphabétique, des ustensiles et de tous les agens mécaniques que l'on doit se procurer dans un laboratoire de chimie, et en général des divers appareils que représent les planches de l'ouvrage": in the previous editions of Thénard's Traitè de chimie, this detailed description of chemical tools had been included in fourth volume (see previous lot). "Plates and detailed descriptions of apparatus were provided, and in later eds. were published as a separate volume" (DSB, XIII, 313).
Euclides. Degli Elementi di Euclide. Gli otto libri geometrici ad uso del Collegio Militare di Verona... in questa quarta edizione accresciuti del trattatello sopra le figure isoperimetre del rinomatissimo padre Pietro Cossali... Verona, Eredi Moroni, 1805.In-8° (mm 230x161). VIII (la prima carta bianca, in segnatura, usata come contropiatto), 319, [1] pagine. Vignetta silografica al frontespizio, raffigurante alcuni strumenti geometrici. Numerosi diagrammi incisi su legno nel testo. Testatine e finalini silografici. Esemplare in buono stato di conservazione, a fascicoli chiusi. Leggere bruniture, qualche fallo di carta, il margine bianco di alcune carte con lievi danni e tracce di polvere. Brossura coeva, dorso liscio con titolo in inchiostro su tassello cartaceo. Piatti con tracce di polvere e aloni, labbri lievemente danneggiati. Etichetta cartacea del libraio veronese Francesco Giustini Dal Dosso al recto della carta di guardia posteriore. Nota di possesso tardo ottocentesca 'Vincenzo Stanga' al piatto anteriore.Quarta e aumentata edizione della traduzione italiana degli Elementa di Euclide curata da Antonio Maria Lorgna, Francesco Ventretti, e Giovanni Battista Bertolini, docenti presso il Collegio Militare di Verona, e apparsa originariamente nel 1766. Il volume del 1805 include, quale appendice, una breve memoria del matematico Pietro Cossali (1748-1815) sulle figure isoperimetriche (cc. T7v-V8r). L'esemplare qui offerto presenta inoltre un dettaglio di grande interesse: alla carta di guardia posteriore è applicata l'etichetta del libraio Francesco Giustini Dal Dosso, attivo 'in Verona a S. Tommaso, dove trovasi un discreto assortimento di Libri stampati; vende anche Carta d'ogni sorta, e Libri rigati, all'ingrosso ed al minuto; nonchè Aghi da pomolo d'ogni sorta, all'ingrosso', con la data a stampa '1838', e l'indicazione del prezzo del volume, acquistabile per 2 lire e 75 centesimi.8° (230x161 mm). VIII (the first leaf blank, included in foliation, used as pastedown), 319, [1] pages. Woodcut vignette on the title-page, depicting geometrical instruments. Numerous woodcut diagrams in the text. Woodcut head- and tail-pieces. A good copy, quires unopened. Light browning; a few paper flaws, the blank margins of some leaves slightly frayed and soiled. Contemporary wrappers, smooth spine with inked title on paper label. Covers rather soiled and spotted, board edges slightly frayed. Bookseller paper ticket of the bookseller from Verona Francesco Giustini Dal Dosso on the recto of the rear flyleaf. Late 19th-century ownership inscription 'Vincenzo Stanga' on the upper cover.Fourth and enlarged edition of the Italian version of Euclid's Elementa edited by Antonio Maria Lorgna, Francesco Ventretti, and Giovanni Battista Bertolini, professors at the Military College of Verona, and first appeared in 1766. The 1805 edition also contains, as an appendix, a brief essay by the mathematician Pietro Cossali (1748-1815) on isoperimetric figures (fols. T7v-V8r). As an interesting feature, the present copy bears on the rear flyleaf the paper ticket of the bookseller Francesco Giustini Dal Dosso, active 'in Verona a S. Tommaso', with the printed date '1838' and the manuscript price notice of the volume, 2 lire and 75 centesimi.
Fisica/Physics. Brisson Mathurin Jacques. Trattato elementare, ovvero Principj di fisica fondati sulle nozioni piu certe tanto antiche, che moderne, e confermati dall'esperienza... Traduzione dal francese... Seconda edizione veneta riveduta, ed emendata sull'originale. Tomo primo [-quinto]. Venezia, Lorenzo Baseggio, 1799-1800. Un'opera in 5 tomi (qui legati in 3 volumi) in-8° (mm 190x120). Tomo I. XII, 204 pagine. 4 tavole calcografiche numerate ripiegate in fine. Tomo II. 253, [3] pagine. 11 tavole calcografiche numerate I-XI, ripiegate in fine. Tomo III. 376 pagine. 16 tavole calcografiche numerate I-XVI, ripiegate in fine. Tomo IV. 468 [i.e. 472] pagine. 15 tavole calcografiche numerate I-XV, ripiegate in fine. Tomo V. 142, [2] pagine. Qualche fioritura, gora al frontespizio del Tomo quarto, qualche traccia di polvere e lieve brunitura. Legatura omogenea coeva in mezza pelle, carta decorata blu ai piatti, titoli in oro su tassello ai dorsi, tagli spruzzati in rosso. Abrasioni ai piatti con qualche menda di carta.SI AGGIUNGE: Brisson Mathurin Jacques. Elementi o principj fisico-chimici destinati a servire di continuazione ai principj di fisica, ad uso delle scuole centrali di Parigi... Traduzione dal francese riveduta poscia sull'originale da F. Dupré. Venezia, Lorenzo Baseggio, 1803.In-8° (mm 190x120). 531, [1] pagine. 6 tavole calcografiche numerate I-VI, ripiegate in fine. Qualche lieve fioritura e brunitura. Legatura uguale alla precedente.Set in legatura uniforme di queste due opere di Mathurin Jacques Brisson (1723-1806), in traduzione italiana: la seconda, come dichiara anche il titolo, è concepita come continuazione della prima. Lo scienziato e naturalista francese, già titolare della cattedra di Fisica Sperimentale presso il Collegio di Navarra, fu anche un celebre ornitologo.Brisson Mathurin Jacques. Trattato elementare, ovvero Principj di fisica fondati sulle nozioni piu certe tanto antiche, che moderne, e confermati dall'esperienza... Traduzione dal francese... Seconda edizione veneta riveduta, ed emendata sull'originale. Tomo primo [-quinto]. Venezia, Lorenzo Baseggio, 1799-1800. One work in 5 tomes, (bound here in 3 volumes), 8° (190x120 mm). Tome I. XII, 204 pages. 4 folding numbered engraved plates. Tome II. 253, [3] pages. 11 folding engraved plates, numbered I-XI. Tome III. 376 pages. 16 folding engraved plates, numbered I-XVI. Tome IV. 468 [i.e. 472] pages. 15 folding engraved plates, numbered I-XV. Tome V. 142, [2] pages. Foxing, waterstain to the title-page of vol. 4, a few dust traces and light browning. Contemporary half-leather, blue covers, gilt titles on lettering-piece on the spines, speckled red edges. Covers damaged with a few losses.ADDING: Brisson Mathurin Jacques. Elementi o principj fisico-chimici destinati a servire di continuazione ai principj di fisica, ad uso delle scuole centrali di Parigi... Traduzione dal francese riveduta poscia sull'originale da F. Dupré. Venezia, Lorenzo Baseggio, 1803.8° (190x120 mm). 531, [1] pages. 6 folding engraved plates, numbered I-VI. Light foxing and browning. Binding as the previous one.Complete set of these two works by Mathurin Jacques Brisson (1723-1806), in Italian translation: the second, as its title states, is conceived as a continuation of the first one. The French scientist and naturalist Brisson, professor of Experimental Physics at the College of Navarre, was also a famous ornithologist.
Strumenti scientifici/Scientific Instruments. Clarke Edward M. Directions for using Philosophical Apparatus in Private Research and Public Exhibitions... London, published by the author, [1840]. In-8° (mm 223x140). vii, [1], 72 pagine. Vignetta al frontespizio e illustrazioni nel testo. Lievemente brunito. Brossura editoriale stampata in nero e illustrata al piatto anteriore. Tracce di sporco e qualche alone, strappi ai bordi dei piatti, rotture e mende al dorso.Edizione originale di questo opuscolo presentato dalla stampa dell'epoca come prima parte di un'opera molto attesa, "much-needed and most valuable contribution to practical science" (si veda la rivista Mechanics Magazine, XXXIII, 1840, p. 478). "Clarke è un abile meccanico di Londra che ha un laboratorio ove si fabbricano strumenti ad uso della fisica e delle altre scienze naturali. Egli è anche dimostratore nella grandiosa collezione di macchine, strumenti ed apparati della Galleria Vittoria a Londra. Talchè ciò che dice l'autore di questo libro ha per fondamento la propria sua sperienza e la pratica che ha acquistato nella fabbricazione e nella manipolazione degli apparati. L'apparato di cui qui fa conoscere in ogni sua parte ed in ogni caso l'uso, è il microscopio a gas " (cit. Annali di fisica, chimica e matematiche col bullettino dell'industria meccanica e chimica, XII, 1843, p. 324). 8° (223x140 mm). vii, [1], 72 pages. Engraved vignette on the title-page, illustrations in the text. Light browning. Pictorial publisher's wrappers. A few soiling and spotting, some tears to the covers, spine worn. First edition of this booklet, described on the contemporary journals as the first part of a "much-needed and most valuable contribution to practical science" (see Mechanics Magazine, XXXIII, 1840, p. 478). It describes some scientific instruments, especially the gas microscope.
Chimica/Chemistry. Lassaigne Jean Louis. Abrégé élémentaire de chimie considérée comme science accessoire à l'étude de la médecine, de la pharmacie et de l'histoire naturelle... Duexième édition revue, corrigée et augmentée de la synonymie chimique des corps simples et composés les plus employés. Tome I [-II]. Paris, Béchet Jeune, 1836.Un'opera in 2 volumi in-8° (mm 217x135). I. XVI, 611, [1], 32 (di catalogo editoriale) pagine. II. X, 683, [3] pagine. 4 tabelle ripiegate, di cui una tra le pagine 552-553 e 3 tra le pagine 664-665. In barbe, intonso. Fioriture, qualche brunitura. Brossura editoriale omogenea in carta verdina stampata in nero ai piatti e al dorso. Piccoli strappi sui bordi dei piatti, qualche alone e traccia di polvere, minime mende ai dorsi. SI AGGIUNGE: Lassaigne Jean Louis. Abrégé élémentaire de chimie considérée comme science accessoire à l'étude de la médecine, de la pharmacie et de l'histoire naturelle... Duexième édition revue, corrigée et augmentée... Atlas. Paris, Béchet Jeune, 1836.In-4° (mm 280x175). [2] pagine (frontespizio, bianco al verso). 6 tavole calcografiche ripiegate. 15 tavole calcografiche finemente colorate a mano impresse su carta forte di colore grigio-bruno. Fioriture, bruniture. Brossura editoriale in carta verdina stampata in nero ai piatti e al dorso, uguale a quelle dei volumi di testo. Qualche strappo sui bordi dei piatti, aloni e tracce di polvere, rotture e mende ai dorsi. Esemplare estremamente raro a trovarsi completo dei 2 volumi di testo e dell'Atlante che compongono questo manuale di chimica di Jean Louis Lassaigne (1800-1859): lo scienziato dà il nome al Saggio di Lassaigne, un test chimico che permette di individuare elementi come l'azoto, lo zolfo e gli alogenuri organici. Lassaigne Jean Louis. Abrégé élémentaire de chimie considérée comme science accessoire à l'étude de la médecine, de la pharmacie et de l'histoire naturelle... Duexième édition revue, corrigée et augmentée de la synonymie chimique des corps simples et composés les plus employés. Tome I [-II]. Paris, Béchet Jeune, 1836.One work in 2 volumes, 8° (217x135 mm). I. XVI, 611, [1], 32 (of advs.) pages. II. X, 683, [3] pages. 4 folding tables (1 between pages 552-553; 3 between pages 664-665). Uncut, quires unopened. Foxing, some brownings. Light green publisher's wrappers printed in black. Short tears to the covers, some spots and traces of dust, small losses to the spines. ADDING: Lassaigne Jean Louis. Abrégé élémentaire de chimie considérée comme science accessoire à l'étude de la médecine, de la pharmacie et de l'histoire naturelle... Duexième édition revue, corrigée et augmentée... Atlas. Paris, Béchet Jeune, 1836.4° (280x175 mm). [2] pages (title-page, verso blank ). 6 folding copper engraved plates. 15 hand-coloured copper engraved plates, printed on gray-brown strong paper. Foxing, browning. Publisher's wrappers as for the previous volumes. A few tears to the covers, a few dusting and spotting. Spine worn. The importand textbook by the French chemist Jean Louis Lassaigne (1800-1859), here offered in a set exceptionally complete with the volume of text and the Atlas. The author is well known for the Lassaigne's test, a method of testing for the presence of a halogen, nitrogen, or sulphur in an organic compound, so called after him.
Matematica/Mathematics. Belidor Bernard Forest de. Nouveau cours de mathématique, à l'usage de l'Artillerie et du Génie, où l'on applique les parties les plus utiles de cette science à la théorie & à la pratique de différens sujets qui peuvent avoir rapport à la guerre... Nouvelle édition, corrigée et considérablement augmentée. Paris, Charles-Antoine Jombert, 1757.In-4° (mm 253x193). xxxii, 656, manca c.[chi greco]1 contenente l'approvazione della censura e il Privilege du Roi. 34 tavole calcografiche ripiegate numerate in fine. Testatina incisa su rame, testatine e finalini silografici. Qualche fioritura e traccia di polvere. Legatura francese coeva in vitello agli acidi, titoli e fregi in oro al dorso a 5 nervi, contropiatti e sguardie in carta decorata, tagli marmorizzati. Abrasioni ai bordi dei piatti e agli angoli, cerniere usurate con qualche minima menda. Seconda edizione, rivista e arricchita, di questo testo pubblicato per la prima volta nel 1725, composto ad uso dei cadetti di artiglieria della Scuola di La Fère dove l'autore - l'ingegnere militare francese Bernard Forest de Belidor (1697-1761) - era professore di matematica.4° (253x193 mm). xxxii, 656, wanting fol.[chi]1 including the approval of the censure and the Privilege du Roi. 43 folding numbered engraved plates. Copper engraved head-piece, woodcut head and tail-pieces. Light foxing and dust traces. Contemporary French mottled calf, gilt titles and decorations on the spine with 5 raised-bands, decorated pastedowns and flyleaves, marbled edges. Covers and corners rubbed, joints damaged with a few losses.Second and significantly enlarged edition of this textbook for artillery cadets and engineers, first published in 1725. This Cours was the first important work written by the noted French military engineer Bernard Forest de Belidor (1697-1761), professor of mathematics at the Artillery School at La Fère.
Meccanica/Mechanics. Gabba Alberto. Meccanica elementare. Lezioni... Brescia, Tipografia Valotti, 1831. In-8° (mm 211x141). XV, [1], 376 pagine. Esemplare a fascicoli chiusi, mancante delle 5 tavole piegate che corredano l'edizione. Leggere fioriture marginali, i margini bianchi di alcune carte bruniti. Brossura editoriale originale stampata in nero, piccoli aloni e tracce di polvere. Manca la copertina posteriore, danni al dorso e ai labbri. Prima edizione del manuale di meccanica redatto da Alberto Gabba (1794-1868), tra il 1824 e il 1841 docente di matematica presso il Regio Liceo di Brescia, e comprendente ampie nozioni di meccanica celeste. Trasferitosi a Milano, nel 1843 ottenne la cattedra di Matematica pura presso l'Università di Pavia.8° (211x141 mm). XV, [1], 376 pages. Lacking the 5 folding engraved plates, otherwise copy in good condition, quires unopened. Very light foxing in places, the blank margins of a few leaves frayed. Publisher's wrappers printed in black, spotted and dusted. Lower cover wanting, spine damaged. Board edges rather frayed.First edition of the handbook on mechanics published by Alberto Gabba (1794-1868), including a large section on celestian mechanics. Gabba lectured mathematics in Brescia between 1824 and 1841, and from 1843 held the chair for Pure Mathematics at the University of Pavia.
Ingegneria Idraulica/Hydraulic Machines Engineering. Prony Gaspard Clair Francois Marie Riche de. Nouvelle architecture hydraulique, contenant l'art d'élever l'eau au moyen de différentes machines, de construire dans ce fluide, de le diriger, et généralement de l'appliquer, de diverses manieres, aux besoins de la société... Premiere [-seconde] partie... Paris, Pierre e Firmin Didot, 1790-1796.Un'opera in 2 volumi in-4° (mm 314x234 mm). I. xij, 621, [3], 72 pagine. Le carte A2, G1, K1, P2, S2, Z3, Mm3, Nn4, Zzz1 sono cancellans. 15 tavole incise numerate e ripiegate, incise da Robert Bénard (qualche brunitura; qualche piccolo danno ai margini esterni bianchi). Numerose tabelle nel testo. II. Due parti in un volume. [1] (di 2, la carta congiunta bianca eliminata in tipografia), 203, [1], 38 pagine. Presente la carta bianca E4. In questo esemplare la seconda parte è legata a precedere la prima. 37 [i.e. 38] tavole incise ripiegate, numerate 16-52 (alcune firmate dall'incisore L. Geoffroy); sono inoltre presenti due tavole supplementari, la prima delle quali tratta da un fascicolo del Journal de l'Ecole Polytechnique (qualche brunitura; margini esterni bianchi lievemente danneggiati, qualche strappetto senza alcuna perdita della superficie grafica). Numerose tabelle nel testo. A entrambi i frontespizi marca editoriale incisa su legno. Esemplari in barbe, completi di tutte le tavole. Cartonato coevo blu, dorsi lisci. Piatti in più punti abrasi, labbri dei piatti e angoli danneggiati. Cerniere fessurate, alcune mancanze al dorsi, in particolare a quello del secondo volume. Ai dorsi segnatura tardo ottocentesca su tassello in carta.Una delle più importanti opere dedicate all'idraulica e alle macchine idrauliche date alle stampe nel tardo Settecento. L'autore Gaspard Prony (1755-1839; vedi anche lotto 35) fu ingegnere di chiara fama, e insegnò presso la prestigiosa Ecole Nationale des Ponts et Chaussés, la più antica scuola di ingegneria del mondo. Di particolare interesse il secondo volume della Nouvelle architecture hydraulique, che offre la dettagliata descrizione di numerose 'machines à feu', ed è corredato di un ricco apparato illustrativo. One work in 2 volumes, 4° (314x234 mm). I. xij, 621, [3], 72 pages. Fols. A2, G1, K1, P2, S2, Z3, Mm3, Nn4, Zzz1 are cancels. 15 numbered folding plates, engraved by Robert Bénard (a few browned along folds, blank outer margins slightly frayed). Numerous tables in the text. II. Two parts in one volume. 1 of [2, the conjugate blank leaf cut away by the printer], 203, [1], 38 pages. Complete with fol. E4 blank. In this copy the second part is bound before the first one. 37 [i.e. 38] folding engraved plates, numbered 16-52 (some are signed by the engraver L. Geoffroy); plus 2 folding engraved plates numbered 1-2, the first one taken from the Journal de l'Ecole Polytechnique (some browning, blank margins frayed, a few short tears not affecting the engraved surface). Numerous tables in the text. Woodcut publisher's device on both title-pages. Copy in very good condition, uncut and complete with all the plates. Light browning and spotting; minor marginal waterstains; some paper flaws. Contemporary blue boards, smooth spines. Covers rubbed, board edges and corners worn. Joints and extremities of spines cracked; upper portion of the spine of vol. 2 lacking. Late 19th-century shelfmark inked on paper label to the spines.One of the most influential works on hydraulics and hydraulic machines published in the late 18th century. The author Gaspard Prony (1755-1839; see lot 35) was a noted engineer, and taught at the celebrated Ecole Nationale des Ponts et Chaussés, the first formal engineering school in the world. Especially interesting is the second volume of the Nouvelle architecture hydraulique, which contains the detailed description of numerous 'machines à feu', supplemented with a rich illustrative apparatus.
![Idraulica/Hydraulics. Cocconcelli Antonio. Istituzioni d'idraulica teorico-pratica... Volume I [-III]. Parma, stamperia Rosse](https://cdn.globalauctionplatform.com/60593b03-ed8f-44b1-85b0-a99e00b8dce0/4c3d7169-dfa3-4abb-8326-a99e00ba4180/468x382.jpg)
Idraulica/Hydraulics. Cocconcelli Antonio. Istituzioni d'idraulica teorico-pratica... Volume I [-III]. Parma, stamperia Rossetti, 1832-1837.Un'opera in 3 volumi in-8° (mm 235x160). I. (in tre fascicoli con paginazione continua). X, 1-192 pagine. 2 tavole calcografiche ripiegate numerate I-II; 193-384 pagine. 1 tavola calcografica ripiegata numerata III; 385- 610, [6] pagine. 3 tavole calcografiche ripiegate in fine, numerate IV-VI. II. XXVII, 299, [1] pagine. [1] tavola calcografica ripiegata in fine. III. XIII, 635, [1] pagine. 11 tavole calcografiche ripiegate in fine numerate I-XI e ritratto inciso dell'Autore in antiporta realizzato da A. Rossena e datato 1836. In barbe, poche lievi fioriture. Brossura editoriale omogenea in carta viola, stampata in nero ai piatti e al dorso. Qualche lieve alone e minimi strappi ai bordi dei piatti o ai dorsi, qualche rottura lungo le cerniere con poche mende di carta ai dorsi (più rilevanti quelle al Volume II). Al piatto anteriore del Volume I (fascicolo I) e del Volume II etichetta a stampa 'Stamperia e libreria di Giovanni Silvestri'; ai dorsi segnatura tardo ottocentesca vergata in inchiostro su etichetta cartacea.Bel set, in brossura editoriale originale perfettamente conservata, di questo trattato dell'ingegnere parmense Antonio Cocconcelli (1761-1846), completo del ricco apparato di tavole illustrative esplicative. L'autore - che fu consigliere di Stato onorario, capo degli ingegneri e direttore dell'Ufficio Acque e strade del Ducato di Parma - lavorò a numerosi progetti su incarico della duchessa Maria Luigia, in particolare per la costruzione di ponti come quello sul Taro lungo la via Emilia (1815), sulla Trebbia (1821-1825), sull'Arda (1834-1837) e sul Nure (1838). All'Università di Parma tenne la cattedra di ingegneria civile e tra le onorificenze ricevute si possono citare la nomina a Cavaliere dell'Ordine Costantiniano e dell'Ordine Sabaudo dei Santi Maurizio e Lazzaro. Alla brossura dei volumi qui offerti è presente l'etichetta del libraio milanese Giovanni Silvestri, specializzato in edizioni scientifiche.One work in 3 volumes, 8° (235x160 mm). I. (three quires with uninterrupted pagination). X, 1-192 pages. 2 folding engraved plates, numbered I-II; 193-384 pages. 1 folding engraved plate, numbered III; 385- 610, [6] pages. 3 folding engraved plates, numbered IV-VI. II. XXVII, 299, [1] pages. [1] folding engraved plate. III. XIII, 635, [1] pages. 11 folding engraved plates, numbered I-XI. Frontispiece with author's portrait engraved by A. Rossena and dated 1836. Uncut, light foxing. Publisher's wrappers printed in black. Pale stains and minor tears to the covers and spines, some cracks along the joints with a few losses (especially in vol. 2). Bookseller ticket 'Stamperia e libreria di Giovanni Silvestri' on the upper cover of vols. 1 and 2. Late 19th-century shelfmark inked on paper label to the spines.Good set, in its well-preserved publisher's wrappers, of this treatise by the engineer Antonio Cocconcelli from Parma (1761-1846), complete with the rich suite of plates. The author - who was director of the Office of Water and Streets of the Duchy of Parma - worked on several projects commissioned by the Duchess Maria Luigia, especially for the construction of bridges such as the one on the Taro river along the via Emilia (1815), on the Trebbia river (1821-1825), the Adda river (1834-1837) and the Nure river (1838). He held the chair of civil engineering at the University of Parma and among the honours received, he was mentioned as Knight of the Constantinian Order and of the Savoy Order of Saints Maurice and Lazarus.The volumes offered here bear the ticket of the Milanese bookseller Giovanni Silvestri, who was specialised in scientifc books.
Matematica/Mathematics. Bézout Étienne. Cours de mathématiques, à l'usage du corps royal de l'artillerie. Tome premier [-quatrième]. Paris, Imprimerie royale, 1770-1772.Un'opera in 4 volumi in-8° (mm 217x140). I. [2], 200, viij, 274, xv, [1] pagine. 6 tavole calcografiche ripiegate in fine numerate I-VI. II. [2], 404, vj, [2] pagine. 3 tavole calcografiche ripiegate in fine numerate I-III. III. [4], 381, [1], vij, [3] pagine. 6 tavole calcografiche ripiegate in fine numerate I-VI. IV. [2], 469, [1], xj, [3] pagine. 2 tabelle ripiegate inserite tra le pagine 456-457 e 460-461 e 13 tavole calcografiche ripiegate in fine numerate I-XIII. Stemma reale silografico sui frontespizi, testatine e iniziali silografiche. Qualche carta brunita, lievi fioriture. Legatura omogenea francese coeva. Vitello agli acidi su piatti in cartone, fregi in oro e titoli in oro su tassello ai dorsi a 5 nervi, contropiatti e sguardie in carta caillouté. Segnalibri in tessuto, tagli marmorizzati, . Abrasioni agli angoli e ai bordi dei piatti, cerniere usurate e con qualche forellino di tarlo, qualche menda ai dorsi e alle cuffie.Set in legatura uniforme di questo importante scritto del matematico francese Étienne Bézout (1730-1783), dal 1768 membro della più importante delle istituzioni scientifiche di Francia, l'Académie des Sciences. Il Cours de mathématiques - pubblicato per la prima volta a partire dal 1764 e in varie fasi corretto e ampliato - nasce dalle lezioni tenute ai giovani ufficiali della scuola militare ove l'autore insegnò e come 'manuale' ebbe vasta diffusione non solo in lingua originale francese, ma anche in traduzione, formando intere generazioni di studenti tra cui gli iscritti all'Università di Harvard. One work in 4 volumes, 8° (217x140 mm). I. [2], 200, viij, 274, xv, [1] pages. 6 folding engraved plates, numbered I-VI. II. [2], 404, vj, [2] pages. 3 folding engraved plates, numbered I-III. III. [4], 381, [1], vij, [3] pages. 6 folding engraved plates, numbered I-VI. IV. [2], 469, [1], xj, [3] pages. 2 engraved tables between pages 456-457 and 460-461. 13 folding engraved plates, numbered I-XIII. Woodcut royal coat of arms on the title-pages, head-pieces and initials. A few browned leaves, light foxing. Contemporary French mottled calf. Spines with five raised bands, tooled in gilt; titles in gold on lettering-piece, marbled pastedowns and flyleaves, fabric bookmarks. Marbled edges. Covers rubbed, board adges abrades. Joint slightly cracked and wormholed. A few losses to the spines, especially to extremities. Complete set of this important treatise by the French mathematician Étienne Bézout (1730-1783), from 1768 member of the Académie des Sciences, the most important French scientific institution. The Cours de mathématiques - first published in 1764 and edited and improved in different phases - collects the lessons given to the young officers of the military school where the author taught. The textbook had a wide circulation not only in its original French language, but also in translation, training entire generations of students, including the ones enrolled at Harvard University.
Geodesia/Geodesy. Bordoni Antonio Maria. Trattato di geodesia elementare... Con XVII tavole. Milano, Paolo Emilio Giusti, 1825.In-8° (mm 217x137). VIII, 436 pagine. XVII tavole calcografiche fuori testo ripiegate in fine. Fregio silografico sul frontespizio. In barbe, leggerissime fioriture al frontespizio. Brossura muta coeva in cartoncino azzurro, titoli a stampa su tassello cartaceo al dorso. Lievissimi aloni ai piatti. Edizione originale di questo importante trattato di geodesia del pavese Antonio Maria Bordoni (1789-1860), risultato delle sue lezioni all'Università di Pavia. Formatosi con Vincenzo Brunacci, il matematico offrì validi contributi al calcolo differenziale e alla meccanica razionale. Considerato il fondatore della scuola di studi matematici dell'Ateneo pavese, fu sicuramente responsabile della sua riconosciuta fama in ambito scientifico, ed ebbe tra gli allievi personaggi del calibro di Luigi Cremona.8° (217x137 mm). VIII, 436 pages. XVII engraved plates bound at the end. Woodcut ornament on the title-page. Uncut, very light foxing to the title-page, contemporary light-blue wrappers, printed title on paper label on the spine. Covers slightly stained.First edition of this important treatise on geodesy by Antonio Maria Bordoni (1789-1860), result of his lectures at the University of Pavia. Trained with Vincenzo Brunacci, the mathematician significantly contributed to the development of differential calculus and rational mechanics. He is considered the founder of the School of Mathematical Studies of the University of Pavia, and among his numerous disciples the name of Luigi Cremona stands out.
D'Alembert Jean le Rond. Opuscules mathématiques, ou Mémoires sur différens sujets de Géométrie, de Méchanique, d'Optique, d'Astronomie... Tome Premier [-Tome V, divisé en deux parties]. Paris, David; Briasson, 1761-1768. Un'opera in 5 volumi. In-4° piccolo (mm 216x165). I. xiv, [2], 303, [1] pagine. 7 tavole ripiegate di diagrammi, incise su legno. II. [4], 328, [4] pagine. 3 tavole ripiegate di diagrammi. Diagrammi nel testo. III. xvij, [1], 420 pagine. Una tavola incisa, ripiegata. IV. xvi, 380, [2 di 4, manca l'ultima carta bianca] pagine. 2 tavole incise ripiegate (la seconda abbastanza brunita). V. xx, 520 pagine (Tomo V diviso in due parti, con paginazione continua). 4 tavole incise ripiegate (un po' brunite, margine superiore dell'ultima tavola rifilato). Vignetta silografica sui frontespizi. Capilettera, testatine e finalini incisi su legno. Legatura coeva francese uniforme in vitello raciné su piatti in cartone, dorso a 5 nervi decorati con ferri floreali in oro, titoli e numero di volume in oro su doppio tassello in marocchino rosso, contropiatti e carte di guardia posteriori in carta marmorizzata, segnalibro in seta verde, tagli rossi. Bordi dei piatti e angoli leggermente abrasi. Ottimo esemplare, impresso su carta forte, alcuni fascicoli uniformemente bruniti, lievi aloni e fioriture, più evidenti alle carte iniziali del secondo e del terzo volume; alcuni fogli allentati o staccati, nel terzo volume in particolare. Al dorso del terzo volume segnatura manoscritta su piccola etichetta cartacea '6.202'. Set in legatura omogenea degli Opuscules mathématiques di d'Alembert, una ampia raccolta di memorie e contributi in varie discipline scientifiche (matematica, fisica, astronomia) composti per le Accademie di Scienze di Parigi e Berlino. "Although the mathematical articles of the Encyclopedie had aired many of his notions, these volumes provide the closest thing to a collection of them that exists [...] In volume V of the Opuscules he published a test for convergence that is still called d'Alembert's theorem" (DSB). Altri tre volumi di Opuscules furono stampati nel 1780, mentre un nono rimase inedito. 5 volumes, small 4° (216x165 mm). I. xiv, [2], 303, [1] pages. 7 folding engraved plates of diagrams. II. [4], 328, [4] pages. 3 folding engraved plates of diagrams. Diagrams in the text. III. xvij, [1], 420 pages. One folding engraved plate. IV. xvi, 380, [2 of 4, lacking the last blank leaf] pages. 2 folding engraved plates (the second plate rather browned). V. xx, 520 pages (Tome V is divided into two parts, with running pagination). 4 folding engraved plates (some browning, the upper margin of the last one trimmed near rule border). Woodcut vignette on each title-page. Woodcut head- and tailpieces, decorated initials. Contemporary French uniform tree calf over pasteboards. Spine with five raised bands, decorated with gilt floral tools, title and volume numbering in gold on double red morocco lettering-piece. Board edges gilt ruled, marbled pastedowns and flyleaves, green silk bookmarks. Edges red. Board edges and corners slightly rubbed. A very good copy, printed on strong paper. Some quires uniformly browned. Scattered light spotting and foxing, heavier to the first leaves of second and third volume. A few paper flaws, especially in the third volume. In the third volume the shelfmark '6.202' inked on a small paper label at the bottom of spine. The scarce five-volume set of d'Alembert Opuscules mathématiques, which include a collection of higly remarkable memoirs on mathematics, physics and astronomy, contributed to the Academies of Sciences in Paris and Berlin. "Although the mathematical articles of the Encyclopedie had aired many of his notions, these volumes provide the closest thing to a collection of them that exists [...] In volume V of the Opuscules he published a test for convergence that is still called d'Alembert's theorem" (DSB). Three further volumes of the Opuscules appeared in 1780, while a ninth volume remained unpublished.
![Matematica/Mathematics. Agnesi Maria Gaetana. Instituzioni analitiche ad uso della gioventù italiana... Tomo I [-II]. Milano](https://cdn.globalauctionplatform.com/60593b03-ed8f-44b1-85b0-a99e00b8dce0/505341da-5ee5-46ab-93c4-a99e00ba041e/468x382.jpg)
Matematica/Mathematics. Agnesi Maria Gaetana. Instituzioni analitiche ad uso della gioventù italiana... Tomo I [-II]. Milano, Regia Ducal Corte, 1748. Un'opera in due volumi in-4° (mm 246x190). I. [20], 428, [2] pagine, con XXXV tavole calcografiche numerate ripiegate in fine. Tavola XXIII con segni di sporco. II. [2], 431-1020, [2] pagine. [2] tabelle ripiegate tra le pagine 704-705 e 708-709, e un totale di 24 tavole calcografiche ripiegate in fine, di cui 23 numerate in cifre romane in due serie (I-XVII e I-VI) e una non numerata indicata come 'unica'. Nella serie di tavole numerate I-VI la V e la VI sono legate prima delle tavole I-IV. Vignetta ai frontespizi, iniziali e testatine, tutto inciso su rame da Marc'Antonio Del Re. Frontespizi anticamente rinforzati con braghetta cartacea al margine interno, qualche lieve fioritura e traccia di polvere. Bella legatura omogenea coeva in pergamena su cartone, titoli in oro su tassello al dorso, tagli marmorizzati. Qualche alone e traccia di polvere ai piatti. Ai frontespizi nota di possesso decifrabile con la lampada di Wood 'Ad uso di P. Carlo Domenico Maffioli Barnabita Novarese'."Prima edizione dell'opera più importane di colei che viene considerata come la prima vera matematica europea. Le Instituzioni analitiche, vero e proprio manuale di divulgazione del nuovo calcolo infinitesimale, espongono gli elementi dell'algebra, le equazioni algebriche, la geometria analitica piana, il calcolo differenziale ed integrale, gli sviluppi in serie e le equazioni differenziali di primo e secondo grado. Inoltre dedicano ampio spazio alla trattazione delle curve piane. Esse ebbero grande successo per la loro chiarezza espositiva ed organicità e furono tradotte in francese ed in inglese. Maria Gaetana Agnesi nacque a Milano. Figlia di un professore di matematica dell'Università di Bologna, fu incoraggiata dal padre ad intraprendere lo studio delle scienze. [...] Anche dopo il grande successo delle Instituzioni analitiche e la conseguente nomina, per volontà di Benedetto XIV, alla cattedra di matematica e filosofia naturale dell'Università di Bologna (1150), l'Agnesi continuò a condurre una vita riservata, non accettando l'incarico se non in modo onorario. [...] Morì a Milano nel 1799." (F. Govi. I classici che hanno fatto l'Italia, 2010, n. 237). I volumi qui offerti presentano, al frontespizio, l'interessante nota di possesso di Carlo Domenico Mattioli (1736 ca.-1776), professore di matematica a Udine. A. Cupillari, Biography of Maria Gaetana Agnesi, an Eighteenth-Century Woman Mathematician, Lewiston, NY, 2007; F. Govi. I classici che hanno fatto l'Italia, Modena 2010, n. 237.One work in two volumes, 4° (246x190 mm). I. [20], 428, [2] pages. XXXV folding engraved plates, bound at the end. Plate no. XXIII soiled. II. [2], 431-1020, [2] pages. [2] folding plates between the pages 704-705 and 708-709, and 24 folding engraved plates at the end, of which 23 numbered in roman figures in two different series (I-XVII and I-VI) and one unnumbered and indicated as 'unique'. In the series numbered I-VI plates nos. V and VI are bound before plates nos. I-IV. Copper engraved vignette on both title-pages, initials and head-pieces engraved by Marc'Antonio Del Re. Both title-pages early reinforced at the gutter, light foxing and dusting. Contemporary vellum over pasteboards, spines with gilt titles on lettering-piece, marbled edges. Some stains and dust traces to the covers. Ownership inscription on both title-pages readable under UV lamp 'Ad uso di P. Carlo Domenico Maffioli Barnabita Novarese'. Carlo Domenico Maffioli (1736 ca.-1776), early owner of these volumes, taught mathematics at the University of Udine.The first mathematical book published by a woman: the first edition, in its contemporary binding, of the highly praised calculus and algebra textbook written by the 18th-century mathematician Maria Gaetana Agnesi (1718-1799), the first woman to have been appointed professor of mathematics at any University. Agnesi's work is one of the best introductions to integral and differential calculus. In this comprehensive text on calculus especially noteworthy is the study of a special case of a type curve, which is now known as the 'Witch of Agnesi'.A. Cupillari, Biography of Maria Gaetana Agnesi, an Eighteenth-Century Woman Mathematician, Lewiston, NY, 2007; F. Govi. I classici che hanno fatto l'Italia, Modena 2010, no. 237.
![Illuminated geometric initial on a leaf from a Lectern Bible, in Latin, on parchment [Germany, mid-twelfth century] Single va](https://cdn.globalauctionplatform.com/d4aae27e-d4ab-4779-9dd3-a98800c69aec/9e8ab7ea-68fa-4ada-8477-a9890115bcce/468x382.jpg)
Illuminated geometric initial on a leaf from a Lectern Bible, in Latin, on parchment [Germany, mid-twelfth century] Single vast leaf, with a half-page initial ‘P’ (opening “Paulus apostolus Christi Iesu …”, Paul’s first epistle to Timothy) formed from tightly looping circles of acanthus foliage in green, blue, light brown and red, interwoven around each other, all on gold ground with small flowerheads painted on within the central part of the initial, the whole within an inner frame of a thick blue border with black or oxidised silver penstrokes to suggest marble, and an outer frame of a thin red outer line, the remaining letters of ‘Paulus apostolus’ in silver on red grounds and black capitals touched in red, four red initials in split bands enclosing blue penwork acanthus leaves, running titles, rubrics and tall thin simple initials in red, capitals touched in red, double column of 42 lines in a fine German early gothic bookhand (end of second epistle to Thessalonians, the argumentum of the first epistle to Timothy and the opening of that epistle), original quire signature ‘xiiii’ at base of verso, some small original flaws, surface discolouration and oxidisation and flaking from initial, else good condition, 512 by 338mm. From an exceptionally fine German Bible codex in monumental format. Initials in twelfth-century German codices often used small amounts of gold (see Glaube und Wissen im Mittelalter, 1998, nos. 72 and 83), but rarely is so much of the initial gilded as here. That and the painting effects suggesting marble on the present initial suggest that our artist’s model was most probably Carolingian (see the geometric initials in the ninth-century Tours Bible in Cologne, Dom. Hs. 1: ibid. no. 25, as well as the vast illuminated initial on a bifolium produced at Fulda c. 900: reproduced in Fuldische Handschriften aus Hessen, 1994, no. 43).
“Bismillah al-Rahman al-Rahim”, panel of calligraphy, perhaps a practice sheet in the style of Ahmed Kharahisari, illuminated manuscript on parchment [Ottoman Turkey, probably second half of sixteenth century] Single leaf, with single line of stylised black calligraphy, outlined in black and panel ruled in green, gold and black ruling, space between text and border filled with spiralling vines heightened in green and blue, with a background hatching of red to fill the space, parchment yellowed with some light water-staining to edges, old cockling causing cracks to the pigments in the text and illustrations, reverse blank, c. 98 by 186 mm. This piece presents a number of questions. Clearly it is of significant age, and the cockling that has affected the main inscription as well as the border decoration strongly suggests this. However the parchment here is of low quality, indicating that it was unlikely to have been used for manuscript production. The script is finely executed and notably close to that of Ahmed Kharahisari (1468-1566, leading Ottoman calligrapher working in the courts of Suleyman I), but the parchment here is of low quality and not in keeping with use for manuscript production. This would appear to be a practice sheet, or perhaps part of a maquette, perhaps produced in his workshop of Kharahisari.
Panel of Persian verse with drawing of an archer, 'marriage' of two different pieces, in Farsi, illuminated manuscript on paper [probably Safavid Persia, c. 1700] Single sheet, comprising 3 lines black nasta'liq, with interlinear colouring of polychrome flowers against a gold background, mounted on card alongside a small miniature of an archer, both framed within multiple borders with various foliate decorations, all heightened in gold, some light water-staining to lower right-hand side of image, a few small scuffs, reverse blank, total c. 142 by 250mm.
Dante Alighieri, Commedia: Inferno X, 1-90, in Tuscan Italian, single leaf from a decorated manuscript on parchment [Italy (probably Tuscany), last quarter of fourteenth century or very early fifteenth century] Single leaf, with single column of 45 lines in brown ink an early semi-humanist hand of highest grade (written space: 177 by 78mm.), with some near-contemporary corrections changing spellings and entire readings of words in hairline thin black ink, capitals set in margin apart from main lines and touched in red, remnants of Canzo number ‘X’ in upper outer corner of text in red, one large initial ‘O’ (opening “Ora sen va per un secreto …”) in red enclosed within swirling blue penwork with long whip-like tendrils reaching into the margins in sweeping curves and vertical penstrokes encased within other curling tendrils (close to those in another fourteenth-century Dante manuscript: Perugia, Biblioteca Comunale, MS. 818; see also that now Cortona, Biblioteca Comunale e dell'Accademia Etrusca, MS. 88, also of fourteenth century), one 5-line fifteenth-century marginal addition on reverse on Farinata’s connections with the Ghibelline faction (glossing verses 87-89), recovered from reuse in a binding and hence with losses at corners and edges, some worm damage and discolouration, a few lines of text damaged but mostly legible, overall in fair and presentable condition, 275 by 205mm. A nearly emergent leaf from the most important literary work of the entire Middle Ages, with numerous orthographic and textual variants Provenance:This is most probably all the remains of a high grade manuscript written and decorated for a wealthy patron in the last quarter of fourteenth century, probably in Tuscany. The measured and elegant semi-humanist script puts the parent manuscript among the very finest products of fourteenth-century vernacular book production, and sets this quite apart from the more common ‘Cento’ group mass-copied in Florence in the same period. As such it represents a rare opportunity for study of a de luxe copy of the text produced outside the homogenous Cento group in a centre probably far from Florence. 2. Recently discovered in an Italian collection, and with an export license from that country. Previously unknown and unrecorded by scholarship. Text:Some works of medieval literature have made such an impact in the collective cultural heritage of the West that they have touched the lives of almost every generation of readers since their composition. Chaucer is in this category, as perhaps is Wolfram von Eschenbach, Rudolf von Emms, Christine de Pisan, Guillaume de Lorris and Jean de Meun, and for northern Europe, we might add also add Snorri Sturluson. Paramount among this small and select gathering of names is that of Dante Alighieri (c. 1265-1321), the foremost poet of the Italian language, whose works all but founded the modern Italian. This leaf is from what is widely regarded to be the most important literary work of the entire Middle Ages, the grand and exquisitely beautiful Divine Comedy. It was completed by 1321 in the last months of the author’s life and found immediate fame. Echoes of his work are legion and found throughout European literature from the fourteenth century to today, from Boccaccio’s evident devotion in his Trattatello in laude di Dante, to T.S. Eliot’s statement “Dante and Shakespeare divide the world between them. There is no third”. Jorge Luis Borges declared it “the best book literature has achieved”. By happy chance, this leaf contains the celebrated opening of Canto X of the Inferno, in which the author enters the sixth circle of Hell, that inhabited by heretics, and talks with Farinata degli Uberti (who denied life after death, and was exhumed and tried posthumuously in 1283) and Cavalcante Cavalcanti (probably an atheist, whose son, Guido, was Dante’s closest friend and arguably his poetic master, and who married the daughter of Farinata) as they lie in their fiery tombs that sit unsealed until after the last judgment. Within the history of the appreciation of the work, this section is among those most widely studied and contemplated; the great philologist Erich Auerbach (1892-1957) devoted a famous chapter of his masterwork Mimesis (1946) to this episode. This leaf has numerous orthographic and textual variants (unmarked in the transcription above), and these are completely unstudied. Over 800 medieval manuscripts and fragments have now been recorded by the ‘Dante online’ project, but they have been obsessively sought after for several centuries by collectors and grand institutional libraries alike, and are of enormous rarity on the market. Only a handful of codices have emerged on the market in the last century, the last in Sotheby’s on 25 June 1985, lot 82. The same house sold a single leaf with erased text only readable under UV light from a palimpsest manuscript, on 17 December 1991, lot 6; and a damaged leaf with a miniature recovered from a binding, on 1 December 1998, lot 16. To this should be added another leaf from a binding that emerged recently in Forum Auctions, London, on 25 January 2017, lot 118 (realising £14,000 hammer).
Kanada Ragini, Death of the White Elephant, scene from a Ragamala series, Indian miniature on card, Deccani school [probably Hyderabad, India, late eighteenth century] Single folio, depicting a warrior prince seated high on a rocky outcrop above the slain elephant, ink and gouache on card, heightened in gold and silver, some light surface soiling, a few light creases, overall bright and attractive, images ruled in black and orange with red margins, ink inscriptions to verso, 298 by 222mm.
A calligraphic panel by Ismail Zuhtu, in Arabic, illuminated manuscript on paper [Ottoman Turkey, second half of eighteenth century] Single sheet, 3 lines competent black thuluth, gold circular roundels separating the verses, ruled in black and gold, then mounted on card with eighteenth-century marbled paper added to border, some light surface soiling, some very slight rubbing to final line of text (with slight loss), modern ink inscriptions to versos in ink, 182 by 240mm. Signed inscriptions of authentication to the verso of this panel are in the hand of the celebrated Uskudar born scribe Necmeddin Okyay Efendi (1883-1976), whose talents extended calligraphy into the arts of marbling and bookbinding.
King David and other sinners kneeling in prayer, tiny miniature on a leaf from a Book of Hours, in Latin, illuminated manuscript on parchment [Southern Netherlands (Bruges), c. 1470]Single leaf, with a small square miniature (22mm. high) in demi-grisaille with a host of kneeling figures led by David as a bearded man with his hat before him, as the sky opens above them to reveal shafts of golden light, all edged in thin gold frame, initials in gold on minute blue and dark pink grounds with white penwork, 17 lines in lettre bâtarde (the text next to the miniature that of Psalm 101, one of the Seven Penitential Psalms), excellent condition, 93 by 72mm.
ƟKhawaja Shams ud'Din Muhammad Hafez'e Shirazi 'Hafiz', Ghazaliyaat, in Farsi, illuminated manuscript on paper [Safavid Persia (possibly Tabriz), c. 1650] 200 leaves, complete, catch-words throughout, 12 lines black nasta'liq, single and double column, gold and polychrome illuminated headpiece opening the text, opening two leaves with interlinear colouring in gold decorated with colourful floral sprays, decorative banners and fillers throughout, with floral vines heightened in turquoise, orange, red and blue, catch-words throughout, leaves in multi-coloured ruling, final leaf laid-down, some inscriptions to front free endpaper and few nineteenth-century marginal annotations, eighteenth-century ownership stamp and annotation “Soleyman” to front free endpaper, some light water-staining along lower edges, a few ink stains or smudges, overall clean and attractive condition, 224 by 140mm.; contemporary blind stamped and tooled calf over pasteboards, covers with block-stamped central panels (with horizontal divide in leather along centres) surrounded by smaller border panels, all in gilt, inner covers with central stamped medallions and corner pieces in blue and green, decorated with orange and gold filigree, possibly missing original flap, outer edges repaired, lightly rubbed and scuffed A charming and delicately illuminated volume of the Ghazals of Hafiz, a strict poetic form comparable to the English sonnet. The binding present is notably fine and distinctively close to Haldane's example 82 (Islamic Bookbindings, 1982, p. 79) with the horizontal divide across the centre of the covers. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).
![Charter issued by ‘W[alter]’ prior of Thornholme, for John Malerb. (Malherbe), single sheet document in Latin on parchment [E](https://cdn.globalauctionplatform.com/d4aae27e-d4ab-4779-9dd3-a98800c69aec/5c08e71d-689f-4f43-9cbc-a9890115b95c/468x382.jpg)
Charter issued by ‘W[alter]’ prior of Thornholme, for John Malerb. (Malherbe), single sheet document in Latin on parchment [England (North Lincolnshire), thirteenth century] Single sheet, with 6 lines in an excellent English secretarial hand, some scuffing to upper left hand corner removing text there (but easily visible under UV light), small tears, splits and holes, overall fair condition, 50 by 165mm. From Ampleforth Abbey, and de-accessioned by them some years ago. The Augustinian priory of the Blessed Virgin Mary at Thornholme in north Lincolnshire was founded by King Stephen between 1148 and 1154 on a small island in marshes on the western edge of the Ancholme valley. By 1202 the estate on which it stands had passed to John Malherbe (named here) and his descendants, and they took over the patronage. The house was suppressed in 1536, and its income was assessed at £159, 12 sh. and 6.5 d., but unlike the vast majority of English monastic houses it did not become the site of a country house after the Dissolution, and seems to have stood empty and ruined until the seventeenth century. Perhaps due to this abandonment its archive and library did not pass to any collectors or institutions in a direct way, and records of its early activities are of the utmost rarity.
A pair of paintings, depicting a courting scene and two ladies in a palace courtyard, both scenes from a Ragamala series, Indian miniatures on card [possibly Malwa, Rajasthan, Central India, late eighteenth century] Two loose leaves, ink and gouache on card, both heightened in gold, text panels along the top edges and remains of linen stubs along right-hand edges of both paintings, images ruled in black with wide red margins, some very light surface soiling and a few chips to paint (mainly affecting one of the background buildings and the patterned surface of the courtyards), versos blank, each 400 by 268mm.
![* Marianne de Trey [1913-2016] stoneware part service: comprising five tea cups, six coffee cups, four saucers and two plates](https://cdn.globalauctionplatform.com/77e39e34-bc64-4c86-bf0c-a98c00d37319/bad3c46b-f570-4860-91d8-a99000d3f880/468x382.jpg)
![* Ken Symons [1927-2010]- Val, Morning Light I; Annie, Head on Arms,:- two, both signed pastel drawings 32 x 41cm & 32 x](https://cdn.globalauctionplatform.com/77e39e34-bc64-4c86-bf0c-a98c00d37319/89346c29-bb81-4c71-ad4e-a99000d3992f/468x382.jpg)
‡Charles Frederick Tunnicliffe RA (1901-1979)Portrait of T. E. Lawrence (Lawrence of Arabia)SignedOil on canvas60.5 x 50.5cmTunnicliffe also painted Henry Williamson who was a friend of Lawrence and did Illustrations for Williamson’s wildlife books++Does not appear to be relined but difficult to be certain verso is overpainted two repairs with patches verso (one left margin above centre one above lower margin left of centre a few scuffs marks and blemishes some fine paint separation would be enhanced by a light clean
‡Gerald Edward Moira VPROI RWS (1867-1959)Rhubarb harvestSigned and dated 1932Oil on board92 x 122cmProvenance:Royal Institute of oil paintersWalker Art Gallery LiverpoolWoolley & Wallis Salisbury 11th March 2015 Lot 584Exhibited:Liverpool Autumn 59th Exhibition 1933Lots 48 to 80 - Property from the Collection of Sir Jeremy Lever KCMG QC MA FRSA++Some rubbing to margin a light scuff centre otherwise good condition
‡Andrei Sokolov (Russian 1931-2007)Satellites over BelarusSigned in cyrillic also signed and titled versoOil on canvas unframed90 x 150cmProvenance:Thomas Kearns McCarthey Gallery Utah USAAcquired from above by present owner++Unlined one or two light grazes from back of canvas a little rubbing to margins generally good condition
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