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Preisdatenbank abonnierenBrillat-Savarin,(J.A.).: A Handbook of Gastronomy. New and complete translation. London, Nimmo and Bain 1884. Gr.8°. Mit Portrait-Front. auf aufgew. China u. 52 Rad. auf aufgew. China v. Lalauze. XVI, 516 S., 14 S. Anz. Neuer Hldr. mit Rsch. u. Kopfgoldschn. Eines von 300 Ex. der Ausgabe für England (GA 500). Erste engl. Ausgabe mit diesen Illustr. - Breitrandiges Ex. Tls. leicht fleckig u. etw. wellig. - (221)
Gutenberg, J. 900 GG: Gedenkmedaille, Medailleur Holl. 900 Gelbgold in 585 Gelbgoldfassung (nicht gestempelt, geprüft). Medaille mit Portrait des Johannes Gutenberg. Rs. Wappenschild. sign. Holl. Wohl zu seinem 500 jährigem Jubilaeum. Randpunze 900 + Zusatz. D: 25 mm. Mit Fassung 40 mm. Gew. ges. 25,7 g. - Commemorative medal. Yellow gold setting (not stamped, tested). Medal with portrait of Johannes Gutenberg. Probably for the 500th anniversary. D
Stradanus,J. (d.i. Jan van der Straet).: Passio, mors, et resurrectio Dn. Nostri Iesu Christi. Antwerpen, Phil. Galle um 1585-86. Qu.4°. Mit gest. Titel, gest. Widmung, gest. Portr. u. 37 (statt 38 ?) Kupfern von Adr. Collaert u. Phil. Galle nach Stradanus. Repar. einf. Ldr. mit Goldschnitt. (Rckn. erneuert, Ecken beschäd., stellenw. oberflächl. Wurmfraß). New Hollstein (Stradanus) 48-88. - Kardinal Ferdinando de Medici gewidmete Passionsfolge, vorliegend im ersten Zustand ohne Nummerierung. - Tls. schwach gebräunt u. stellenw. etw. fleckig., 6 Tafeln gegen Schluß im unteren Eck mit Braunflecken. Stellenw. ger. Wurmspuren vorwieg. in d. Rändern, hint. Innendeckel mit einigen stärk. Wurmgängen. - Es fehlt wohl eine Tafel mit der Kreuzaufrichtung (zwischen Taf. 26 u. 27). - Comprising engraved title, dedication, portrait and 37 (of 38) engravings after Stradanus with scenes from the Passion First issue without plate-numbers.
Buch der Welt, Das.: Jg. 1848. Stgt., Hoffmann 1848. 4°. Mit lithogr. Titel u. 46 (von 48) meist kolor. Taf. in versch. Techniken. 2 Bl., 376 (von 380) S. Neuer Hldr. Es fehlen Taf. Nr. 5 (Thorwaldsen-Portrait) u. 9 (Ansicht von Ulm), sowie Texts. 13-16. Fleckig, einige Seiten mit Tesa geklebt, vereinzelt randrissig, S. 11/12 mit Textverlust. - â•”Dabei: Beschreibung des Oberamts Tübingenâ•— Stgt., Lindemann 1867. Mit 2 Ansichten, 1 Faltkarte u. 3 Tabellen. Neuer Hlwd.
Album: mit 28 eingesteckten, auf Photo-Kart. aufgez. Portrait-Photos (Format je ca. 17 x 11 cm), um 1900. 4°. Läd. Samt-Album d. Zt. mit Metall-Schließe, Vdeckel-Applikation u. Goldschn. (Vdeckel u. Rckn. vom Buchblock gelöst, berieb.). Enthält meist Portraits des deutschen Adels, darunter Sophie u. Karl von Hardenberg, Kaiserin Augusta, Prinz Ludwig von Baden, Prinz Bellamonte, Großherzogin Hilda von Baden, die Königin von Schweden, etc. Außerdem 1 Photo einer Zeichn. (Kaiser Wilhelm I auf dem Sterbebett 1888), zus. 29 Photos. - Tls. stockfleckig. - Album with 28 portrait photos, mounted on photo-cardboard, around 1900. Contemporary velvet album (damaged). Partly foxing. R
Patocchi, Aldo: (1907 Basel 1986). 5 Bl. Orig.-Holzschn. auf Bütten, jwls. bez. u. sign., tls. dat. u. num. Blgr. je 48 x 36 cm. Lose. Enthält: La somnambula, Ex. 10/10. - La complice, Ex. 10/10. - Ornella, Ex. 2/10, dat. 1957. - Fuochi di primavera, Ex. 10/10. - Orticello copia av. cettera, nicht num., dat. 1959. - Tls. etw. fleckig, tls. Montierreste verso. - â•”Dabei:â•— Ritratto Prof. Cavalleris (Portrait), Ex. 6/10, dat. (19)41 u. sign. Auf starkem Karton. R
Böhmer, Karl: (1780 Darmstadt - Frankfurt 1831). Ohrenstudien. Rötelzeichnung auf Bütten. 18. Jhdt. 22 x 17,5 cm. Sign. u. Vermerk: Meine allererste Studie im Zeichnen bei meinem Lehrmeister Samhammer in Darmstadt. â•”Dabei: Unbek. Künstler. Portrait eines Mädchens.â•— Bleistift. 20. Jhdt. 17,2 x 14 cm. - â•”Eduard Jacob von Steinle, zugeschr.â•— Skizze einer stehenden Dame. Bleistift. Wohl 19. Jhdt. 19,4 x 12 cm. Unter Passep. - â•”Unbek. Künstler.â•— Rückenakt eines knienden Mädchens. Kohlezeichnung. 1947. 60,5 x 49 cm. - Riss oben. R
Thurneisser zum Thurn,L.: Historia und Beschreibung Influentischer, Elementischer und Natürlicher Wirckungen Aller fremden und heimischen Erdgewechssen... Bln., Hentzske 1578. Fol. Mit gr. Titelholzschn., 2 Portrait-, 36 Pflanzen- sowie 12 Diagr.-Holzschn. im Text u. eine Druckermarke in Holzschn. am Schluss. 6 Bl., 156 (recte: 158) S., 12 Bl. Flex. Prgt. unter Verwendung einer alten Musik-Hs. (Starke Gebrauchsspuren). BM, German Books 862. Nissen 1963 (lat. Ausg.). Ferguson II, 451. Ferchl 536. Erste deutsche Ausgabe, gleichzeitig mit der lateinischen erschienen. - Sehr seltener Druck des 3. Berliner Druckers (nur 5 Jahre tätig, 1577-81, vgl. Benzing 47). Das Werk war auf 10 Teile angelegt, von denen jedoch nur der vorliegende erschienen ist. Beschreibt Pflanzen mit Benennungen auch in griech., syrischer u. hebräischer Sprache, enthält (wie alle Werke Th.'s) zahlr. Bezüge zu Astrologie und okkulten Wissenschaften. - Starke Gebrauchsspuren, durchgehend wasserrandig, Marginalien, Titelbl. lose, ab ca. S. 100 blauer Farbfleck. - Gekauft wie besichtigt. - Very rare print of the 3rd Berlin printer. The work was planned for 10 parts, of which only this one has been published. Describes plants with names also in Greek, Syriac and Hebrew. - Heavy signs of wear, waterstains throughout, marginalia, loose title page, from ca. p. 100 blue colour stain.
Bessel,J.F.: Dissertationes ad jus publicum Romano-ecclesiasticum, complectentes statum Romanae ecclesiae, dignitatem, potestatem, curiam et electionem summi pontificis. Erfurt, Grosch 1714. Kl.4°. Mit gest. Front. u. 1 Kupfertaf. 8 Bl., 430 S., 16 Bl. Beschäd. Brokatpapier-Brosch. d. Zt. mit Bibl.-Rsch. Die Kupfertafel mit einem Portrait von Lotharius Franciscus, dem Erzbischof von Mainz. - Tls. leicht fleckig, Front. mit Randläs., anfangs Ecken etw. knickfaltig u. 2 nicht zum Werk gehörende Bl. eingeb., Bibl.-St.a.T. - â•”Dabei: Kempis,J.v.â•— Decas scripturistica brevem S. Scripturae... Antwerpen 1693. Mit Titelkupfer. - â•”Pseautier de Davidâ•— trad. en francois, nouvelle ed. Paris 1731. - â•”Marcel,H.â•— Canones explicandae scripturae divinae... Würzburg 1653. Angebunden: Seum,J. Gladius spiritus e sacro divinarium scripturarum... Würzburg 1653. - â•”Bissel,J.â•— Antiquitatum angelicarum... Amberg 1670. Mit Kupfertitel u. gest. Front. - â•”Segner,P.â•— Quaresimale. 4. venetianische Ausg. Venedig 1690. Mit Titelkupfer. - Zus. 6 Bde.
(Spanheim,F.).: Le soldat Suedois descript les actes guerriers, merveilles de nostre temps, plus que tres genereuses & tres heroiques de son Roy, faicts en l'empire despuis son entree en icelui par l'isle de Rugen & Stralsunt 1630, jusqu'a sa mort en la bataille de Lutzen 1632. O.O.u.Dr. 1634. Mit Kupfertitel u. gest. Portrait-Front. 6 Bl., 719 S., 36 Bl. Hldr. d. Zt. mit Rsch. u. Rverg. (Fleckig, ob. Kap. leicht beschäd., fehlen die Schließbänder). DW 10615. Vgl. Warmholtz 3796 u. Cioranescu, 17-e siecle 63556 (beide EA Genf 1633). - Quellenschrift zu den Feldzügen Gustav Adolphs im dreißigjährigen Krieg. Drucktitel ohne Druckort u. Jahreszahl, nur der Kupfertitel ist datiert. - Etw. fleckig u. gebräunt, einige Unterstr.
Van Dyck, Anton: (1599 Antwerpen - London 1641), nach. Portrait von Jacomo de Cachiopin. Radierung gest. von Anton Joseph Prenner. 1728. Ca. 22,5 x 16,3 cm. Als van Dyck 1634 für ein Jahr von England nach Antwerpen zurückkehrte, portraitierte er befreundete Künstler und Mäzene, unter ihnen Jacomo de Cachiopin (1591/92-1659). Mit dem leidenschafltichen Bildersammler verband ihn die Liebe zur venezianischen Malerei. R
Lauterbach,W.A.: Dissertationes Academicae... in quatuor volumina. 4 Bde. Tbg., Cotta 1728-29. 4°. Mit 1 gest. Portrait-Front. Ldrbde. d. Zt. mit Rsch. u. Rverg. (Berieb.). Ein großer Teil der Dissertationen behandelt das württembergische Partikularrecht. Bd. 4 mit angebundenem umfangreichen Index. - Etw. stockfleckig, St. u. hs. Besitzverm. a.T.
Demoustier,C.A.: Lettres a Emilie sur la mythologie. Derniere edition. 6 Teile in 3 Bdn. Paris, Renouard 1801. Mit gest. Portrait-Front. u. 36 Kupfertaf. von P. Audouin u. C.E. Gaucher nach Charles Monnet. Ldrbde. d. Zt. mit Goldpräg. (Etw. berieb. u. best.). Rümann 452. Sander 451. Vgl. Cohen-Ricci I, 136. Lewine 283. Reynaud 122. - Seltene dritte Oktav-Ausgabe der berühmten Briefe zur antiken Mythologie. Gegenüber der EA von 1786-1798 hier mit der doppelten Anzahl der schönen klassizistischen Kupferstiche. - Tls. etw. fleckig. - Exlibris.
Eiffel,G.: Travaux scientifiques executes a la tour de trois cents metres de 1889 a 1900. Paris, Maretheux 1900. 4°. Mit Portrait-Front., 1 dplblgr. Grundriß, 1 farb. Faltplan, 2 Taf. u. zahlr. Textabb. 3 Bl., 262 S. Illustr. Obrosch. (Stärkere Gebrauchsspuren, Rckn. beschäd.). Darmstaedter S. 1061. - Über Fallversuche und meteorologische Beobachtungen am Eiffelturm. - Breitrandiges Ex., tls. etw. fleckig.
Gellert,C.F.: Sämmtliche Schriften. Neue verb. Aufl. 10 Bde. Lpz., Weidmann Erben, Reich u. Fritsch 1775. Mit gest. Portrait von Bause nach Graff, 9 gest. Front. von Geyser nach Mechau u. 10 gest. Titelvign. Ldrbde. d. Zt. mit Rsch. u. Rverg. Goed. IV/1, 78, 23. Rümann, 18. Jh. 314. - Neuaufl. der ersten rechtmäßigen Gesamtausgabe. Mit Biographie Gellerts von J.A. Cramer. - Tls. leicht fleckig, hs. Besitzverm. a.V.
Crebillon,(P.J.).: Oeuvres. 2 Bde. Paris, Imprimerie Royale 1750. 4°. Mit gest. Front., Titel u. Kopfvign., 1 Init. u. Verf.-Portrait. XI, 337; 398, 84 S. Ldrbde. d. Zt. mit Rsch. u. Rverg. (Gelenke brüchig). Bernard 184. Ebert 5420: "Die schöne Ausgabe hat nur dann einigen Werth, wenn le Triumvirat dabei ist". - Prachtvoll gedruckte Werkausgabe, hier mit dem nur wenigen Ex. beigebundenen Portrait Crebillons. "First collected edition published under the immediate supervision of the author" (Lewine). - Breitrandiges Ex. Tls. leicht fleckig.
Gambado,G. (d.i. W.H.Bunbury).: An academy for grown horsemen, containing the completest instructions for walking, trotting, cantering, galloping, stumbling, and tumbling. Second edition. London, Hooper and Wigstead 1796. 4°. XX, 36 S. mit 11 (statt 12) Radierungen in Crayon-Manier von W(illiam) Dickinson nach W. H. Bunbury. Mod. Hldr. (Tls. schwach berieb.). Vgl. Brunet II, 1474. Graesse III, 22. Huth 103. Lipperheide Tc 61. Lowndes II, 860. Wells 1202. - Zuerst 1787 erschienener erster Teil mit den humorvoll illustrierten Reiterszenen. 1791 erschien ein zweiter Teil ("Annals of Horsemanship") mit weiteren 17 Radierungen. - Ein Klassiker der Reitkunst. - "A lively and entertaining jeu d'esprit of the pencil and the pen, written by H. Bunburry" (Lowndes). - Exlibris (Schloß Wilhelmsburg-Barchfeld Werra), ohne das Frontispiz (Portrait ?), 1 Tafel mit rep. Einriss, 2 Tafel stärker braunfleckig, sonst gutes sauberes Exemplar.
Wintzer, Richard: (1866 Nauendorf bei Halle - Berlin 1952). Sammlung von Dokumenten u. Unterlagen aus dem Besitz des Künstler, 19.-20. Jh. 8°-Gr.Fol. 2 â•”Schulzeugnisseâ•— des Künstlers 1879. - â•”Autogrammkarteâ•— der Sopranistin â•”Alexandra Triantiâ•— mit eh. Widm. an den "hervorragenden Komponisen Herrn Richard Wintzer" 1929. - Halbfigur-Portrait Wintzers in Heliogravure bei A.Eckstein Bln. - Visitenkarte mit Photographie des Verlegers â•”August Scherlâ•— bei Hugo Danz, Bln., "Von August Scherl persönlich erhalten 3. Nov. 1908", mit eh. U. des Künstlers. - Farb. gedruckte Offset-Urkunde des Scherl Verlages für "treue Dienste in 40 Jahren", dat. Bln. 16. Sept. 1937, 2 Illustr. Chlichés-Kataloge, um 1900 u. 1 auf Orig.-Karton aufgez. Photograpie "Herrenzimmer im Hause Bellevuestrasse 6 in Berlin August Scherl" bei E.Wasmuth, Bln. - Photographie der Manege des Zirkus Renz, auf Karton aufgez. u. vom Künstler betit. - Portrait-Radierung Franz Schubert von â•”Martin Hönemannâ•— (1858-c.1937), sign. u. mit pers. Widm. - Photographie einer Karikatur von â•”Erwin Rechenbergâ•— für Wintzer zu seinem 60. Geburtstaf 1926, verso mit Sign. u. hs. Anm. des Künstlers 1928. - Ferner 16 Bl. Neue deutsche Bilderbogen, 3 Hefte Illustrirte Zeitung 1898-1908 u. 8 Beilagen. - Tls. Alters- u. Gebrauchssp. Zus. 38. R
Wintzer, Richard: (1866 Nauendorf bei Halle - Berlin 1952). 9 Bl. mit Pflanzen- u. Tierstudien. Tls. weiß gehöhte Kohle- u. tl.s Tuschfederzeichnungen, überwieg. 1887. Blgr. ca. 32,8 x 26 cm. Meist beitelt u. dat. Aprikosenblüte (weiß), Kirschblüte (weiß), Wiesenanemone weiß. - Wohlriechende Narzisse (weiß) & Portrait eines jungen Mädchens. - Weinblätter, verso Bl. von Eiche, Linde, Rose u. Pfeifenblatt. - 2 versch. Pflanzen. - Apfelblüte (weiß), Weiße Narzisse, Fliegende Herzen (Rot), Maikäfer. - Gelbe Narzisse, Gänseblümchen. - Violetter Flieder, Weißer Flieder, Flieder (hellviolet), Vergißmeinnicht (blau). - Veilchen und Himmelsschlüssel. - Zoolog. Garten Leipzig: Ziege, Reh, Storch, Strauß, Enten & zwei Fußstudien. - Tls. Alters-u. Gebrauchssp. R
Bach,J.S.: Werke. Hrsg. v. d. Bach-Gesellschaft zu Lpz. 45 Jgge. in 58 Bdn. Lpz., Breitkopf und Härtel 1851-99. Fol. Mit 1 gest. Portr. d. Komponisten. Blindgepr. Olwdbde. (Unter Klebefolie). â•”Beiliegen:â•— 8 Bände Dubletten Erste Ausgabe der gesammelten Werke, herausgegeben von der Bach-Gesellschaft, "heute die grundlegende Ausgabe" (MGG); sogen. "Alte Bach-Gesamtausgabe". - Die Reihe enthält u.a. Kirchenkantaten, Klavierwerke, Matthäus-Passion, Weihnachtsoratorium, Kammermusik, Johannes-Passion, Trauungs-Kantaten, Orgelwerke, Oster- Oratorium, Orchesterwerke, Motetten, Kirchenmusikwerke, Notenbücher, Handschriften sowie einen Bericht der Bach-Gesellschaft und die Verzeichnisse. - Beinahe vollständige und einheitlich gebundene Reihe, es fehlt nur Bd. 28. Zus. 66 Bde. - 45 issues in 58 volumes. With 1 engraved portrait. Original blindstamped cloth bindings (under adhesive film). With 8 volumes duplicates. Lacking vol. 28.
Serie: di vite e ritratti de famosi personaggi degli ultimi tempi. Bd. 1 (von 3). Mailand, Batelli & Fanfani 1815-16. 4°. Mit gest. Titel, gest. Front. u. 100 gest. Portrait-Taf. Nicht pag. Hldr. d. Zt. (Berieb.). Vgl. Thieme-B. XXVII, 551 und Nagler XIII, 416. - Enthält u.a. Portraits von Mozart, Cook, Euler, Lavater, Washington, Voltaire, Blücher, etc. - Breitrandiges Ex., tls. leicht fleckig, St.a.V.
Biblia germanica.: Biblia, Das ist: Die gantze H. Schrifft, Altes und Neues Testaments, verdeutscht durch D. Martin Luthern... mit einer Vorrede v. J. Weickhmann. 3 Tle. in 1 Bd. Stargard, Ernst & Jenisch 1706-07. Kl.Fol. Mit Kupfertitel u. 1 gest. Portrait. Prgt. d. Zt. (Fleckig). Bibelslg. Württ. LB, E 1069. - Vom gleichen Satz gedruckt wie die Oktavausgabe gedruckt, daher sehr breitrandig. Das Portrait zeigt König Friedrich I. v. Preußen. - Tls. leicht fleckig u. gebräunt, N.a.T.
Ablaßbrief: im Namen von Papst Pius VI. ausgestellt von Pater Sebastian Axer. Lateinische Handschrift auf Papier, mit dem gest., kolor. Portrait des Papstes auf dem Kopf im Rund u. mit 30 nummer. Namenseinträgen. 4°. 2 Bl., davon 2 S. beschrieb. Mit geprägt. Siegel. Mehrf. gefalt. Verso mit Beglaubigung, dat. 8. Nov. 1776. - Stärk. Gebrauchssp., tls. Braunfleck, tls. knittrig u. tls. Einr. in d. Falzen. D
Biedermeier-Portrait.: Sitzende junge Frau im Kleid, die Hände im Schoß zusammengelegt, den Kopf nach rechts gewandt. Kniestück. Bleistiftzeichnung von Monogrammist "CA", um 1830. Blgr. 27,5 x 20,5 cm. Re. unt. monogr. Ob. Rd. punktuell auf blaue Unterl. geklebt. - Durchgeh. etw. stockfl. D
Schultz,S.: Der Leitungen des Höchsten nach seinem Rath auf den Reisen durch Europa, Asia und Africa. Tle. 4-5 (von 5) in 1 Bd. Halle, Hemmerde 1774-75. Mit 1 gest. Portrait-Front. u. 1 gefalt. Kupfertaf. 7 Bl., 390 S., 9 Bl., 501 S., 13 Bl. Hprgt. d. Zt. (Berieb.). Vorliegende Teile enthalten die »Orientalische Reise über Venedig nach Smirna, Constantinopel, Alexandria, Groß-Cairo« usw., Aufenthalte in Aleppo, Jerusalem, Nazareth, Libanongebirge und Ptolemais 1754-55. Die Tafel mit dem Grundriß des Tempels (Jerusalem), in welchem sich das Heilige Grab befindet. - Anfangs schwach wasserrandig, Tafel etw. knickspurig.
Wrangel,C.G.v.: Das Buch vom Pferde. Ein Handbuch für jeden Besitzer und Liebhaber von Pferden. 4. Aufl. 2 Bde. Stgt., Ebner 1902. Gr.8°. Mit rad. Portrait, 20 Holzstichtaf. und 918 Textholzst. VII, 703 S.; 2 Bl., 688 S. Ohldrbde. mit Blindpräg. Nissen, ZBI 4474. - Enthält neben Zureitvorschriften, Rassenmerkmalen, Ratschlägen zur Erkennung und Behandlung von Krankheiten auch Anweisungen zum Stallbau und zum Umgang mit dem Stallpersonal.
Arndt,J.: Fünff Bücher vom wahren Christenthum... 5 Tle. in 1 Bd. Lüneburg, Stern 1685. Mit Kupfertitel, gest. Portrait-Front. u. 17 Kupfertaf. Ldr. d. Zt. über Holzdeckeln mit 2 Metall-Schließen. (Starke Gebrauchsspuren). - Seltene Stern-Ausgabe. - Fleckig u. tls. wasserrandig, Gebrauchsspuren.
Sammlung: von über 350 Belegen zum Thema Zirkus, Varieté etc., darunter Programme, Zeitungsausschnitten, Plakate, Photographien, Eintrittskarten etc. mit über 200 Autogrammen, ca. 1950er Jahre bis Anfang 2000er Jahre. Verschied. Form. Tls. lose, in 1 Album u. in Dokumentenhüllen in 4 mod. Ordnern. (Gebrauchssp.). Vorhanden u.a.:â•”Charlie Rivelâ•— Eh. Widmung mit Unterschrift auf d. Passep. zu einer Portrait-Farbphotographie, dat. 30.9.1952: "Dem Deutschen Theater zu Erinnerung an mein Gastspiel September 1952...". Dazu Programmheft Deutsches Theater München, Sept. 1952. - â•”Grockâ•— (d.i. C.A.Wettach, 1880-1954). Eh. Widm. mit unterschr. u. kl. Portraitzeichn. in Grock. Ein Leben als Clown. Zirkus-Ausg. Düsseldorf, Hoch-Vlg. 1952. - â•”Ders.â•— Portrait. Bleistiftzeichnung, monogr. "KZ 52". 20,5 x 14 cm. - â•”Album Spanischer National Circusâ•— in Berlin 1962 (ca. 18.4. - 9.5.). Mit 15 Autographen (u.a. Luig Gerardo, Miss Mara), Zeitungsausschnitten, Fotos etc. - Weitere. - Gekauft wie besichtigt. D
Huth, Mathilde: (19. Jh.). 4 Bl. Bleistiftzeichnungen bzw. -skizzen mit Portraits: ihre Mutter Auguste Huth, Marie Huth u. Wilhelm Kékulé u. 1 Bl. Aquarell über Bleistift mit Ärmelstudie. Blgr. 8°-4°. Tls. alt bez. â•”Dabei: Luise Huthâ•— (geb. 1809). Portrait Mathilde Huth, 6 Jahre alt. Blgr. 36 x 30,5 cm. Sign., dat. "14 Januar 1823" u. wohl v. and. Hd. betitelt. - Leichte Alters- u. Gebrauchssp. Zus. 6 Bl. R
Boerhaave,H.: Academische Vorlesungen oder Medicinisch-pract. Abhandlung von der Venus-Seuche. Breslau und Lpz., Pietsch 1753. 15 Bl., 1037 S. Ldr. d. Zt. mit goldgepr. Rfileten u. Rsch. (Rckn. u. Kap. mit Wurmspuren, tls. berieb. u. best.). Hirsch-H. I, 776. - Erste und wohl einzige Ausgabe dieser Übersetzung. Selteneres Werk des hochberühmten Leidener Arztes. - Ohne gest. Portrait, tls. gebr. u. stockfl. Hint. Vors. beschrieben. - â•”Dabei: Consbruch,C.W.â•— Taschenbuch der Arzneymittellehre für practische Ärzte u. Wundärzte, 2. verm. Aufl. Lpz., Barth 1810. Mit gest. Titelvign. VI (statt VIII) 412 S. Läd. Hldr. d. Zt. - (= Allgemeine Encyclopädie für practische Ärzte und Wundärzte, Bd. 4; hier ohne Reihentitel). - Bibliographisch nicht nachweisbar. - Über den Verf., Arzt in Herford u. Bielefeld, vgl. Hirsch/H. II, 93 f. - Tls. gebräunt u. stockfl.
Verschiedene Grafiker des 20. Jh.Konvolut mit 5 unterschiedlichen Arbeiten von: Maurice Esteve, "Corne à Licou"; wohl Kopie nach Pablo Picasso, "Le seigneur et la dame"; wohl Kopie nach Jacques Villon, "Portrait eines Mädchen"; wohl Kopie nach Maurice Estève, "Alalito"; wohl Kopie nach Serge Poliakoff, "Composition rouge, verte et bleue", verschiedene Techniken und Größen, HxB: bis ca. 32,5/25 cm. Gebräunt, Altersspuren. Jeweils hinter Glas gerahmt.
Leaf from an English Book of Hours, Use of Sarum, with a miniature of a Dominican friar in prayer, in Latin, illuminated manuscript on parchment [England (probably London), c. 1420] Single leaf, with a large rectangular miniature of a tonsured friar in Dominican robes, kneeling in a grassy area as a banderole emerges from his hands and curves upwards to enclose a woman's face (most probably the Virgin), the whole before a tessellated background decorated with red and blue dots, within a full border of rinceaux foliage terminating in gold ivy leaves and coloured seed pods and acanthus leaves, reverse blank, signs of water damage to top of reverse, slight scuffing and fading overall, in fair condition, 104 by 69mm.This is the owner portrait of a now dispersed English Book of Hours. In our sale on 6 July 2021, lot 97, we noted that despite once containing the Fifteen Oes of St. Bridget of Sweden, the parent volume was not made for a Brigittine, and the robes of the friar here show that he was a Dominican instead. Despite the condition this is still a charming English portrait of a monastic book owner.See also next three lots.
Leaf from an English Book of Hours, Use of Sarum, with a miniature of the Virgin, in Latin, illuminated manuscript on parchment [England (probably London), c. 1420] Single leaf, with a large initial 'O' (opening the Obsecro te prayer), in blue and pink heightened with white penwork, enclosing a tiny portrait of the Virgin holding a golden vessel, the whole scene heightened with liquid gold penstrokes, initial within a gold frame and with fleshy acanthus leaves and other foliage enclosing gold bezants spilling out into three margins, single column of 14 lines of a notably spiky English late gothic bookhand, trimmed at edges and borders slightly thumbed, split in midpoint of outer margin, 102 by 73mm. From the same parent book as the previous lot.
Leaf from an English Book of Hours, Use of Sarum, with a miniature of a funeral scene, in Latin, illuminated manuscript on parchment [England (probably London), c. 1420] Single leaf, with a large initial 'D' (opening "Dilexi quoniam exaudiet ..."., the Office of the Dead), in blue heightened with white penwork, enclosing a tiny portrait of a coffin draped with a black cross with a large white cross, surrounded by golden candlesticks and before a background heightened with liquid gold penstrokes, initial within a gold frame and with fleshy acanthus leaves and other foliage enclosing gold bezants forming a densely packed border on all four sides, one-line initials in blue or liquid gold with contrasting penwork, red rubric, single column of 14 lines of a notably spiky English late gothic bookhand, trimmed at edges and borders slightly thumbed, split in midpoint of outer margin, 102 by 73mm.From the same parent book as the previous two lots.
‡ Leaf from the Llangattock Breviary, with two historiated initials, in Latin, illuminated manuscript on parchment [Italy (Ferrara), 1441-48] Single leaf with double column of 30 lines of a rounded late gothic bookhand (text for Feasts of SS. Praxedes [Matins, lessons 1-3] and Mary Magdalene [1st Vespers-Matins, lesson 2]), capitals touched in yellow wash, red rubrics with ornamental line fillers in same pen, one-line initials in blue or liquid gold with contrasting penwork, 2-line initials in burnished gold on blue or burgundy grounds, these grounds with fine white penwork tracery, one historiated initial on recto in coloured acanthus leaves, enclosing Mary Magdalene as a half-length portrait of a crowned woman holding a gold cross, all before vivid blue grounds edged in hairline white penwork, the whole initial on burnished gold grounds with notched edges, accompanied by two bar-borders of gold and blue or burgundy with acanthus leaf swirls at midpoints ad explosions of fine rinceaux foliage with fleshy coloured leaves and gold bezants at head and foot, another historiated initial on verso in same, enclosing St. Augustine as a half-length portrait of a bearded man, this initial on square burnished gold grounds, and accompanied by similar border decorations as before, but here with use of wider outer margin the illuminator has added fuller sprays of acanthus leaves and other foliate embellishment on the outermost side of the first column, very slight corrosion to paint of cheek of Mary Magdalene, leaf trimmed at outer upright edge with approximately 2mm. from edge of border decoration at midpoint removed there, faint yellow stains at extreme head and foot from old mounting, else in outstandingly fresh condition, 265 by 194mm. One of the finest leaves to survive from this splendid renaissance codex Provenance:1. This leaf comes from a parent manuscript now identified as a breviary produced for the use of Leonello d'Este (1407-50), marquis and then duke of Ferrara, by a team of artists lead by Giorgio d'Alemagna (see F. Toniolo, La miniatura a Ferrara dal tempo di Cosmè Tura all'eredità di Ercole de' Roberti, 1998, pp. 19, 20, 76-77; and D.T. Cashion in The Burke Collection of Italian Manuscript Paintings, 2021, no. 32, where a handlist records 108 leaves from the parent manuscript).2. John Rolls (1870-1916), 2nd Baron Llangattock, with inscriptions in the parent volume recording his family's acquisition of it, already imperfect, after the Peninsular War in the early nineteenth century; sold in his sale Christie's, 8 December 1958, lot 190.3. Goodspeeds book shop, Boston, and dispersed by them.‡: A double dagger (‡) indicates that the lot is being sold whilst subject to temporary importation and that VAT is due at the reduced rate (5%) if the lot remains in the UK.
Follower of François Clouet (Tours 1522-1572 Paris)Portrait of a lady, possibly Marguerite de Valois, bust-length, in black costume and a feathered hat oil on panel35.2 x 25.3cm (13 7/8 x 9 15/16in).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
George Stubbs ARA (Liverpool 1724-1806 London)A black and white spaniel pointing to the left, in a wooded landscape with a church spire beyond oil on canvas54.4 x 73.2cm (21 7/16 x 28 13/16in).Footnotes:Stubbs was famously the most sought-after painter of horses by all those leading aristocrats of his day who had a passion for breeding and/or racing horses, so it was only inevitable that he was also commissioned to paint some of his patrons' favourite dogs. Alex Kidson has dated the present painting to the second half of the 1770s and the preponderance of Stubbs's exhibited portraits of dogs date from between 1772 and 1782, the bulk of them being shown at the Royal Academy, where he exhibited fifteen dogs of all kinds, largely pet dogs, probably all commissioned by private owners, culminating in the very large portrait of the Duke of York's Newfoundland Dog in 1803. Of these, his most frequent works were of pointers, setters and spaniels. These were all types that were not at that time categorised by their breeds as they are today, but for the most part were described by their sporting functions (making it difficult to identify the descriptions of those of Stubbs's dog portraits that were exhibited at the Royal Academy, with simple titles, such as Portrait of a Dog). In this case what is now recognised as a spaniel is in the act of 'pointing' at game, showing this sporting dog standing characteristically rigid as she scents a bird with muzzle stretched toward the game and one foot raised. Amongst Stubbs's most comparable works are his Spaniel, which he painted for the artist's loyal patron, William Wildman and is thought to have been a companion to a Pointer, which is of similar dimensions, although the latter is on paper laid on panel. Being 61 x 71 cm. and on canvas, William Wildman's Spaniel is a very comparable example of Stubbs's works to the present painting (Collection of British Sporting Art Trust; see Judy Egerton, George Stubbs, Painter. Catalogue Raisonné, New Haven, 2007, 139 and 140, p. 332). Other similar portraits of dogs by Stubbs include a Black and white spaniel following a scent, dated 1771, which is on canvas and measures 59.5 x 70.8 cm. (Private Collection; see Egerton op. cit. no. 170, p. 370); Black and white spaniel following a scent, dated 1771, on canvas, 63.5 x 76.2 cm. (Virginia Museum of Fine Arts, Richmond; see Egerton op. cit., no. 171, p. 370); and Brown and white spaniel following a scent, dated 1777, on panel, 38.1 x 53.3 cm. (Private Collection, Egerton, op. cit., no. 172, p. 371). Stubbs trained himself as an anatomist, having moved from Liverpool to York around 1745 in order to study in the city's hospitals. His drawings of dissections were then used to illustrate Dr. John Burton's Essay towards a Complete New System of Midwifery. He went on to study the physical structure and make-up of horses in order to ensure the accuracy of his paintings and the publication of his The Anatomy of the Horse in 1766 established his reputation. Queen Charlotte even commissioned him to paint her zebra – a remarkably exotic creature at the time, being the first of its kind to be seen in England, when it was installed in a paddock near the royal menagerie in Saint James's Park to 'entertain the populace' – a work that was subsequently sold at Bonhams (fig. 1). Other creatures that caught his attention were deer, a falcon, a monkey, lions, leopards, even a yak, a rhinoceros, a kangaroo and a dingo. It was in the mid-1760s that he turned his attention to dogs. Unlike with his portraits of horses, whose long legs allowed him to fill the space between them with landscapes, the compact build of his dogs necessitated Stubbs to make them fully occupy their space and dominate their settings, as we see here. The present painting is also typical of his working methods in the way in which the exuberantly feathered tail (which he seems to have particularly delighted in painting) was portrayed against a plain and darker background. The background of the picture as a whole echoes those of an early series of portraits dating to the 1770s of black and white or brown and white pointers following a scent, with the backdrop of trees and ground falling away to give a glimpse of a distant church spire set against distant hills: no doubt a clue to the estate to which the dog belonged. In Judy Egerton's words Stubbs was an artist with 'a deep and unaffected sympathy for the country life and English countryside.' In such a setting dogs were especially valued and beloved by both master and servant, where affection for a dog, in even the grandest of country estates, whether a working dog or a pet, was common to all classes of society. Such sensibilities were expressed by William Pitt the Elder when he counted the companionship of a dog as among 'the little-great pleasures of life'. Already common companions to be found in 16th and 17th century portraits of the grandest sitters by the greatest portrait painters, it was inevitable that with Stubbs dogs were to acquire the status of subjects in their own right, valued then as much as they are today.We are grateful to Alex Kidson and Brian Allen for confirming the attribution of this painting to George Stubbs.For further information on this lot please visit Bonhams.com
John Russell (Guildford 1745-1806 Hull)Portrait of Colonel Thornton with a hawk pastel59.5 x 44.1cm (23 7/16 x 17 3/8in).Footnotes:ProvenancePrivate Collection, UKLiteratureN. Jeffares, Dictionary of pastellists before 1800, online version, J.64.2805-2809 (for the other versions)Russell exhibited a pastel portrait of Thornton with his hawk at the Royal Academy in 1786, no. 155, and it was subsequently engraved for the frontispiece of Thornton's book of 1806, A sporting tour through various parts of France. Russell clearly had some success with it since an oval version was recorded in the collection of Lord Rosebery and a painted oval at Castle Howard; two further versions in miniature on ivory are also recorded. The present hitherto-unknown pastel is arguably the strongest of them all. Thomas Thornton (1750?-1823) is thought to have been born in 1750 which would have made him 36 at the time of this portrait. He was famous for being one of the most enthusiastic and flamboyant sportsmen of the 18th and 19th centuries, dividing his time between hunting, racing, shooting, angling and hawking. In the shooting field he was certainly the best equipped - in his words he had 'a greater quantity of sporting apparatus of the most valuable and curious manufacture than any other sporting gentleman in England.' He was something of a legend in his own time, as well known as a bon viveur with a legion of mistresses as he was as a sportsman and collector. Thornton inherited Thornville Royal estate in Yorkshire, but his exuberant lifestyle, which involved keeping two London houses as well as his country seat, taxed his finances and he was eventually forced to sell his estates. Contemporary records chart the progress south of his considerable belongings and retinue after the sale of the Yorkshire property: this included grooms, huntsmen, falconers, kennel-hands and servants, travelling by horse and attended by hounds, following a chain of wagons containing his prize animals. In addition to the live cargo was 'a fantastic arsenal of sporting weapons drawn by Arab mares of the King's stud. The procession was completed by several wagon-loads of wine.'A francophile, Thornton visited France with his mistress before the Revolution and again in 1802 on a sporting trip. It seems probable that while in France, Thornton sought the support of the First Consul, Napoleon Bonaparte, over the circumstances of his court-martial in a bid to regain his reputation. He used the gift of a fine pair of pistols as his introduction. In his Sporting Tour Through France Thornton records 'I was favoured with a letter from General Duroc, containing the thanks of the First Consul for the pistols, which had been very graciously accepted.' One of the pair of gold-inlaid pistols presented by Thornton to Napoleon Bonaparte was sold by Bonhams London, 6 April 2006, lot 396.Following the sale of his estates Thornton leased Spye Park in Wiltshire in 1805 from the Bayntun family. He wanted to replace the Bayntun family portraits with sporting paintings of his own, and commissioned a number of large-scale works from the best sporting artists of the day such as Reinagle, Gilpin and Henry Bernard Chalon. Thornton moved to France during the second decade of the 19th century and in 1819-20 his very substantial art collection – which included works by significant Old Masters – was auctioned off to settle his debts.We are grateful to Neil Jeffares for confirming the attribution to John Russell, upon inspection of colour photographs.For further information on this lot please visit Bonhams.com
Johann Gottlieb Hackert (Prenzlau 1744-1773 Bath)A spaniel in a landscape signed and dated 'J. G. Hackert p: 1772' (lower left)oil on canvas45.1 x 56.2cm (17 3/4 x 22 1/8in).Footnotes:ProvenanceThe Collection of Mrs Jenkins, Penmere, Cornwall, by the 1920s, from whom acquired by the present owner's father in the 1940sThis charming portrait of a dog is a rare example of the work of Johann Gottlieb Hackert, who was best known for having collaborated with his older brother, Jacob Philipp, with whom he had worked in Paris and Rome after 1766, before producing gouaches of animals and landscapes for Lady Hamilton in Naples in 1770. The present painting will have been painted shortly after that when he came to England and where he exhibited at the Royal Academy. It is very comparable to his older brother's known studies, in various states of finish, showing dogs, cows, sheep, goats and other animals. As a finished and signed representation, it was most likely commissioned by the owner of the sitter.For further information on this lot please visit Bonhams.com
Johann Anton de Peters (Cologne 1725-1795)A young lady at her toliet, brushing her hair in the mirror oil on canvas79.1 x 63.2cm (31 1/8 x 24 7/8in).Footnotes:ProvenanceGraf Andrassy, Budapest Prof. Dr. H.F. Secker, CologneAlbert Otten (Ottenheimer) (1886 – 1985), Cologne, later Engelwood New JerseyOn loan to the Portland Museum of Art, Maine (1986 – 2001)Leslie and Mildred Otten, Maine until 2002 when offeredSale, Sotheby's, London, 10 July 2002, lot 81 ExhibitedPortland Museum of Art, Maine. A Passion for Art: The Albert Otten Collection, 1987-88, no. 55LiteratureU. Thieme, F. Becker, Allgemeines Lexicon der Bildenen Künstler, Leipzig, 1932, vol. XXVI, p. 480 (as Mädchen am Frisiertisch, ihr Haar kämmend)Hans F. Secker in Weltkunst, 1 July 1950, p.2. Hella Robels 'Neues über das Leben und die Werke Anton de Peters', Wallraff-Richarz-Jahrbuch XXXIV, Cologne 1972, p.305.85 (as not by de Peters) W.H. Gerdts, A Passion for Art. The Albert Otten collection, Maine, Portland Museum of Art, exh. cat., 1987-88. pp. 5-6. ill, p.27. cat. 55, ill. De Peters is best remembered for his genre, mythological and religious works painted in France where he trained, and a number of the latter still hang in churches in Paris and Liège. The present work, however, displays an intimacy and understanding between artist and subject that suggests it is a portrait, most probably of his wife; in fact the same model appears in a watercolour and various drawings now in the collection of the Wallraf-Richartz Museum, Cologne. A version of this composition appeared on the London auction market attributed to de Peters (Sotheby's, 22 April 2009, lot 184). Albert Otten (previously Ottenheimer) was a steel magnate who made his fortune in Germany in the 1920s, but witnessing the rise of the Nazi party he emigrated to the United States in the 1930s. He was a notable collector of paintings, initially German works but expanding his collection into 19th and 20th century European paintings with a particular concentration on the Impressionists.For further information on this lot please visit Bonhams.com
Sir Thomas Lawrence (Bristol 1769-1830 London)Portrait of Mrs Siddons as Zara pastel, oval29.9 x 24.6cm (11 3/4 x 9 11/16in).Footnotes:ProvenanceMatthew HutchinsonHis sale, Christie's, London, 22 February 1861, lot 54With Hogarth 1864 (when lent to the Shakespeare Tercentenary Exhibition)Sir Henry Hawley, by whom given to Isabel M.J. Morant Gale, and by descent to her daughterMrs George MacDonald, Wickham, Hampshire, 1964 and thence by descent through the familyExhibitedStratford upon Avon, Shakespeare Tercentenary Exhibition, 1864, cat. no. 3, lent by HogarthLondon, South Kensington Museum, Portrait Miniatures, 1865, no. 1465LiteratureK. Garlick, 'A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence', Walpole Society, 1964, no. 2, p. 265M. Levey, Sir Thomas Lawrence, New Haven and London, 2005, p. 49N. Jeffares, Dictionary of Pastellists before 1800, 2006, p. 322N. Jeffares, Dictionary of Pastellists before 1800, online, no. J.466.324EngravedJohn Raphael Smith, 1782 and 1783The present work, from the early 1780s, depicts Mrs Siddons as 'Zara' from William Congreve's The Mourning Bride, a role she only performed once in Bath in the season of January to May 1781. John Raphael Smith's mezzotint of the portrait was published in the Bath Chronicle in November 1782 and reworked and printed again in 1783.Lawrence, who never married, is rumoured to have had an intimate friendship with Sarah Siddons (née Kemble, 1755-1831), who was the most famous actress of her age, and they remained close throughout their lives. It is said that he was also romantically linked to both her daughters, Sally and Maria.For further information on this lot please visit Bonhams.com
Attributed to Sir Thomas Lawrence P.R.A. (Bristol 1769-1830 London)Portrait of a lady, presumably Mrs Tierney, half-length, in a fur wrap oil on canvas76.2 x 63.4cm (30 x 24 15/16in).Footnotes:ProvenancePrivate Collection, UKLiteraturePossibly, K. Garlick, 'A catalogue of the paintings, drawings and pastels of Sir Thomas Lawrence', Walpole Society, 1964, p. 186Possibly, K. Garlick, Sir Thomas Lawrence, Oxford, 1989, p. 273, no. 767 (as 'Mrs Tierney, probably the wife of George Tierney, MP)Mrs Sabrina Tierney was the mother of George Tierney M.P (1761-1830) and wife of Thomas Tierney, a wealthy London merchant who moved to Gibraltar to act as Prize Agent. Thomas Tierney spent many years abroad but the family home was in London where Sabrina Tierney died on 23 July 1806 at the age of 87.For further information on this lot please visit Bonhams.com
Sir Thomas Lawrence P.R.A. (Bristol 1769-1830 London)Portrait of Caroline Upton, bust-length, in profile to the left pencil and black chalk on paper21.8 x 17.9cm (8 9/16 x 7 1/16in).Footnotes:ProvenanceThe Collection John M. SchiffSale, Sotheby's, London, 10 November 1994, lot 49Private Collection, UKThe present work has traditionally been identified as 'Mrs Fitzhugh', according to an erroneous inscription on the mount. However, the sitter is certainly Caroline Upton (d. 1862), second daughter of the 1st Baron Templeton, who married James Singleton in 1804. Following the death of Lawrence's lover, Sally, Mrs Siddons's eldest daughter, in 1803, he formed a close attachment to both the Upton sisters, Caroline and Sophia and painted both their portraits (see: K. Garlick, Sir Thomas Lawrence, Oxford, 1989, pp. 274-5, nos. 780, 781). A very similar drawing of Sally Siddons by Lawrence, also from the collection of John M. Schiff, was offered at Sotheby's, London 11 April 1991, lot 35.For further information on this lot please visit Bonhams.com
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