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Los 120
Follower of ANTONIO MORO (Utrecht, between 1516 and 1520 - Antwerp?, 1575/1576). "Portrait of a lady", late sixteenth century. Oil on panel. Size: 57 x 40 cm; 64 x 47 cm (frame). In this female portrait, starring a lady of high lineage, elegantly dressed and adorned with rich jewels, captured with a language based on the rigor of the drawing and the meticulous brushstroke, the heritage of the work of Antonio Moro, painter of chamber of Carlos I and Felipe II, whose language determined the development of the court portrait in the Spain of the 16th century, is clearly appreciated. Born Anton van Dashorst Mor, Antonio Moro worked in the Southern Netherlands and also in Spain, Italy, Portugal and England. He trained in his native Utrecht as a disciple of Jan van Scorel, whose assistant he became in 1540. According to Karel van Mander, Moro traveled to Italy during his youth, and there he was able to spend three years before returning to Utrecht in 1544. In 1547 he was admitted as a master in the Guild of St. Luke in Antwerp, although he preferred to reside in his hometown. The following year he would attract the attention of his first important patron, Antonio Perrenot de Granvela, bishop of Arras and member of the court of Charles V. His portraits made between 1549 and 1550 already reveal an innovative style that would replace the oldest portrait traditions, combining Flemish precision with Italian models. Particularly important in his language would be the influence of Titian, which he brought to him through the works of the Venetian that existed in the collections of Granvela and Maria of Hungary, regent of the Netherlands. Moro's mature style will be characterized by the steely precision of Nordic heritage, the muted colors, the detail in the fabrics, folds and qualities, a simplified lighting generally on the left side and a neutral background that enhances the monumental isolation of the figure, which is usually three-quarter or full-length and fills the entire height of the pictorial plane. His career experienced the definitive impulse when he was presented by Granvela to Philip II; since then Moro will work the royal and courtly portrait in the Dutch and Spanish courts, so that his style will exert an important influence throughout Europe and, above all, in the Iberian Peninsula, where he had numerous disciples and followers. Among them were Alonso Sánchez Coello, Jorge de la Rúa, Manuel Denis, Cristóbal de Morales and Sofonisba Anguissola. In 1550 he was sent by Maria of Hungary to Lisbon to paint the Portuguese royal family, and especially Maria of Portugal, the fiancée of Philip II. On the way he painted his first official portrait of Emperor Maximilian II, probably in Augsburg. Probably from there he continued his journey in the retinue of Philip II, who was then in the Netherlands. He arrived in Spain in 1551, and there he painted Philip II's sister and her first daughter, Maria of Austria, with her husband Maximilian II. The following year he worked at the Lisbon court, and finally in 1553 he returned to Brussels only to go to London, where he was sent to portray Philip II's wife after the wedding. That same year of 1554 he was officially appointed painter to Philip II and moved to the court of Brussels, where he remained until 1559. After a brief stay in Spain Moro returned to Brussels in 1561, after having painted some of his best portraits in Toledo and Madrid. In the following years he continued to work with Granvela and also with the court of Margaret of Parma and the Duke of Alba, governor of the Netherlands. Also, in 1570 he portrayed the fourth wife of Philip II, Anne of Austria. During these years he also painted important aristocrats and bourgeoisie, applying attitudes and compositions of his court portraits.
Los 121
Spanish school of the seventeenth century. Following models of JOSÉ VERGARA GIMENO (Valencia, 1726 - 1799). "Portrait of Queen Bárbara de Braganza, wife of Fernando VI". Oil on canvas. Size: 78 x 53,5 cm; 96 x 70,5 cm (frame). The one we present here is a portrait of the queen Bárbara de Braganza, wife of Fernando VI, based on the one painted by the Valencian painter José Vergara, the latter today conserved in the Royal Academy of Fine Arts of San Carlos of Valencia. Bárbara de Braganza was a Portuguese Infanta, daughter of John V of Portugal and Maria Ana of Austria. Barbara married in 1729 to the then Prince of Asturias, Ferdinand VI, and became Queen consort of Spain. She had no descendants.
Los 48
Circle of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."Saint".Oil on canvas glued to panel.It has restorations.It has slight air bubbles caused by the adhesion of the canvas to the board.Measurements: 39,2 x 27,8 cm; 48 x 37 cm (frame).In this portrait we can appreciate the author's taste for veracity, as the face of the protagonist has been painted with great naturalism. The work represents the bust of a mature man, arranged on a neutral background. The face is the absolute protagonist of the work, magnificently modelled through a skilful use of light and shade, with appropriate contrasts that enhance the plasticity of the features. The gaze is the focus of our attention, and it is reflected with a veracity typical of a careful study of life.The treatment of light and the workmanship of the piece bring this work closer to the artistic circle of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing, characteristics that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushwork that the artist learned directly from Ribera's work.
Los 64
Dutch or French school, ca. 1700."Portrait of a lady.Oil on original canvas.New stretcher.Frame 19th century.With restorations.Measurements: 73 x 57 cm; 87 x 70 cm (frame).In this work a young lady is represented as Saint Agnes, with a lamb (the main iconographic attribute of the saint, symbol of her purity) and a stick instead of the palm of martyrdom. The brushstroke, loose and with great mastery and precision, denotes a rapid and skilful execution, as can be clearly seen in the young woman's hair and the lamb's fur. The light reflects his knowledge of Italian tenebrism: a spotlight that enters the painting from the lower left corner and falls directly on the main areas of the image, leaving the rest enveloped in a nuanced half-light and supporting the construction of the volumes and the space.
Los 265
Collection of Commemorative Coins, gold plated, including Remembering World War II 1939-1945 boxed set, Winston Churchill, Queen Elizabeth 90th Birthday, Coronation 1953, Proclamation of Accession, Duke & Duchess of Cambridge, Harry & Meghan, Concorde, Queen & Duke of Edinburgh, Winston Churchill Portrait of a Statesman, George VI & Elizabeth Bowes, together with 'Keeping Perfect Time' set of pennies, End of the Empire half crowns, King Canute silver coin, From Half Silver to None sixpences, The King's Shilling, Four Decades of Florin, Elvis Presley half crown, boxed set of wartime commemorative coins, etc.
Los 69
FRENCH SCHOOL, 18TH CENTURY PORTRAIT OF ETIENNE REYNAUD, AGED 67, SEATED HALF-LENGTH, HOLDING A BOOKOil on canvas57.5 x 47.5 cmProvenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined, paint layer appears stable. Paint thinning in areas. UV light reveals retouching, mainly along the left hand edge, to the right of the book, in the figure's neck and in the background to the right of the figure. Condition Report Disclaimer
Los 70
FOLLOWER OF CORNELIS JANSSENS VAN CEULENPORTRAIT OF A FRANCIS, LORD COTTINGTON, CHANCELLOR OF THE EXCHEQUER IN 1629, BUST-LENGTH, IN A BLACK COAT AND LACE COLLAROil on canvas73 x 57.5cm (28½ x 22½ in.)After the portrait of Francis Cottington, 1st Baron Cottington (1578-1652) in the collection of the National Portrait Gallery (NPG 605)Provenance:Barnwell Manor, NorthamptonshireWindsor House AntiquesCondition Report: Canvas has been relined. Stretcher marks clearly visible. Craquelure across the entire surface of the canvas. Surface dirt and discolouration of the varnish. Several old restoration visible to the naked eye as well as under UV light. Condition Report Disclaimer
Los 3
English School, 18th CenturyPortrait of a girl, seated three-quarter length, with a lamb before a landscape oil on canvas76.4 x 63.6cm (30 1/16 x 25 1/16in).Footnotes:ProvenanceWith Harris and Holt Antiques, UK, where purchased by the present owners in 1993.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 386
Pablo Curatella Manes (Argentinian, 1891-1962): A bronze plaque depicting 'Lancelot and Guinevere'the stylised figure of Guinevere with long flowing hair embracing the kneeling figure of Lancelot, signed Manes to the top left hand corner, the side with Valsuani Paris, foundry mark to one corner, dark brown patination, 28.4cm x 20cmFootnotes:Provenance:Collection of Michael Black, sculptor (British, 1928-2019), thence by descent. Amongst many commissions, Black sculpted the Oxford Sheldonian Emperors' heads, the bronze busts of former prime ministers Sir Alec Douglas-Home and Sir Harold Macmillan, as well as portrait subjects in the National Portrait Gallery and private collections.A larger terracotta plaque measuring 65cm x 43cm of the same subject, possibly from the estate of Manes and recorded as being executed by the sculptor in 1925 was sold Christies New York, Latin American Sale, sale 1841, 1st June 2007, lot 191 ($19,200 including buyers premium). The present lot is a bronze reduction of this same subject, cast by the prestigious Valsuani foundry in Paris, presumably as a limited edition in the late 1920s or early 1930s. The inspiration for the subject of Lancelot and Guinevere presumably comes from the French origins of the Arthurian legends and texts, which were derived from the medieval writer Chretien de Troyes who penned the quintessential romance 'Le Chevalier au lion'.Pablo Curatella ManesBorn in Buenos Aire, Manes' interest in sculpture was most likely fired as a child by frequent visits with his mentor Arturo Dresco to the then newly opened La Plata Fine Arts Museum. Enrolling at the National Fine Arts School in 1907 he was subsequently expelled due to bad behaviour but still managed to secure an apprenticeship in 1908 under Lucio Correa Morales. Manes later travelled extensively in Europe, spending time in Florence and Rome before having his first exhibition in Buenos Aires in 1912. He returned to Europe, settling in Paris before the outbreak of the First World War, but was forced to return to Argentina. However in 1917 he secured a scholarship in Paris under Maillol, Maurice Denis and Paul Sérusier. A second scholarship in 1920 allowed him to permanently settle in the city where he studied under Henri Laurens, Juan Gris, Constantin Brâncuși and Le Corbusier. It was during this period that Manes explored Cubism and his sculptures became noticeably more 'avant-garde'. Manes married the French painter Germaine Derbecqre in 1922 and in 1926 took up a post at the Argentine Embassy. He was subsequently commissioned to create wall reliefs for the Argentine Pavilion in the 1937 Paris Exhibition and his monumental 'Tierra Argentina' and 'Los Dos Hemisferios' ('Argentina' and 'The Two Hemispheres') won him a place on the Paris Exhibition's sculpture jury. After this he was made an Officer of the Légion d'honneur. During Manes' diplomatic tenure he re-instated the Salon des Indépendants, which had been banned under the Vichy regime. In 1949 he was transferred from Paris to the Embassy in Athens before finally returning to Buenos Aires, where he died in 1962, aged 70.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 426
John Simpson (British, 1811-after 1871): An oval enamelled copper self portrait miniature together with a rectangular enamelled copper portrait miniature of Mrs Simpson (probably Mrs William Page Simpson)the first miniature with the sitter looking to dexter with mutton chop whiskers, wearing a black silk bow tie, the rear inscribed and dated Painted by J. Simpson for his son W. P. Simpson, Jan 1865, the second miniature of canted topped rectangular form, the sitter looking to dexter, her hair dressed with long ringlets, her black silk dress with laced collar, the rear signed dated Mrs Simpson 1855., by J. Simpson', the first miniature, 4cm x 3.3cm, the second miniature, 5cm x 4cm (2)Footnotes:John Simpson (1811-after 1871) was trained as a porcelain painter at the Derby porcelain factory before moving to London in 1845. He soon established a practice as a miniature painter specialising in works on enamel, and fulfilled the first of many commissions for Queen Victoria in that year. He is last recorded describing himself at the end of his career as a 'photographic artist' (1871 census return); the date of his death is not known.For further information on this lot please visit Bonhams.com
Los 427
William Page Simpson (British, 1845-1911): An oval enamelled copper portrait miniature of a gentlemanpossibly a self portrait for his father, John Simpson (British, 1811-after 1871)the sitter looking slightly to dexter with mutton chop whiskers wearing a high black stock collar, mounted within a later brown plush covered contemporary rectangular frame with milled gilt slip, the miniature, 3cm x 2.5cm, the frame, 10.5cm x 7.5cm Footnotes:John Simpson (1811-after 1871) was trained as a porcelain painter at the Derby porcelain factory before moving to London in 1845. He soon established a practice as a miniature painter specialising in works on enamel and fulfilled the first of many commissions for Queen Victoria in that year. He is last recorded describing himself at the end of his career as a 'photographic artist' (1871 census return); the date of his death is not known.For further information on this lot please visit Bonhams.com
Los 7
Sir John Watson Gordon R.A. (British, 1788-1864)Portrait of Amelia Frances Pellat in a black dress and gold chain, a landscape beyondoil on canvas 76.2 x 63.5cm (30 x 25in).Footnotes:ProvenanceAnon. sale, Bonhams, London, 28 February 1991, lot 78.For further information on this lot please visit Bonhams.com
Los 14
Camden (William). Camden's Britannia, Newly Translated into English: With large Additions and Improvements..., F. Collins for A. Swalle and A. & J. Churchill, 1695, engraved portrait frontispiece laid on later paper, additional half-title, 49 (of 50) uncoloured engraved maps by Robert Morden, lacking the map of the British Isles, mostly folding, several maps laid on later paper, a few maps frayed with loss to the left and margins, eight engraved plates of coins, a few woodcut and engraved illustrations (including a view of Stonehenge and the Rollright Stones), index bound at rear, contemporary speckled calf, rebacked, worn and bumped at extremities, folioQTY: (1)
Los 163
* Japanese Scroll. Portrait of a woman with a dog, early 20th century, colour printed portrait, 960 x 595 mm, mounted on a paper scroll and edged with blue silk, secured on a wooden roller and a wooden batten with a hanging cord, with another portrait similar of a Japanese diety 1140 x 880 mm and another late 20th-century portrait of a mounted Samurai warrior, mounted on a paper scroll faced with blue silk, 1275 x 645 mm, secured on a wooden roller and a wooden batten with a hanging cord, with another four scrolls similar, all of natural history subjects, various sizes, good condition, plus Souvenir Handkerchief. Nippon Times. Unconditional Surrender by Japs completed at 20- Minute Ceremony, The End of the Long Road Back, September 2nd 1945, map of Japan on silk and printed in green, appears to be laid on later card, 415 x 425 mm, framed and glazedQTY: (8)
Los 174
* Sporting Prints. Edwards (Lionel), The Warwickshire, Eyre & Spottiswoode, circa 1920, colour photolithographic print, signed by the artist in pencil to the lower left, 380 x 515 mm, mounted, together with Vanity Fair. "An American Jockey", May 25th 1899, colour lithographic caricature of Tod Sloan, 235 x 340 mm, mounted, with Newmarket 1885, 'special issue' Vanity Fair caricature, trimmed to image 330 x 485 mm, mounted, with Edwards (Billy). The Portrait Gallery of Pugilists of England, America, Australia..., [1894], 34 (only) black and white photolithographic portraits of boxers, three images with repaired closed tears, disbound but retaining the publisher's green gilt boards, each approximately 315 x 205 mm, plus Ryman (James, publisher). [The Oxford Drag, plates 1 & 3 (of 4), 1848 or later], two aquatint engravings, trimmed to image, both toned and spotted, 340 x 520 mm, mounted, and Ward Binks (Reuben). Cocker Spaniels, [1934, but later impression], hand-coloured aquatint, 300 x 380 mm, mountedQTY: (40)
Los 194
Hall (Edward). The Union of the Two Noble and Illustre Famelies of Lancastre & Yorke beeying long in continual discension for the crowne of this noble realme, with all the actes done in bothe the tymes of the princes, bothe of the one linage and of the other, beginnying at the tyme of Kyng Henry the fowerth, the first aucthor of this deuision, and so succesffiuely proceadyng to the reign of the high and prudent prince Kyng Henry the eight, the vndubitate flower and very heire of both the sayd linages, London: Richard Grafton, 1548, facsimile title, dedication, preface and 3 other preliminary leaves all in facsimile, main text printed in black letter and commences on A1 (folio I) and ends on 3U5 (folio CCLVII), woodcut initials, final leaf with tear and small loss of text, the same leaf repeated in facsimile and then facsimile leaves thereafter to the end, lacking leaves 2E2-5 & 2I2-5 in Richard III, and 2R8 blank? at end of Edward IV, leaf 3I1 in Henry VII partly supplied in facsimile, leaf 2K5 in Richard III with loss of headline from insect predation, lacking leaf 2K6 in Richard III (blank?), first leaf A1 with wormtrack and resultant loss of text, 3G6 with repaired tear, occasional early marginalia and annotations including a cartoon of a figure with tethered animal (partly shaved to verso of 3E4 in Henry VII), occasional light damp stains and soling, a few small marginal wormholes, bookplate of Graham Hirth, 20th-century half calf over marbled boards, folio, 267 x 185 mm QTY: (1)NOTE:ESTC S121062; STC 12722. Rare in any condition. Provenance: nineteenth-century manuscript note at front copies the title, followed by a price 4.4.0. Grafton 1550, then "The above (copied from Jacksons catalogue for 1831) is the title of this book and the price of a perfect copy - for this which I bought of Cryer of Wakefield I gave £1.1.0 - but it must be worth 3.0.0 - M. Seatcherd". There is a portrait print of a Morrison Seatcherd, by Henry Adlard in the British Museum. Modern pencil note to front pastedown states the facsimile leaves were from the British Museum copy. Complicated collation, copies vary in components but seems to conform to signatures from the 1548 first edition.Important source for Shakespeare's conventional history plays. Due to the work's Protestant leanings Queen Mary issued a proclamation in 1555 calling for the book to be destroyed, which most likely explains the scarcity of early editions. Sold with all faults not subject to return.
Los 202
Chaucer (Geoffrey). The Workes of our Antient and Learned English Poet, Geffrey Chaucer, newly printed, 1st Speight edition, London: Adam Islip, at the charges of Bonham Norton, 1598, black letter, text double column, title within elaborate woodcut architectural border, 3 other divisional titles with woodcut borders, woodcut initials, head and tailpieces, near-contemporary ownership inscription 'Gilbert Digley' to title lower margin with another inscription in the same ink partially rubbed out to lower margin right-hand corner, early ownership inscription 'Dunfland Devon' to title upper margin, lacking engraved portrait (one from a 17th-century copy supplied, remargined and trimmed to margins), lacking first and final blanks, and leaves C4-6, engraved portrait relaid with loss to margins, a few gatherings damp-stained (more heavily to final leaves), final leaf with some staining and a few indistinct early annotations in Latin, small marginal repairs to a few leaves, light occasional toning, late 17th-century calf, rebacked (endpapers renewed), red morocco title label lettered in gilt, worn, folio (305 x 190 mm)QTY: (1)NOTE:Pforzheimer 177 (different imprint); STC (2nd ed) 5077. 'From the form of imprints it would seem that Bishop, Norton, and Wight commissioned Islip to print this edition, and judging from the frequency with which copies with their imprints occur it is probable that Bishop took the largest share and Norton the next' (Pforzheimer).
Los 204
Livius (Titus). The Romane Historie vvritten by T. Livius of Padua. Also, the Breviaries of L. Florus: with a Chronologie to the whole Historie: and the Topographie of Rome in old time. Translated out of Latine into English, by Philemon Holland, Doctor in Physicke, 1st edition in English, London: Adam Islip, 1600, [10], 1403, [41]p., woodcut allegorical device to title, woodcut portrait of Elizabeth I on title verso, woodcut portrait of the author, small contemporary ownership inscription 'Ro: Gregge' to upper right-hand corner of title, armorial bookplate of Sir Joseph Radcliffe 2nd Baronet to front pastedown, woodcut initials, head and tailpieces, lacking front and rear blanks, a few leaves with marginal damp stains (not affecting text), contemporary calf gilt, emblem with initials W.R.B. to front board and W.L.B. to rear board, brass clasps with foliate embellishments, rebacked (endpapers renewed), green morocco title label lettered in gilt, rubbed, folio (325 x 220 mm)QTY: (1)NOTE:Provenance: Possibly Robert Gregge (circa 1596-1662), Collector of the Excise for Cheshire, and Examiner in the Exchequer Court of Chester; Sir Joseph Radcliffe, 2nd Baronet (1799–1872).Pforzheimer 495; STC 16613 (2nd edition).First edition in English of Livy's Roman History, and the first of Philemon Holland's renowned translations. 'This was the first of that stately array of folio translations of the classics which issued from the pens of the 'translator generall in his age' - the whole of the present he claims to have written with one pen. The topographical portion is translated from the work of J. Bartholomew Marlian of Milan' (Pforzheimer).
Los 213
[Shakespeare, William. Comedies, Histories and Tragedies; Published according to the true Originall Copies. Second Impression, London, 1632], woodcut head-pieces and initials, roman and italic type, text in double column, 66 lines, headlines and catchwords, pages box-ruled, 423 (of 454) leaves, 31 leaves supplied in facsimile on thicker, modern wove paper, including 3 preliminary leaves: 'To the Reader', title-page with portrait and 'Commendatory Verses' ([pi]A1, A2 & A5), plus 28 text leaves 2c4 (Coriolanus), 2i1-5 (Romeo & Juliet), 2o-2p6 (Macbeth 15pp. & Hamlet 9pp.), and the final 10 leaves, 3c1-6, 3d1-4 (Cymbeline), some spotting and old damp-staining throughout, closed tear repairs to D1, b3, 2h3, 2l6, a few other corner and marginal tears without loss of text, tears with loss to V2 (lower outer corner affecting 3 lines), heavier brown staining to upper half of r4r, some further closed tear repairs, marginal fraying and tears to lower outer corners with occasional small text loss to final 42 original leaves (7 signatures, 2t-3b: King Lear, Anthony & Cleopatra, Cymbeline), including larger tears to outer margins of 2v4 (affecting approximately 32 lines of text) and 3a1 (affecting approximately 43 lines of text), old ink ownership name (trimmed) of (?)J. Courtenay to upper margin of first main text leaf recto, armorial bookplate of Mary L'Estrange retained and applied to front pastedown, modern blind-stamped calf with five raised bands and morocco title label, folio (310 x 210 mm)QTY: (1)NOTE:Provenance: Mary L'Estrange (née Carleton, of Rossfad, near Enniskillen, born 1736) who married Henry Peisley L'Estrange of Moystown House, and latterly of Hunstanton, King's County, Ireland. By family descent this copy passed down directly through seven generations to Merlin L'Estrange Meakin (born 1942); information gathered from 2 sheets of notes loosely inserted into the volume.Collation: [pi]A6 [-1,2,5, all supplied in facsimile] *4, A-2B6 2C2, a-y6, 2a-3c6 [2c4: Coriolanus; 2i1-5: Romeo & Juliet; 2o-2p6: Macbeth 15pp. & Hamlet 9pp.; 3c1-6, 3d1-4: Cymbeline, all supplied in facsimile].Gregg III, pp. 1113-1116; Pforzheimer 906; STC 22274 or one of 22274b, c, d or e; Todd, 'The Issues and States of the Second Folio and Milton's Epitaph', in Studies in Bibliography, volume V (1952-53), pp. 81-108.The Second Folio edition of the most important work in English literature. Without these large format Folio editions as many as 18 of Shakespeare's plays may never have survived. There are five variants of the Second Folio as identified by the imprint on the title-page; the text and colophon being identical in all variants. Without the original title-page and the 'Effigies' leaf (with the 17-line epitaph by John Milton) it is not possible to establish which issue this copy belongs to. It is estimated that no more than 1000 copies of the Second Folio were printed, and it is believed fewer than 200 copies are still in existence today, many of which, as this copy, are incomplete or defective.
Los 227
Sidney (Philip). The Countess of Pembroke's Arcadia, 13th edition, London: George Calvert, 1674, engraved portrait frontispiece, engraved headpieces and initials, 18th-century ownership inscription of 'Jane Punchard 1768' to frontispiece verso, small gilt armorial bookplate to front pastedown, lightly spotted, a few leaves lightly damp-stained to upper margin, lacking final blank, contemporary panelled calf, rebacked (endpapers renewed), red morocco title label lettered in gilt, some wear, folioQTY: (1)NOTE:ESTC R21446; Wing S3770.
Los 230
Wright (John Michael). An Account of His Excellence Roger Earl of Castlemaine's Embassy, from His Sacred Majesty James the IId. King of England, Scotland, France, and Ireland, &c. To His Holiness Innocent XI, 1st edition in English, London: Thomas Snowden for the author, 1688, engraved frontispiece (laid down with small marginal loss and red was seal), engraved portrait of Queen Mary by Robert White, engraved dedication illustration and 15 engraved plates by Arnold van Westerhout, including a large folding plate of a banquet (laid down with losses to upper part of last right fold and margins), a few small closed marginal tears, occasional light soiling and small stains, bookplate of Sir Edward O'Brien (1705-1765, 2nd Baronet and Irish politician), hinges reinforced, contemporary panelled calf gilt, rebacked and repaired, a little rubbed, folioQTY: (1)NOTE:Wing W3702; Lipperheide 2751 (for the Italian first edition).John Michael Wright (1617-1694) was a British portrait artist appointed steward to Roger Palmer, Earl of Castlemaine by the newly crowned King James II in 1685. The following year the Earl was sent on an embassy to Pope Innocent XI to present the King's catholic credentials and offer English support on the Roman Catholic side in forthcoming conflicts. Wright produced the elaborate processional coaches, costumes and centrepieces depicted in the engravings above and arranged the banquet for 1000 guests at the Palazzo Doria Pamphilj in Rome. The Italian edition of the account of the embassy was published in 1687, dedicated to the Duchess of Modena; the English edition (as here) dedicated to the Duchess's daughter Mary, wife of James II.
Los 234
Locke (John). An Essay Concerning Humane Understanding, 4th edition, London: Awnsham and John Churchill, 1700, engraved portrait frontispiece, contemporary ownership inscription 'WM Danby' and bookseller's blindstamp (Drayton & Son, Exeter) to front free endpaper, faint damp-stain to gutter of preliminary leaves, occasional light faint spotting, contemporary Cambridge panelled calf gilt, foliate cornerpieces, rebacked with original spine laid on, rubbed, folioQTY: (1)NOTE:ESTC R39072; Wing L2742.This edition of the Essay is the last printed in Locke's lifetime.
Los 235
Clarendon (Edward, Earl of). The History of the Rebellion and Civil Wars in England, 1st edition, 3 volumes, Oxford: Printed at the Theatre, 1702-04, half-titles to volumes 1 & 3, engraved portrait frontispieces to all volumes, engraved vignettes to titles, armorial bookplates to front pastedowns, all volumes with contemporary gift inscriptions from 'John Arnold... to Cathedral Church of Chichester', early pencil or ink marginalia (mostly manicules), occasional light spotting, contemporary speckled Cambridge panelled calf, rebacked, rubbed, folio, together with Hooker (Richard). The Works of that learned and judicious divine, Mr. Richard Hooker, London: Robert Scot, 1682, additional engraved title and portrait frontispiece, title printed in red and black, woodcut headpieces and initials, early ownership inscription to title upper margin 'Freda French?', stamps of 'Englisches Seminar der Universitat Leipzig' (one to title outer margin), damp-stain to lower margin of most leaves (occasionally touching text), frontispiece and additional title with small marginal repairs and damp-stains, 20th-century half calf gilt over blue marbled boards, red morocco title label, folioQTY: (4)
Los 236
Mead (Richard). A Mechanical Account of Poisons in Several Essays, 1st edition, London: Printed by J.R. for Ralph South, 1702, early signature E. Adey to title, some toning and occasional light spotting, 19th-century bookplate of Samuel Holdsworth to upper pastedown, contemporary calf, joints split and upper board loosening, extremities worn, 8vo, together with:Teresa (of Avila, Saint), Vida da seraphica madre Santa Teresa de Jesus..., Lisbon: Antonio Vicente da Silva, 1761, engraved illustration laid-down on front free endpaper, contemporary limp vellum, with leather ties, 4to,Chambaud (Lewis), A Grammar of the French Tonge, with a prefatory discourse..., 6th edition, revised and corrected, London: C. Bathurst, W. Strahan [& others], 1775, contemporary calf, spine without title label, rubbed, 8vo,Vyse (Charles), The New London Spelling-Book; or, the Young Gentlemen and Ladies' Guide to the English Tongue..., new edition, with alterations, improvements, and additions, London: Published by all the booksellers, and R. & W. Dean, Manchester, 1807, wood engraved portrait frontispiece, front free endpaper inscribed 'Miss Lough's Book April 9th 1809 Bainton', contemporary sheep, lacking spine, upper board loose, worn, 8vo,Bertrand de Moleville (Antoine-Francois), Annals of the French Revolution; or, a chronological account of its principal events, with a variety of anecdotes and characters ... translated by R.C. Dallas, 4 volumes, London: Printed by S. Low, 1800, contemporary diced calf, joints split, lacking spine labels, worn, 8vo,Clarke (Samuel), Homeri Ilias Graece et Latine, new edition, 2 volumes, London: J. Nunn, Baldwin, Cradock & Joy [& others], 1825, folding engraved map frontispiece to each with some offsetting to titles, armorial bookplate of Thomas Fletcher Twemlow to upper pastedowns, contemporary half calf, gilt decorated spines with contrasting labels, 8vo, plus other 17th-19th century antiquarian volumes, including grammars etc., some odd volumes, and two 18th century vellum documentsQTY: (34)
Los 241
Newton (Isaac). Philosophie Naturalis Principia Mathematica, 3rd edition, London: William & John Innys, 1726, half title, privilege leaf, title printed in red and black, numerous woodcut diagrams, lacks the engraved portrait frontispiece and final advertisement leaf, 2I2 with closed marginal tear, occasional minor spotting, manuscript prize label in Latin to George Burnett for physics from the Academia Jacobi VI Edinburgh, 1813? pasted at front, 19th-century vellum, arms of the Academia Jacobi VI Edinburgh stamped in gilt to covers, morocco label top spine, some light dust-soiling, 4to (240 x 185 mm) QTY: (1)NOTE:Babson 13; ESTC T98375; PMM 161; Wallis 9. First published in 1687 "The Principia is generally described as the greatest work in the history of science. Copernicus, Galileo and Kepler had certainly shown the way; but where they described the phenomena they observed, Newton explained the underlying universal laws. The Principia provided the great synthesis of the cosmos, proving finally its physical unity. Newton showed that the important and dramatic aspects of nature that were subject to the universal law of gravitation could be explained, in mathematical terms, within a single physical theory." (PMM).The third edition, edited by Henry Pemberton with a new preface by Newton (dated January 12, 1726), the last edition to be published in Newton's lifetime, and the basis for all subsequent editions.
Los 243
Swift (Jonathan). Travels into Several Remote Nations of the World. In Four Parts, by Lemuel Gulliver, 2nd edition (4th octavo edition), 2 volumes, London: Benjamin Motte, 1727, portrait frontispiece to volume 1 (2nd state, 1st issue), 4 engraved maps, 2 engraved plans, bookplates of Ellen James to front pastedowns, woodcut head and tailpieces, volume 2 lacking preliminary advertisement leaf, first few gatherings of volume 2 heavily damp-stained, scattered spotting, 19th-century speckled calf gilt, red morocco title labels, boards bordered in gilt, rubbed, 8voQTY: (2)NOTE:Teerink 293.
Los 251
Michelotti (Francesco Domenico). Sperimenti Idraulici. Principalmente diretti a confermare la teorica, e facilitare la pratica del misurare le acque correnti, 2 volumes in 1, 1st edition, Turin: Stamperia Reale, 1767-71, folding engraved portrait frontispiece of Carlo Emanuele III, King of Sardinia, titles with engraved vignettes, 11 folding engraved plates, 7 folding tables, a few minor spots, contemporary calf gilt, joints cracking, light edge wear, 4toQTY: (1)NOTE:Provenance: Matthew Boulton (1728-1809), engineer and manufacturer, his Soho Library bookplate; additional label: M. Boulton's Library Soho, sold at Christie's London in December 1986.
![[Sheridan, Richard Brinsley]. The Rivals, A Comedy. As it is Acted at the Theatre-Royal in Covent-Garden, 1st edition, 1775,](https://cdn.globalauctionplatform.com/130e7446-aa4a-49cf-9a62-aef900af8abb/56a5f3d7-792a-476a-aaf7-af0700ee2432/468x382.jpg)
Los 254
[Sheridan, Richard Brinsley]. The Rivals, A Comedy. As it is Acted at the Theatre-Royal in Covent-Garden, 1st edition, 1775, half-title present, "EPI-" catchword to verso of a2, errata list to recto of Dramatis Personae, F2 cancel, pages possibly washed and some expert paper repairs to a few leaves, bookplate of Chris Viveash to upper pastedown, all edges gilt, 20th century sprinkled calf by Riviere, spine with contrasting morocco labels, slim 8vo, together with:Radcliffe (Ann), The Italian, or the Confessional of the Black Penitents. A Romance, 3 volumes, London: T. Cadell Jun. and W. Davies (Successors to Mr. Cadell), 1797, titles with early signature Marion Mansfield to upper margins, volume 1 lacking B5 (pp.9-10), bookplate of Chris Viveash to upper pastedowns, modern half calf, contrasting morocco labels to spines, 12mo,Huish (Robert), Memoirs of Her late Royal Highness Charlotte Augusta, Princess of Wales..., London: Thomas Kelly, 1818, engraved portrait frontispiece, additional title and 8 plates, one folding plate of music, few leaves frayed and torn to fore-margins, toning, occasional spotting and damp stains, gift inscription to Chris Viveash from David Gilson, bookplate of Chris Viveash to upper pastedown, contemporary speckled calf, rebacked, 8vo,[Ferrier, Susan], The Inheritance, by the Author of Marriage, 3 volumes, London: William Blackwood, 1824, occasional light spotting, contemporary maroon half morocco, 8vo, plus other antiquarian, mostly 18th & 19th century publications, including a few odd volumesQTY: (42)NOTE:Provenance: Collection of David Gilson and Chris Viveash.
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