Robert C. Dell (American, 1908-1972). Ink, inkwash, and graphite on artist board depicting a Nifty comics pin-up gal. Signed along the lower left. A title along the top of the page reads "Nifty Pin-Up Gal!" and a caption reads "A Nifty pin-up gal is a true pin-up gal in every sense of the word. When Nifty editors say 'pin-up' they mean pin up!" The humorous comics depicts a nurse pinning up a baby's diaper, providing a play on words of the term "pin-up." Originally created and published for Nifty Gags and Comics.Height: 15 1/4 in x width: 11 3/4 in.Condition: The sheet is slightly toned and there are scattered networks of foxing throughout. Some editorial markings in the margins. A few light areas of graphite transfer and soiling. The work is not framed.
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Tom Wesselmann (American, 1931-2004). Screenprint in colors on museum board titled "Bedroom Blonde Doodle with Photo" depicting a nude woman reclining, 1988. Pencil signed, dated, and numbered 93/100 along the lower right.Sight; height: 57 in x width: 67 in. Framed; height: 59 in x width: 69 in x depth: 2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. There is a slight undulation to the sheet. The work is floated in framed. Framed under plexiglass. Light wear to the frame. Not inspected out of frame.
Milton Resnick (American, 1917-2004). Oil on paper laid on canvas depicting broad and bold strokes of orange, black, and blue. Signed along the lower left.Provenance: 1971 Private donation to St. Lawrence University; Cottone Auctions, New York, January 11, 2023, Lot 19; Private New York Collection.Unframed; height: 15 in x width: 20 1/2 in. Framed; height: 15 1/2 in x width: 21 in x depth: 1 3/4 in.Condition: The sheet is toned. There are several spots with light impressions to the surface. Several small spots of paint loss to the surface. No signs of restoration.
Cameron Booth (American, 1892-1980). Oil on canvas painting titled "Predominantly Blue" depicting an abstract composition of blue with pops of bright red, black, and purple, 1960-61. Initialed and dated along the lower right.Provenance: Acquired from the artist by Rev. Richard L. Hillstrom on August 30, 1976; Collection of Frank J. Indihar, M.D.; Private Minnesota Collection.Exhibition:American Federation of Arts, New York, "Fifty Artists from Fifty States," March 1966 - May 1967, No. 23 in the catalog.Osborne Gallery, St. Paul, 1976. A one-man show.Lutheran Brotherhood, Minneapolis, "A Select Exhibition of Paintings by Cameron Booth," January 6 - 28, 1983.Unframed; height: 45 in x width: 50 in. Framed; height: 47 in x width: 51 1/2 in x depth: 2 in.Condition: The colors are bold and bright. There are a few lines of craquelure along the right edge. There are no signes of restoration when viewed under UV light. Light wear to the frame.
Norris Embry (American, 1921-1981). Group of two mixed media paintings depicting abstracted figures, ca. 1960s. The larger work signed and dated 1965 along the lower left. The smaller work signed along the lower right.(Large) Height: 13 1/2 in x width: 10 1/2 in. (Small) Height: 10 3/4 in x width: 8 1/4 in.Condition: There are no signs of restoration under UV light. There are creases, tears and losses throughout. Not in frame.
Attributed to Louise Nevelson (Ukrainian/American, 1899-1988). Abstract collage depicting a harmonious assemblage of various turned wooden forms, which are likely found objects collected by the artist, neatly enclosed within a crafted wooden box or frame. The composition includes a prominent horizontally placed spindle-like structure, a central textured disk, and various pedestal-like components, all with smooth and unvarnished finishes. There is a note affixed to the verso that includes an enlarged photocopy of a stamp commemorating Louise Nevelson released in 2000. The written inscription along the note, dated May 2002, reads: "Every man should have a Louise -- lucky you, lucky me. From one [...] to another. With admiration & love."Lot Essay:Louise Nevelson was a powerhouse of modernist sculpture. Her bold constructions using found objects shook the art world, as did her often scandalous, larger than life persona. Her work was cutting-edge during her lifetime and remains relevant, her unique approach to storytelling and her breathtaking, gothic silhouettes as fascinating to modern viewers as they were to her contemporaries.She was born to a poor Jewish family in Kiev in what was then the Russian Empire in 1899, but immigrated to the United States with her family in 1901. The family settled in Rockland, Maine, where her father ran a lumberyard. She often played with the scraps as a child, taking an early interest in sculpture. In school, she had no aptitude for academics, but excelled in her art classes, and enjoyed creating whimsical clothing for herself, constructing hats and other items. When she was eighteen, she was introduced to Charles Nevelson, a wealthy New Yorker, by his brother Bernard, with whom she had become friends when his work in the shipping business had taken him to Rockland. They married in 1918, and she moved to New York City. She was immediately enraptured by the city, and took full advantage of the opportunities it offered to a young woman with a thirst to learn: she took acting and music classes, attended concerts and lectures, and visited museums. Despite her love for her new home, Nevelson found herself very unhappy in her marriage, particularly after the birth of her son. She found escape in visiting museums, where she was inspired by things as diverse as Japanese Noh theater costumes and cubist artworks, and by attending art classes at the Art Students League. Finally, in 1931, she left her husband and traveled to Munich to study with Hans Hofmann. Cubism as he taught it resonated with Nevelson, and had a major effect on shaping her later work. In her words, “[i]f you read my work, no matter what it is, it still has that stamp. The box is a cube.†After traveling for a few more months, she returned to the United States to be with her family, but soon returned to Europe, eager to learn more in the art schools of Paris. After a brief stay there, she returned to the United States and the Art Students League. She soon met Diego Rivera, and began working as an assistant to him. She continued to take every opportunity to expand her art horizons, even taking up modern dance as part of her ongoing fascination with space and how space is occupied. In 1941, Nevelson had her first show at Nierendorf Gallery, marking her breakthrough in the fine art world. She displayed sculptures created from boxes, leveraging her Cubist roots and obsession with space into something entirely new. She began receiving critical recognition, and continued expanding her work, moving literally outside the box. Around this time, Nevelson first began working with found objects. She felt that found objects already had stories of their own to tell, and assembling them as she was allowed her to contribute to those stories, and to keep the stories of discarded objects alive in a powerful way. While the way she manipulated these objects in her sculptures varied significantly throughout her career, their presence remained a constant. In the mid-1940s, she began exhibiting her work regularly, and her success continued from there. Throughout the 1950s and 1960s, her work was purchased by major museums, and she began receiving commissions to create the kinds of found-object sculptures for which she had become well known. These iconic sculptures were dark, monochromatic spires, disguising and making majestic the most mundane of objects. She was often grouped in exhibitions with the most influential artists of her time. Through the 1970s and 1980s, she received numerous honorary degrees and even had several books published on her. She continued working and experimenting until her death in 1988, pushing the boundaries of color, texture, and form. She continued to try new sculptural media—though always admitting that wood was her favorite—along with making prints, designing costumes, and writing poetry. The present work is an impressive example of her early sculptural work. Its bold, boxy silhouette in striking black foreshadows her iconic monochromatic constructions, while showing her early cubist influences.Height: 6 3/4 in x width: 6 in x depth: 2 in.Condition: There are no breaks, losses, or repairs. All wooden pieces are firmly attached. There is some light dust gathered throughout.
David Levine (American, 1926-2009). Group of nine lithographs depicting caricatures of popular and well-known figures in history including Picasso, Freud, Lyndon B. Johnson, and more. Framed together in sets of three. With a label from Vern Carver Gallery affixed to the versos. Each lithograph is signed and dated, ca. 1960s, in plate along the lower edge.(Each) Sight; height: 9 in x width: 6 in. Framed; height: 32 in x width: 9 3/4 in x depth: 3/4 in.Condition: There are no visible tears, creases, losses, or restorations. The works are housed under acidic mats. Framed under glass; light wear to the frame. Not inspected out of frame.
Herta Moselsio (German/American, 1892-1978). Gelatin silver print photograph depicting a portrait of artist Georges Braque (French, 1882-1963). Signed in pen along the lower right of the image; further signed and dated 1939 and annotated Paris along the lower right margin.Sight; height: 13 1/4 in x width: 10 in. Framed; height: 21 in x width: 16 in x depth: 1 in.Condition: There are no major losses, tears, or creases. There is adhesive residue surrounding the image along the mat. There are no signs of restoration under UV light. Not examined out of frame. Wear to the frame.
Jay Heikes (American, b. 1975). Large sculpture titled "Stranglehold" in the form of a gradually decreasing rod topped by a loop, 2006. Bronze, copper, and rubber.Height: 59 in x width: 6 1/2 in x depth (diameter of pole bottom): 1 1/4 in.Condition: Light wear throughout including some light scratches. Some deeper scratches along the end of the bronze where it has rubbed against the floor. Some discoloration to the bronze. Light wear to the rubber components.
Konstantin Vysotsky (Russian, 1864-1938). Oil on canvas painting titled "Seascape" depicting a figure and cow on a hill overlooking an ocean.Sight; height: 9 1/2 in x width: 13 1/4 in. Framed; height: 13 1/2 x width: 17 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no chips, losses, or restorations when viewed under UV light. Light craquelure throughout. Light wear visible along the extreme edges. The paint does not appear to extend to the edges, likely original to the artistic process. Light wear to the frame. Not inspected out of frame.
PaJaMa Group (Paul Cadmus (1904-1999), Jared French (1905-1987), and Margaret Hoening French (1889-1973)). Gelatin silver print photograph titled "Edward Hopper in his studio, Truro, Mass," photographed in 1948 by Margaret French depicting artist Edward Hopper (American, 1882-1967) in his studio. Hopper is perhaps most well-known for his work "Nighthawks" (1942) depicting figures in an isolated night-time cafe. "Collection of John Anderson" inkstamp along the photograph verso. Ten Studio Hill stamp and inventory number "PJM 11394" inscribed along the matboard verso. With a label from D.C. Moore Gallery, New York along the matboard verso.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 4 1/2 in x width: 6 1/2 in.Condition: There are no tears, creases, or restorations. Very light wear along the edges. The photograph is affixed with two small pieces of framer's tape along the upper corners of the verso to a non-acidic matboard. The work is not framed.
Cameron Booth (American, 1892-1980). Oil on canvas painting depicting a barnyard scene with two horses, cows, and chickens next to a red barn, 1974. Initialed and dated along the lower right; further signed and dated along the verso.Unframed; height: 20 1/4 in x width: 24 in. Framed; height: 22 1/2 in x width: 26 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. No signs of restoration under UV light. Light wear to the frame.
Ernest Trova (American, 1927-2009). Polychromed metal sculpture titled "Abstract Variation #1" depicting a figure of a man next to an abstract blue structure, 1986. Monogrammed, numbered 14/99, and dated along the underside. With a certificate of authenticity.Provenance: Hanson Art Galleries, 1991; Collection of Frank J. Indihar, M.D.; Private Minnesota Collection.Height: 11 1/2 in x width: 9 in x depth: 6 1/4 in.Condition: Some light dirt/dust accumulated along the recessed areas. Some light scratches and minute paint losses to the blue painted areas. Light wear along the underside.
Todd Norsten (American, b. 1967). Etching on paper depicting a whirlpool. It is signed and dated 1997 along the lower right; inscribed "Trial Proof" along the lower left.Sight; height: 16 3/4 in x width: 12 1/4 in. Framed; height: 26 1/2 in x width: 22 in x depth: 3/4 in.Condition: The colors are bold. There are no visible tears, creases, losses, or restorations. Housed under a non-acidic mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Milton W. Holm (American, 1903-1999). Oil on canvas landscape painting depicting forest. One tree clings to its autumnal foliage while snow sparsely covers the ground. Signed along the lower right.Sight; height: 11 1/2 in x width: 15 in. Framed; height: 17 in x width 20 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and deep and the surface is stable. There are no visible tears, losses, or restorations when viewed under UV light. The work is framed without glass or plexiglass; light wear to the frame. Not inspected out of frame.
Valery Nikolaevich Tkachenko (Russian, b. 1946). Large oil on canvas op-art painting titled "Energy of Color" in the style of Victor Vasarely. Signed and dated 1987 along the lower right. Further signed, dated, and titled along the verso.Translated the label reads:V. N. Tkachenko, born 1946Motionform “Energy of Color†200 x 200 cm, oil on canvas1131627, Moscow, Gorodskaia Street 4, ap. 14Phone: 2371045Tkachenko lived in Moscow and participated in the 1970 exhibition at The Moscow City Committee of Graphic Artists on Malaya Gruzinskaya Street in Moscow. The Moscow City Committee of Graphic Artists was a famous artist union and exhibition space that would include non-conformist artists in their shows in the late Soviet era. The official exhibition hall of the Committee was one of the first compromise solutions in search of a "traditional" public space for exhibiting alternative art.Height: 78 in x width: 78 in x depth: 2 in.Condition: The colors are bold and bright and the surface is stable. Some areas of craquelure. There are no major tears, losses or restorations when viewed under UV light. Light wear along the extreme edges of the work. The work is not framed.
Alexander Calder (American, 1898-1976). Ink on paper painting titled "The Meeting II" depicting two figures meeting on a rainy day, ca. 1944. Signed along the lower right. Based on the Mother Goose story.Provenance: Perls Gallery; Private New York Collection 1971; Lark Mason Associates; Private Minnesota Collection.Sight; height: 11 in x width: 10 1/4 in. Framed; height: 19 in x width: 17 1/2 in x depth: 1 in.Condition: There are no major tears, losses, or restorations. Light handling marks throughout. Light toning to the sheet. Undulation to the sheet. Small spots of soiling throughout. Small pieces of tape affixed to three corners of the verso. Ink stamp "00892" and "81LINE" along the verso. Floated in frame on a non-acidic matboard. Framed under glass. Light wear to the frame.
Anne Labovitz (American, 20th/21st c). Mixed media painting titled "Pink Letter Painting" depicting an abstract artwork in vibrant hot pink, 2014. Signed, dated, and titled along the verso.Height: 30 1/4 in x width: 24 in x depth: 3 in.Condition: The painting appears to be in good condition with no losses, restorations, or tears. The colors are bold and bright and the surface is stable. Light wear to the exposed edges of the canvas. The work is not framed.
David A. Maass (American, b. 1929). Oil on Masonite painting titled "Winter Winds - Bluebills" depicting a flock of birds approaching a windswept shoreline. A chilled winter breeze disturbs the water, creating a difficult landing for the waterfowl. Signed along the lower left. A label from Wild Wings, Lake City, Minnesota is affixed to the verso.Sight; height: 23 1/2 in x width: 35 1/2 in. Framed; height: 32 in x width: 44 in x depth: 2 in.Condition: The colors are deep and bright. The surface is stable. There are no creases, tears, or losses. There are no signs of restoration under UV light. Not examined out of frame.
Donald Sultan (American, b. 1951). Digital inkjet print in four parts on paper titled "February 14, 2001" from the series "Smoke Rings," depicting large format still lives of ephemeral smoke rings against deep black backgrounds, 2001. Pencil signed, titled, and dated along the left edge; numbered 4/6 along the lower right.Unframed; height: 68 in x width: 67 1/2 in. Framed; height: 70 1/2 in x width: 70 in x depth: 2 in.Condition: The colors are bold and deep. There are no visible tears, creases, losses, or restorations when viewed under UV light. There is a slight undulation to the sheet. There are two deep creases running along the work consistent with being folded in four; due to the nature of the artwork. this is likely original to the artistic process. The work is floated in frame without glass or plexiglass. Light wear to the frame. Not inspected out of frame.
16mm Films:- Errol Flynn 16mm feature film 'Adventures of Robin Hood', 1938, colour, 3 reels in box; Errol Flynn 16mm feature film 'Charge of the Light Brigade', 3 reels in box; Errol Flynn 16mm film 'Captain Blood', 3 reels in individual boxes. From a large private collection of 16mm and 35mm films, ALL UNTESTED. Sold as artefacts only without copyright. Reproduction is strictly prohibited.
A large heavy light oak farmhouse dining table with extra leaves, single drawer under (unextended length 198cm) and 6 matching chairs.84cm wide, 79cm high (to top of table) in good condition having seen little use.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.
Crescent Toys, a boxed pair of Military Guns. Includes Set 1249 18 PDR Quick Firing Gun & Set 1250 25 PDR Light Artillery Gun. Although unchecked for completeness condition appears generally Excellent within Good Plus boxes, shells are attached to spurs and both models are still tied within boxes.
Ronald Searle ( British,1920-2011) -'Bank of Ireland, Dublin' -Pen, ink and watercolour -36.5 x 50cm -Signed lower left, dated 1962 and inscribed with the title -This cartoon of 1962 was published in 'Holiday' magazine in April 1963 as part of 'The Emerald Isle as seen through Searle's eyes' .It was accompanied by the following caption ;'Ireland is poor because it is infested by tricky thieves called leprechauns, who diligently hold up the exchequer in broad fairy light. As greedy as their four-footed helpers, they bury their loot in crocks at the rainbow's end.'
Gregoras (Nicephorus) & Dolce (Lodovico) Two Volumes comprising Gregoras (Nicephorus) Historie di Costantinopoli, descritte da Niceforo Gregora, che segue l'historia di Niceta Aconiate,... Tradotte da M. Lodovico Dolce; et riscontrate co' testi Greci, & migliorate da M. Agostino Ferentilli, E questa e la terza parte dell'historie degl'Imperatori Greci, Venice: Gabriel Giolito di Ferrari, 1569, 8vo, 18th century vellum; together with Gregoras (Nicephorus) Historia degli Imperatori Greci...alla quale se aggiunta L'Historia di Niceforo Gregora ... Tradotte da M. Lodovico Dolce; et riscontrate co' testi Greci, & migliorate da M. Agostino Ferentilli, E questa e la seconda parte dell'historie degl'Imperatori Greci, Venice: Gabriel Giolito di Ferrari, 1569, 8vo, 18th century vellum, bound with Secondo et Terzo Libro dell'historie di Niceta ... tradotti da M. Lodovico Dolce; et riscontrate co' testi Greci, & migliorate da M. Agostino Ferentilli, Gabriel Giolito di Ferrari, 1569; both with woodcut printer's device to title page and similar verso of final leaf; both volumes with Bookplate for William Hall, Esq. (2)Ombersley Court, WorcestershireCovers with spotting, extremities a little worn spine title blocks with wear and losses, marbled back endpapers but plain pastedown and endpapers to the front, pages tonedCostantinopoli: small old worm damage inside front cover, shelf position in pencil, small ink mark to title page, some pages with darker toning 117-124, light watermarking to last few pagesImperatori: title page a little browned with old ink inscription, slight loss to page 35 of Libro second. title page with paper-strip backed repair, pages toned
Griffet (H) Histoire du regne de Louis XIII, Roi de France et de Navarre, three volumes, Paris: Libraires Associes, 1758, 4to, full calf gilt, marbled endpapers and page edges, bookplates for Lord Sandys, with five further volumes (8)Ombersley Court, WorcestershireNot collated. Griffet: rubbing and bumping to bindings with relatively light foxing and cockling to contents.
Biography, to include: Clark (Samuel) The Lives of the Sundry Eminent Persons in this Later Age, in two parts, London: printed for Thomas Simmons, 1683, tall folio, full panelled calf gilt, marbled page edges, engraved frontispiece; [anon] The History of the Most Eminent Statesman, Sir John Perrott, London: printed in the year 1728, 12mo, full panelled calf, marbled page edges; St John (Henry) A Letter to Sir William Windham... London: printed for A. Millar, 1753, 8vo, part calf and marbled boards, marbled page edges, engraved frontispiece; Clarke (Mary Anne) The Rival Princes, or, A Faithful Narrative of Facts relating to Mrs M. A. Clarke's Political Acquaintance with Colonel Wardle [et al] who were concerned in their charges against The Duke of York..., two volumes, London: printed for the author and published by C. Chapple, 1810, 8vo, part morocco gilt, marbled page edges, gilt monogram and crown for Mary Hill, Marquess of Downshire to spines, engraved frontispiece to volume 1; Middleton (Conyers) The History of the Life of Marcus Tullius Cicero, 2 vols, London: for the author, 1741, 4to, full calf gilt, marbled page edges, bookplates for Lord Sandys, among other volumes principally concerning biographyOmbersley Court, WorcestershireNot collated. Clark: extensive rubbing and bumping to boards, soiling around endpapers, foxing and cockling throughout. Perrott: inscription to front endpaper, rubbing and bumping to boards, contents fairly bright with cockling and some foxing. St John: rubbing, bumping and soiling to boards, with spotting, foxing and cockling to contents. Clarke: rubbing and bumping to spines, some spotting to endpapers, contents bright with some cockling, some page edges creased. Cicero: rubbing and bumping to boards, with some soiling around endpapers and title pages, some light soiling and some cockling to contents, fairly bright overall.
Nelson (Horatio) The Letters of Lord Nelson to Lady Hamilton with a Supplement of Interesting Letters by Distinguished Characters, in two volumes [bound as one], London: Macdonald and Son, 1814, 8vo, part calf and marbled boards, gilt pictorial spine, marbled page edges, bookplate for Michael Lord Sandys, ink inscription to title pageOmbersley Court, WorcestershireNot collated. Rubbing and bumping to boards, contents bright and in good general condition, with light foxing and cockling
![[Treaty of Versailles] The Definitive Treaty of Peace and Friendship, between His Britannick Majesty, and the Most Christian](https://cdn.globalauctionplatform.com/574f0070-8868-408f-94c5-b1cc00fe1433/51257417-91d8-4ea8-8409-b1ec00cf60c5/468x382.jpg)
[Treaty of Versailles] The Definitive Treaty of Peace and Friendship, between His Britannick Majesty, and the Most Christian King, Signed at Versailles, the 3rd September, 1783, published by Authority, London: by T. Harrison and S. Brooke, in Warwick Lane, 1783, 4to, in original stitched blue wrappers, title, device to title, decorative headpiece and initials, numbered pages 3-40 but pages 13-16 incorrectly numbered; Treaty of Navigation and Commerce between his Britannic Majesty and the most Christian King, signed at Versailles, the 26th of September, 1786, published by Authority, London: by T. Harrison and S. Brooke, in Warwick Lane, 1786, 4to, in original stitched blue wrappers, title, device to title, decorative initials, title, numbered pages 3-50 (2) Ombersley Court, Worcestershire A fine condition copy of The British printing of the Treaty of Versailles between Britain and France, part of the series of treaties that along with the Treaty of Paris ended the Revolution. [Adams, American Controversy 83-42; Sabin 96557, ESTC T53346] 1783: All over good condition. original stitched wrapper with light edgewear, very minor spotting, a little foxing throughout, page 29 corner folded and uncut, initial page and p 3 a little faint1786: All over good condition, original stitched wrapper with light edgewear, slight sunning to front cover, back cover with slight loss and fold to lower corner, title with darkened edge, two spots to p. 23
Defoe (Daniel) The Life and Strange Surprizing Adventures of Robinson Crusoe, of York, Mariner, 2 volumes, London: John Stockdale, 1790, contemporary calf with decorative gilt tooled spine with red morocco titles, oval volume labels and head of spines tooled with a coronet above decorative entwined initials, marbled endpapers, engraved frontispieces, engraved plates throughout by Stothard (complete); Chalmers (George) Life of Daniel Defoe with portrait frontispiece, advertisement, text, List of Defoe's writings and publisher's catalogue appended to rear of volume 2, Volume 1 with frontispiece, advertisement, binders directions, list of plates, subscribers, booksellers and a further advert for an edition of ShakespeareOmbersley Court, WorcestershireFaded and light wear to binding with spotting and wear to extremities, joints worn, frontispiece and titles browned, foxing and spotting to plates, pages very lightly toned but crisp
Biography and Correspondence to include: Weber (Joseph) Memoirs of Maria Antoinetta, two volumes, London: C Rickaby, 1805, 8vo, full calf gilt, marbled page edges, numerous portrait engravings; Wraxall (William) Historical Memoirs of My Own Time, two volumes, London: T Cadell, 1815, 8vo, full calf gilt, marbled endpapers and page edges; Hartford (Frances, Countess) Correspondence between Frances, Countess of Hartford and Henrietta Louisa, Countess of Pomfret, three volumes, London: printed for Richard Phillips, 1806, 12mo, part calf and marbled boards, marbled page edges, gilt Mary Hill, Marchioness of Downshire monogram and coronet to spines; among other volumes largely concerning biographyOmbersley Court, WorcestershireNot collated. Maria: rubbing and bumping to boards, contents fairly clean with light cockling and foxing. Wraxall: generally good, clean condition with some scuffing to bindings and contents fairly bright with only moderate foxing and cockling. Hartford: extensive rubbing, bumping and some loss to boards, contents in better condition, with some foxing and cockling
![[Pechel (Samuel)] An historical account of the settlement and possession of Bombay, by the English East India Company, and of](https://cdn.globalauctionplatform.com/574f0070-8868-408f-94c5-b1cc00fe1433/f5bd4023-36c5-4150-ae25-b1dc00ff7037/468x382.jpg)
[Pechel (Samuel)] An historical account of the settlement and possession of Bombay, by the English East India Company, and of the rise and progress of the war with the Mahratta nation, London: W. Richardson for J. Robson, 1781, 8vo, half calf with marbled boards, bookplate for Lord Sandys, Errata appendedOmbersley Court, Worcestershire[Halkett and Laing vol. 3 p.48, 'Never published: only a few copies were given away by the author']bidning worn, corners numped, spine darkened, pastedown and endpapers ith light foxing and browned corners, inconsistently toned throughout, scattered corrections in the margins in red, p 199 with tear to outer margin into the text, not collated
Voltaire Examen du Prince Machiavel ou l'Antimachiavel avec des notes Historiques & Politiques, A la Haye (The Hague): Jean can Duren, 1741; 8vo with marble page edges; half titles and title page with vignette, bookplate for Lord Sandys, avant propos, preface by Amelot de la Houssaye, Dedication, tables of contents, text, appended by Idee de l'histoire de la vie et du regne de Louis XIV, 10 pages of publisher's catalogueOmbersley Court, Worcestershirepages toned. hinges cracked; speckled contemporary calf; joints cracked, title block rubbed and faded, some further wear to extremities and light foxing, front endpaper loose with pencilled shelf mark
Taylor (Jeremy) The Rules and Exercises of Holy Living and of Holy Dying, bound with Taylor (Jeremy) The Rules and Exercises of Holy Dying, London: Miles Flesher for Richard Royston, 1682, 8vo, engraved frontispiece for both volumes and title pages; together with [Allestree (Richard)] The Gentleman's Calling, London: Printed by R. Norton for Robert Pawlett, 1671, 18th century calf, inscribed: 'Elizabeth Sandys her booke 1674' to endpaper and 'Samuel Sandys his book 1708' to title page, lacking frontispiece, 2 plates (2)Ombersley Court, WorcestershireTaylor: Not collated, binding with wear, a little warped and worn and bumped to the extremities, gilding rubbed, front hinge cracked head and toe of foot of spine worn, front pastedown delaminating, plates a little soiled and browned to the edges, text pages a little toned with some spotting and foxing to endpapers, back endpapers soiledAllestree: binding with wear, head of spine with loss, unfinished pastedowns with earlier religious tract scrap endpapers, good text with light smudges in part
Newton (Isaac) and Pemberton (Henry) A View of Sir Isaac Newton's Philosophy, London: printed by S. Palmer, 1728, 4to, full panelled calf gilt, marbled page edges, engraved title vignette, various other engraved vignettes, list of subscribers, numerous folding engraved plates of diagrams, bookplate for Lord SandysOmbersley Court, WorcestershireNot collated. Ink inscriptions to endpapers and very light further pencil inscriptions to main text, soiling around the endpapers, rubbing and bumping to the binding (especially to the spine) and damage to the hinges, cockling throughout and some light foxing, contents fairly bright otherwise, with the folding diagrams in good condition
De Lisle (Guillaume) Large Folio Volume of Maps with hand coloured borders, large folio, quarter calf with patchwork marbled boards and handwritten title label 'De Lisle's Ancient Georgraphy' including Graciae Antiquae Tabula Nova, London: John Senex, 1725, and another Graciae Par Septentrionalis; De Lisle (Guillaume) Africae, Tabula Geographica, engraved by John Senex, circa 1725; De Lisle (Guillaume) Regionum Italiae Mediarum, London: John Senex, circa 1725; De Lisle (Guillaume) Tabula Italiae Antiquae, London: John Senex, circa 1725; De Lisle (Guillaume) Two Maps: Theatrum Historicum, London: John Senex, circa 1725Ombersley Court, WorcestershireEndpapers and pastedowns foxed, the maps predominantly good with light toning, a few small smudges to the margins, binding with some wear, pencilled shelf mark on title label
Derham (William) Select Remains of the Learned John Ray... with his Life by the Late William Derham, London: George Scott, 1760, 8vo, full calf gilt, engraved portrait frontispiece, numerous engraved vignettes, bookplate for Lord SandysOmbersley Court, WorcestershireCollated. Some bumping and rubbing to boards, with soiling around endpapers. Contents generally fairly bright with some light cockling and soiling. Some wear to hinges.
Theatre to include: Kelly (Michael) Reminiscences, London: Henry Colburn, 1826, 2 vols, 8vo, marbled boards, marbled endpapers and page edges, engraved frontispiece; Brumoy (R P) Le theatre des Grecs, Paris: Rollin et al, 1730, 3 vols, 4to, full calf gilt, marbled endpapers, engraved frontispiece, bookplates for Lord Sandys; Farmer (Richard) An Essay on the Learning of Shakespeare addressed to Joseph Cradock, Cambridge: J. Archdeacon et al., 1767, 3 vols, 12mo, full calf gilt, marbled endpapers, bookplates for Lord Sandys; Etherege (George) Works, London: J Tonson, 1704, 12mo, full embossed calf gilt, marbled page edges, bookplate for Lord Sandys; Collier (Jeremy) A Short View of the Immorality and Profaneness of the English Stage, London: S Keble, 1698, 12mo, full tree calf, marbled page edges; Otway (Thomas) Works, London: J Tonlon, 1712, 2 vols, 12mo, full calf gilt, marbled page edges, engraved frontispiece to vol 1, bookplates for Lord Sandys; Farquhar (George) Comedies, London: Lintott, 8vo, full embossed calf gilt, engraved frontispiece and various engraved vignettes, bookplate for Lord Sandys, among other volumes relating to the theatreOmbersley Court, WorcestershireNot collated. Kelly: rubbing, bumping and light soiling to binding, contents generally bright with light foxing. Brumoy: bindings rubbed with some foxing/soiling to contents. Farmer: bumping and rubbing to binding, with some internal foxing. Etherege: sunning, bumping and rubbing to binding with some soiling to endpapers, internal contents generally bright otherwise. Collier: rubbing, bumping and soiling to bindings, as well as internal soiling and foxing. Otway: bumping and rubbing to bindings, with moderate internal foxing and soiling. Farquhar: bumping and rubbing to the binding, with moderate foxing.
Turpin (François-Henri) Histoire Civile et Naturelle du Royaume de Siam, et des Révolutions qui ont bouleversé cet Empire jusqu'en 1770, Paris: Chez Costard, 1771, 12mo, 18th century calf with marbled endpapers, bookplate for Lord Sandys, half-titles; together with Marigny (François Augier, l'Abbé de) Histoire des Arabes sous le Gouvernement des Califes, Paris: Chez Estienne & Fils, De Saint & Saillant and Jean-Thomas Herissant, 1750, 18th century half calf and marbled boards, bookplates for Lord Sandys, four volumes, 1st edition; [MIRABEAU, Honore Gabriel Riquetti, Comte de (1749-91)]. Theorie de L'Impot, 1761, 8vo, 18th century calf, marbled endpapers, bookplate for Lord Sandys, half titles, lacking title page, 2 leaves of advertisements (7)Ombersley Court, WorcestershireTurpin: An important work on Siam based on manuscripts sent from the Bishop of Tabraca (Vicar Apostolic de Siam) and other missionaries in Siam.Light wear to extremities, joints a little worn, pages toned, not collated. Small waterstains to some pages in lower margin, very occasional foxing, a few pages with uncut lower edges. .
Guarini (Battista) Il Pastor Fido, Tragicommedia Pastorale del molto illustre Sig. Cavaliere Battista Guarini, Venice: Gio. Battista Ciotti, 1602, woodcut title page, full page portrait of Guarani and six further plates, woodcut headpieces, ornaments and initials, some historiated; bound with Guarini (Battista) Compendio della Poesia Tragicomica, Venice: Gio. Battista Ciotti, 1602, 8vo, inscribed for G Turner and with inked flourish to lower half of titleOmbersley Court, WorcestershireLater full calf with gilt tooled spine with some signs of old worm, front hinge cracked and light signs of worm, pencil shelf mark to endpapers, Poesia title page and opposing page with large ink mark, a few pages with paper repairs to edges with no loss of text, bookplate to front pastedown detached and lacking, a few ink annotations to text, water damage to few pages, pages toned and ink smudges in part, not collated
Brydone (Patrick) A Tour through Sicily and Malta In a series of Letters to William Beckford, Esq. of Somerly in Suffolk, London: W.Strahan & T.Cadell, 1774, 8vo, two volumes, third edition, half-titles, with folding engraved map by T. Kitchin, 2 pages of advertisements after title, 3 pages of publisher's advertisements to back of volume one, contemporary calf with red title labelOmbersley Court, Worcestershirespines a little dry and rubbed, corners bumped, a little wear to the extremities, pages toned but generally a good, bright copy, endpapers and pastedowns toned, occasional spotting and light foxing, not collated
Religion: 17th century Volumes to include: Horneck (Anthony) The Happy Ascetick, London: for Henry Mortlock, 1699, 8vo, full panelled calf, engraved frontispiece, titles in red and black; [Coleraine, (Henry Hare, Baron)] The Situation of Paradise found out: Being an History of a Late Pilgrimage unto the Holy Land, London: for S. Lowndes, 1683, 8vo, full calf, engraved frontispiece, marbled edges; Taylor (Jeremy) A Dissuasive from popery to the People of England and Ireland, London: for R. Royston, 1686, 8vo, full later calf with red title label, engraved frontispiece, 1 double page engraved plate; Malvezzi (Virgilio) The Pour Tract of the Politicke, London: for M. Meighen, 1647, 12mo, full calf with decorative gilt spine; Wade (John) Redemption of Time the Duty and Wisdom of Christians in Evil Days, London: for Nathanael Ranew, 1683, 8vo, full speckled calf, red ruled title, [Leslie (Charles)] The Snake in the Grass: or, Satan Transform'd into An Angel of Light ... Quakers, London: for Charles Brome, 1698, 8vo, full panelled calf, inscribed for Sam. Sandys (qty)Ombersley Court, Worcestershire
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