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Los 543
Richard Arlen signed vintage 10 x 8 inch b/w portrait photo fixed to black card, surname in slightly darker area. Condition 6/10. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Los 158
Spanish or Colonial School. 17th - 18th century. "True Portrait of Our Lady of the Tabernacle of Toledo Cathedral" Oil on canvas. Relined. 100 x 81 cm. With a carved and gilded period wooden frame. Frame measurements: 110 x 89 cm. A comparable painting to this one can be found in the collection at the Museo Soumaya in Mexico.
Los 186
"Saint James". Wrought silver reliquary bust. Colonial. 18th - 19th century. Large figure of the apostle, completely covered with thick plates of embossed and wrought silver on a wooden base. The body’s upper part is covered by a short cloak continuing to the beginning of the saint’s cape. All of this is worked in silver that has been embossed and chased all over its surface with vegetation motifs, pilgrim’s shells, leaves and the letters C facing each other and joined by small crowns. In the centre of the front part is the space for the relic. The hat is separate. It is made from a separate piece, and under it, the saint’s head is completely worked. The apostle’s face is magnificently chased, it looks as if it is a portrait. 55 x 40 x 28 cm
Los 88
Viceroyalty School. End of 18th century."Genealogy of the fourteen Inca kings and the conqueror Francisco Pizarro"Fifteen oil paintings on canvas. Relined. 84 x 63 cm each. With export license granted.Complete series comprising the fourteen Inca Emperors: Mancco Ccapac, Sinchi Rocca, Lloqque Yupanqui, Maita Ccapac, Ccapac Yupanqui, Inca Rocca Yahuar- Huaccac, Viracocha, Pachacutec, Inca Yupanqui, Tupac-Yupanqui, Huaina Ccapac, Huascar-Inca and Atahuallpa, and the portrait of Francisco Pizarro.Accompanied by an X-ray fluorescence spectrometry (EDXRF) which was applied to the study of the pictorial technique, dating the paintings to the 18th century.An important collection which comprises all of the 14 Inca sovereigns. It begins with the founder of Cuzco, Mancco Ccapac, and goes through to the last of the emperors, Atahualpa and ends with a portrait of Francisco Pizarro. This is a chronological depiction of the portraits of those who governed the Inca Empire before the Spanish Conquest.They are depicted as dressed in the uncu, an exquisitely woven tunic, the mascaipacha (symbol of power as governor of Cusco and Tahuantinsuyo) and a version of the llautu, the traditional royal headdress, complete with red forehead fringe.The geometric textile patterns in all the paintings are reminiscent of tocapu designs on traditional Inca noble clothing, signifying rank and status.The imperial attire is completed with the gold topayauiri or sceptre, topped with a type of plume as a continuation in an axe shape on one side and an awl on the other.Francisco Pizarro is shown in his European armour.The iconic genealogy if the Incas is associated with an engraving made by the clergyman Alonso de la Cueva Ponce de León (1684-1754) in 1725, approximately.This series of genealogies was at its peak after Independence, due to the desire of the indigenous elites in Cuzco to return to their position.The Denver Museum has a series of sixteen portraits in its collection which reflect our fifteen, with an additional portrait of Mama Occollo, the principal wife of the Inca Manco Cápac, both founding heroes of the Inca Empire.As the Denver Museum notes in its index cards on these portraits: This series of genealogies that show the former governors of the Inca Empire “is not only a family tree but a political tool. Since proof of aristocratic Inca blood entitled people to special privileges and freed them from paying taxes in the Spanish Colonial period, paintings were used to document and assert this heritage.” (https://www.denverartmuseum.org/en/object/1977.45.1)As stated in the Cervantes Institute’s biography of the Inca Garcilaso de la Vega:“According to the traditional account determined by the Inca Garcilaso in his Royal Commentaries of Peru, the founding fathers Manco Cápac and Mama Ocllo, were born in the waters of Lake Titicaca, and founded the city of Cuzco, the centre of Inca development, in the place revealed by the sun god (Inti) after a pilgrimage that began in the south of the Sacred Valley of the Incas. Another version of the origin myth, collected in the 16th century by Juan de Betanzos (Narrative of the Incas, 1551), attributes it to the four Ayar brothers and their respective partners. (http://www.cervantesvirtual.com/portales/inca_garcilaso_de_la_vega/autor_cronologia/) There are differences in the dates attributed to the different Inca kingdoms.Taking the chronology published in the Cervantes Institute’s website as a base, which is taken from Inca Garcilaso de la Vega (Cuzco, Governorate of New Castile, 1539 – Cordoba, 1616) the 14 incas and their periods of governance, all represented in these genealogical portraits, were:From the period 1200-1438, before the Inca state was established, was the founderI-Mancco Ccapac (1200-1230) and those who succeded him, II-Sinchi Rocca (1230-1260)III-Lloqque Yupanqui (1260-1290), IV-Maita Ccapac (1290-1320), V-Ccapac Yupanqui (1320-1350), VI- Inca Rocca (1350-1380), VII- Yahuar- Huaccac (1380-1400), VIII-Viracocha (1400-1438),IX- Pachacutec, (1438-1471) marked the beginning of the Historical Inca Empire with the Kingdom of the Inca Pachacutec, conqueror of the Chanca states.X- Inca Yupanqui (Modern historians have removed his reign from the official list of Inca rulers).XI- Tupac-Yupanqui, XII- Huaina Ccapac (1481-1523) on his death, the Inca Empire was divided between his two sons, Huascar-Inca (1523-1532), Sovereign of the northern region, and Atahualpa (1532-1533), Inca of the southern territories.The period from 1528-1532 saw a civil war between Huascar and Atahualpa over control of the Inca Empire, which ended in August 1532 in Atahualpa’s definitive victory over Huascar in the Battle of Cotabamba. Atahualpa was crowned Inca in Cajamarca.In 1533, the trial and execution of Atahualpa took place. Francisco Pizarro conquered Peru in 1534 and was governor of Peru / New Castile from 1534 to 1540.The Inca Empire passed into Spanish hands, although Tupac Hualpa (1533), Manco Inca (1533-1536) and Paullu Inca (1537-1549) reigned nominally and were crowned by the conquistadors.Examples of this genealogy in individual portraits that are similar to these, as well as those already mentioned in the Denver Museum can be found in:- Lilly Library, Indiana University, Bloomington, Indiana.- The individual portrait of Atahuallpa is kept at the Ethnological Museum of BerlinAs well as these series of genealogies in sets of individual portraits, genealogies were also painted in one sole picture in which, depending on the period in which they were executed, the series of governors of the Inca Empire previous to the Spanish conquest was followed chronologically by portraits of the Spanish monarchs.There are magnificent examples of this type of painting, such as those kept in:- Lima Cathedral Museum, dated circa 1725.- The Pedro de Osma Museum in Lima, dating from the late 18th century / early 19th century.- The Carmen de Maipu Museum in Chile, which describes the intention of these types of pictures in the painting’s index card: “the inclusion of the Spanish monarchs responds to the necessity for uniting power, as a strategy of legitimisation and control in colonial society, given that, through these portraits the Spanish monarchs would assimilate the power and the deity that the Inca represented. And, on the contrary, the Incas were considered to be the equals of Spanish royalty, in that way being accepted and acknowledged in their role as former heads of state. The social function of these pictures varied depending on how the historical and political facts were presented.”- The Lima Museum of Art, has an interesting set mounted as a screen, described in their catalogue in this way: “This emblematic piece condenses different stages of art in Peru, it evokes the pre-Colombian past in the shape of a genealogy of the Incas, a theme which came up in the Colonial period to affirm the idea of legitimate continuity between the former Inca Empire and the Spanish Empire. In this case, however, the absence of the Spanish monarchs responds to a clear republican vindication. The coats of arms of Cuzco and of the Peruvian Republic preside over a sequence of Inca governors beginning with Manco Capac, the legendary founder of the empire, and closes with a figure on horseback identified as the "Liberator of Peru"- Convent of Saint Francis in Huamanga, Peru.- Beguinage of the Convent of Our Lady of Copacabana, Lima.Provenance: - Private collection, Florence. - Private collection, Portugal.
Los 113
Colonial School. 18th century. "True portrait of Our Lady of Valvanera" Oil on canvas. 142 x 106 cm. The iconography is based on the anonymous engraving dedicated to the General of Earth and Sea, Iñigo de la Cruz Manrique de Lara Ramírez de Arellano (1673-1733). In it, the clothing of the Virgin Mary, the position of the tree, the chest in the foreground and the eagle of the throne can be seen, as well as other details. In front of a large tree trunk rests Our Lady of Valvanera —patron of La Rioja— richly dressed with the Christ Child on her lap and a fruit and a flower in her left hand as bees fly around them, an iconographic symbol. According to legend, the image of Our Lady of Valvanera, which had been carved by Saint Luke and brought to Spain by Saint Peter’s disciples, was discovered by a repentant bandit named Nuño Oñez who had become a hermit. After an angel appeared to him in his cave in the mountains of La Rioja to show him the way, he did not hesitate to make the journey. A priest named Domingo from the Segovian village of Brieva was willing to help him, and their quest came to a successful end in the hollow of an enormous oak tree marked by a honeycomb and a spring which emanated from its roots; three elements which currently identify the patron of La Rioja. Scholars who studied this miracle later linked it to the iconography of Heaven, identifying the tree, fountain of grace, with Christ and linking the bee hive with the faithful congregation and the brightly coloured flowers and birds with Heaven. On discovering the image of the Madonna, the pair formed by Nuño and Domingo moved her to the Hermitage of Santo Cristo, the first place where it was worshiped and where more than a hundred hermits had care over it. It is not made clear in the legend from La Rioja why the Montenegrin Nuño Oñez converted to Christianity. It was attributed to the piety shown by a worker who he was planning to ambush, as the curator Ronda Kasl suggests in his description of the “True portrait of Our Lady of Valvanera” (1770-1780), in the Metropolitan Museum collection. Another story tells that his repentance was caused by the accidental death of his son while trying to get water from the opening of the cave by the river Najerilla (near Anguiano, La Rioja), where father and son lived. This painting can be linked with the similar painting of Our Lady of Valvanera which presides over the main reredos in Saint Maron’s Cathedral, which is currently a Maronite church following Syriac orientation, but until 1922 was the Parish church of Our Lady of Valvanera and, before that, the "Combento de Balvanera". The Franz Mayer museum has a painting by Juan Correa which depicts Our Lady of Valvanera, dated circa. 1665, which has very similar iconography to this one, Also, at the Metropolitan Museum in New York, there is another version by an anonymous artist from Cuzco, dated circa 1770-1780, which was donated by James Kung Wei Li, in memory of the Ambassador and Mrs. Ti-Tsun Li, of the Republic of China, in 2018.
Los 24
Spanish School; XVII century."St. Vincent Ferrer".Oil on canvas. Relined.Presents perforations, missing a cleaning test and repainting.It has a frame with faults.Measurements: 57,5 x 45,5 cm; 71,5 x 58 cm (frame).San Vicente Ferrer was a Spanish Dominican of the late fourteenth and early fifteenth century, thaumaturge, preacher, logician and philosopher. He preached in Spain and in various cities of Europe, especially in Italy, following the famous vision he had in the city of Avignon in 1398. He was followed by multitudes, and performed numerous miracles. Very important was his active and decisive participation in the Compromise of Caspe, where Fernando de Antequera was elected king of Aragon. Moreover, it is said of him that all those who listened to him understood him, whether they were Castilians, French, Basques, Italians from Piedmont and Lombardy, etc., despite the fact that he always preached "in his Valencian language". To this gift of languages alludes precisely the flame that is usually represented above his head. Called the Dominican thaumaturge saint, St. Vincent Ferrer enjoys a very widespread cult, which led already at an early date to a wide development of his iconography, which is very diverse. Traditionally he is represented with the habit of the Dominican order, with the tonsure, an arm raised pointing to heaven and a parchment on which is read "Timete Deum et date Illia honorem quia venit hora iudicius eius" ("Fear God and give him glory, because it is already the hour of his judgment", AP. 14, 7). He can also appear with a flame on his head, wings on his back, an angel playing the trumpet, a book and a lily.In the work that stands out for its sobriety, the author presents us with a half-length portrait with the saint's face turned to the right and his hands raised in an attitude of prayer. Only the legends that are arranged in the upper part of the composition indicate the identity of the protagonist.
Los 5
WALTER STEPHENS LETHBRIDGE, (United Kingdom, 1771-1831)."Portrait of a boy with a dog", ca. 1800.Watercolor on ivory.Signed on the back.Measurements: 6.5 x 9 cm; 15.5 x 13.5 cm (frame).Miniaturist trained at the Royal Academy in London, where he began to exhibit annually his works in which appeared characters and theatrical celebrities of the time.In this work, a child wearing a white dress with a low neckline and a blue ribbon is shown seated in the middle of an intimate scene in which a natural landscape can be glimpsed on the left. The infant is accompanied by a dog that stands on his legs as a symbol of fidelity and trust. Miniature painting, especially portraits, developed in Europe from the 16th century onwards. They were mainly paintings embedded in objects such as medallions, table clocks, or small boxes used as a coat of arms. They were made in a variety of techniques, such as oil on copper, tin or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolor on ivory. This delicate art will be lost from the second half of the nineteenth century as the art of photography begins to develop.
Los 94
Italian school; XVII century."The Sibyl of Cumae".Oil on canvas.Presents repainting and perforation on the canvas.Measurements: 65 x 49 cm; 76 x 58 cm (frame).The Sibyl of Cumae was the priestess who presided over the oracle of Apollonius in Cumae, a Greek colony located near Naples, Italy. Because of the importance of the Cumaean Sibyl in the legends of early Rome codified in Virgil's Aeneid VI, and because of her proximity to Rome, the Cumaean Sibyl became the most famous among the Romans. Within the Italian school it was common, since the Renaissance, to depict Sibyls in compositions similar to those of contemporary portraiture, as ladies richly attired in the fashion of the time. In fact, there are known examples of works in which important aristocrats are portrayed as sibyls, both in Italy and in other countries. In fact, Velázquez himself portrayed his wife, Juana Pacheco, as a sibyl (1632, Museo del Prado). We can also find more recent examples, such as "La sibila de la Alpujarra", a portrait of the singer Carmen Casena made in 1911 by Julio Romero de Torres, currently kept in his museum. At a formal level it is also noteworthy that it is a work where you can appreciate a pictorial influence of the Roman school, the chromatism, warm and around a palette and the perfection of the drawing, as well as the regularity and balance of the ideal face of the figure, which refers to a sensitivity close to a language of classical character.In ancient Greek mythology, the Sibyl was a prophetess, sometimes inspired by Apollo and whose powers had a divine origin. However, the number of these women soon increased from three to twelve, in all cases without knowing their names, but knowing them only by the name of the place where they lived. It was the Renaissance who recovered this figure, considering them heralds of Christ in the pagan tradition in order to give value to it and "Christianize" it. Of all the works in which they appear, the best known is probably Michelangelo's Sistine Chapel Vault, which shows the five most representative of the time (Eritrea, Persian, Libyan, Cuman and Delphic).
Los 1530
A Royal Doulton stoneware Lord Nelson commemorative tyg, circa 1905, decorated with an oval portrait of Lord Nelson beneath the script 'Born 1798 Died 1805', impressed marks to base, height 17cm (one handle repaired), together with a pair of Royal Doulton jugs, each decorated with stylized flowerhead motifs, impressed marks to base, height 17.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 1488
A German porcelain rectangular plaque, circa 1881, painted by Antonine Oderieu, signed, with a portrait of a seated young girl, 13cm x 8.5cm, framed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 1586
An Italian maiolica 'Bella Donna' Deruta style circular dish, late 19th/early 20th century, painted in gold lustre and blue with a central profile bust portrait of a lady by a flower, within a circular frame and panelled rim, unmarked, diameter 41.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 1270
A Copeland Parian ewer, second half 19th century, painted with a border of trumpet flowers and foliage, impressed mark and painted No. '9441' to base, height 22cm, together with a Minton Parian ewer, painted with a portrait of a classical lady and gilt floral garlands, height 21cm, and four similar ewers and jugs.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Los 327
Dickens (Charles) The Mystery of Edwin Drood, first edition in the original 6 parts, engraved portrait frontispiece, additional title and 12 plates after Luke Fildes, part 2 ads. at front lacking pp.3-6 and with pp.1 & 2 torn with loss, otherwise all slips and advertisements as called for including rare cork slip, Chapman and Hall catalogue in part 5 loosely inserted, occasional light foxing, original printed blue wrappers, some chipping and loss to spines, parts 1 and 6 a little frayed at extremities, vol. 1 a little spotted and soiled, preserved in custom morocco-backed drop-back box, [Eckel p.96; Hatton and Cleaver p. 373-385], 8vo, Chapman and Hall, 1870.
Los 426
Joyce (James).- Finaly (Marguerite) Reliquiae, number 48 of 150 copies on Van Gelder Zonen watermarked with a daisy, signed "James Joyce Paris 27.xi.1926" on title, engraved portrait and plate by André Maillart, the plate after medallion by Marcel Dammann, bound in dark brown crushed morocco, by Georges Cretté, upper cover with author's initials, title & daisy in blind, spine with daisy and date in gilt and four raised bands, turn-ins ruled in gilt and blind, signed "G.Cretté succ. de Marius Michel" at foot of front turn-in, green silk moiré doublures and flyleaves, g.e., spine a little rubbed, joints worn and tender, original board slip-case (rubbed), 4to, Paris, 1925.⁂ James Joyce's copy of the compilation of writings of Marguerite Finaly (née Pompée, d.1921), including reminiscences of Colette and Romain Rolland. These were collected by Marguerite's husband Horace Finaly in memory of his wife and privately printed for distribution to friends.Horace Finaly (1871-45) was born in Budapest and educated in Paris, becoming a close friend of Marcel Proust and contributing with him and others to the magazine La Banquette. He became a wealthy and influential banker, head of La Banque de Paris et des Pays-Bas (Paribas) from 1919 to 1937, and enabled several major French-American industrial collaborations. He is referred to in Finnegans Wake, which Joyce was writing at the time of his inscription:"Here be trouts culponed for ye and salmons chined and sturgeons tranched, sanced capons, lobsters barbed. Call halton eatwords! Mumm me moe mummers! What, no Ithalians? How, not one Moll Pemalas? Accordingly! Play actors by us ever have crash to their gate. Mr.Messop and Mr Borry will produce of themselves, as they're twof genitalmen of Veruno, Sernior Nowno and Senior Brolano (finaly! finaly!), all for love of a fair penitent that, a she be broughton, rhoda's a rosy she. Their two big skins! How they strave to gat her! Such a boyplay!" Finnegans Wake, p.539, Faber, 1939.
Los 299
*** Please note, the description of this lot has changed ***Dickens (Charles) The Life and Adventures of Nicholas Nickleby, first edition, without publisher's imprint to plates and with 'sister' for 'visitor' on p.123, engraved portrait frontispiece and 39 plates by Hablot K. Browne, occasional foxing, mostly to plates, ink ownership inscriptions to endpapers, upper hinge weak, contemporary pictorial morocco, gilt, replicating part of first Cruikshank plate on covers, extremities rubbed, [Smith I, pp. pp.40-43; Eckel, pp.64-66], 8vo, 1839.⁂ An unusual contemporary custom binding, similar to examples executed by J. Gray of Edinburgh although this copy without his binder's ticket.
Los 298
Dickens (Charles) The Life and Adventures of Nicholas Nickleby, first edition, without publisher's imprint to plates and with 'sister' for 'visitor' on p.123, engraved portrait frontispiece and 39 plates by Hablot K. Browne, occasional foxing, mostly to plates, original first state olive-green fine-diaper cloth, light fading to spine and covers, recased, spine ends and corners strengthened and repaired, still an attractive copy overall, [Smith I, pp. pp.40-43; Eckel, pp.64-66], 8vo, 1839.
Los 156
Doves Press.- Cobden-Sanderson (T.J.) Catalogue Raisonné of Books Printed & Published at the Doves Press 1900-1916, one of 150 copies on paper, printed in red and black, tipped-in portrait frontispiece, George Parker Winship's copy with his signature and 2pp. A.L.s. from the author tipped to front free endpaper, pencil notes to rear free endpaper and Doves Press invoice made out to Winship tipped to rear pastedown, stain to fore-edge of front endpapers, original vellum-backed boards by the Doves Bindery, spine titled in gilt, uncut, a little rubbed, slight wear to corners, [Tidcombe DP40], 4to, Doves Press, 1916.⁂ The final book issued by the press, containing Cobden-Sanderson's farewell Salve aeternum aeternumque vale at beginning and his famous Consecratio at end: "To the bed of the River Thames, the River on whose banks I have printed all my printed Books, I, the Doves Press bequeath The Doves Press Fount of Type...". In his letter to Winship Cobden-Sanderson refers to the end of the Press, "...The Press has now vanished, but to keep up old [?]associations I retain the house for this enchanting old place in which my wife & I are now settled for what I presume will be the remainder of our lives...The Bindery...is still in existence, tho' reduced to one room, & I am ever engaged in finishing old commissions & binding unsold...copies of the Press. Ultimately it also will be closed, & then there will be 'release' indeed...T.J.Cobden-Sanderson".George Parker Winship (1871-1952), American author and librarian at the John Carter Brown Library in Providence, Rhode Island and later the Harry Elkins Widener Memorial Library at Harvard.
Los 339
Dickens (Charles).- Fildes (Sir (Samuel) Luke, illustrator and genre and portrait painter, 1843-1927) Autograph Letter signed to Frederick Chapman of the publisher Chapman & Hall, 2pp., 8vo, Brunswick Square, 30th July 1870, on his illustration to Edwin Drood, informing him, "I am going Rochester again on Monday... As I have other work to do down at Gad's Hill it is possible I will not come to town myself but will you send the drawing for the frontispiece of 'Edwin Drood'"... and making arrangements for payment for the drawing, folds.⁂ "... will send you the drawing for the frontispiece of 'Edwin Drood'".Fildes had been due to stay at Gad's Hill on the morning after Dickens' death to discuss the illustrations for the July, August and September numbers. This letter, written shortly after Dickens death alludes to an invitation to stay at Gad's Hill in order to draw the famous picture, "The Empty Chair", in Dickens study which was published in the Christmas number of The Graphic.
Los 137
Whittington Press.- Craig (John) Britten's Aldeburgh, number 212 of 440 copies signed by the author/artist, original half cloth, slip-case, 1997; The Locks of the Oxford Canal, number 151 of 350 copies, original cloth, 1984 § Smith (Edwin) A View of the Cotswolds: Photographs, number 99 of 350 copies, original half cloth, slip-case, 2005 § Allen (Peter) Travels in the Cévennes, number 81 of 150 copies signed by the author, pochoir illustrations by the author, original pictorial boards with wrap-around title, slip-case, 1998 § Pringle (Roger) Portrait of a Stratford Year, number 184 of 350 copies, illustrations by Arthur Keene, Sylvia Stokeld's copy inscribed to her by the author and hand-coloured by her (like the first 30 copies) with note from the author thanking her "...I was very pleased with the hand-colouring...", original cloth-backed marbled boards, 1985, illustrations, the first two with wood-engravings by John Craig, some uncut, Risbury or Andoversford, Whittington Press; and 7 others from the press, v.s. (12)
Los 326
Dickens (Charles) "Holiday Romance" in: Our Young Folks. An Illustrated Magazine for Boys and Girls, Vol. 4, nos. 37 & 39-41, engraved frontispiece portrait of Dickens, 5 plates, 4 after John Gilbert illustrating "Holiday Romance", occasional light soiling, a few ff. with short marginal tears or fraying, advertisements, original orange printed wrappers, first part with some loss to spine ends, some splitting along joints and with some creasing and fraying to covers, the remaining 3 parts some some light creasing to extremities but very good generally with printed label "1752 Mrs E U King Dec 68" to upper covers, [Eckel p. 200], 8vo, Boston, Ticknor and Fields, 1868.⁂ First American printing of Dicken's four short stories written from the point of view of two small boys and two small girls. Published simultaneously in All the Year Round.
Los 210
Frye (Thomas, portrait painter, mezzotinter and porcelain manufacturer, c. 1710-1762) A fashionable lady, from: 'Ladies, very elegantly attired in the fashion, and in the most agreeable attitudes', mezzotint, an excellent richly inked impression, on laid paper with indistinct text-based watermark and countermark of a Strasbourg lily, platemark 500 x 350 mm (19 3/4 x 13 3/4 in), sheet 520 x 370 mm (20 1/2 x 14 1/2 in), under glass, hinged with tabs onto mount support, faint crease to lower left corner, other minor handling creases, marginal surface dirt and browning, framed in 18th century-style black frame with sand gilt slip, 1761.Literature:Chaloner Smith 23
Los 491
Conchology.- Pulteney (Richard) Catalogues of the Birds, Shells, and some of the Rare Plants, of Dorsetshire, [second edition], engraved portrait and 24 plates on 13 leaves, modern black half morocco, spine lettered in gilt, folio, 1813.⁂ Whilst the text covers the three subjects mentioned, the plates are all of shells and fossils. The first edition appeared in 1799 but does not include the portrait.
Los 52
Gregynog Press.- Shaw (George Bernard) Shaw Gives Himself Away: An Autobiographical Miscellany, number 299 of 300 copies on pale green handmade paper, wood-engraved frontispiece portrait by John Farleigh, original dark green morocco with abstract design of author's initials onlaid in orange morocco, by the Gregynog Press Bindery and designed by Paul Nash, spine with raised band & onlay and lettered in orange, uncut, spine only slightly faded, [Harrop 40], 4to, Newtown, Gregynog Press, 1939.
Los 399
Wilde (Oscar).- Douglas (Lord Alfred) The Autobiography, first edition, signed presentation inscription from the author to John Embleton Black to endpaper, portrait frontispiece, plates, some scattered spotting, light browning to endpapers, bookplate of Black to pastedown, original cloth, spine ends and corners bumped, extremities rubbed, 4to, 1929.⁂ Douglas' autobiography with much on his relationship with Wilde, rare signed.
Los 332
Dickens (Charles).- The Singularly Interesting Freehold Residential Property Known as Gadshill Place the home of Charles Dickens from 1857 to 1870. To be offered for Sale by Auction by Messrs Knight, Frank & Rutley, photographic frontispiece and 2 plates, folding map at rear, auctioneers' compliments slip loosely inserted, light foxing, original stiff wrappers with vignette portrait of Dickens to upper cover, light browning and some soiling to lower cover, 1923; and 3 others, Dickens, v.s. (4)⁂ Gads Hill Place was initially bought by Charles Dickens Jr. following his father's death. It later passed to Hon. Francis Law Latham before becoming Gad Hill School in 1924 which it remains today.
Los 496
Astronomy.- Wing (Vincent) Astronomica Britannica: in qua per novam, concinnioremque methodum, hi quinq; tractatus tradunter. I. Logistica astronomica... II. Trigonometria... III. Doctrina sphærica... IV. Theoria planetarum... V. Tabulæ novæ astromicæ, John Wing's copy with his ink signature on 2A3 and numerous ink annotations in Latin in some margins, also Tycho Wing's copy with his ink signature on front free endpaper (18th century hand), numerous woodcut diagrams and illustrations, lacks engraved frontispiece portrait, without the engraving which should be present on H3 and with Latin note stating its loss, first part B1 (sub title of part 1) detached with loss of left margin, B1 (second part) torn with some loss, M4 small tears, lacks 1f. between 2B4 & 2C1, lacks 2Z4 towards end and all after 3A3 (last 2ff.), some ff. working loose, browned, some ink marks, endpapers and fly-leaves loose, bookplate of Tycho Wing V on inner board, contemporary panelled calf, extensively rubbed, corners worn, spine defective, [Hozeau & Lancaster 9232; Wing W2986], folio, George Sawbridge, 1669; sold not subject to return.⁂ A slightly distressed copy of an important astronomical work rendered unique with John Wing's notes in the text. On the inner board is inscribed "for John Wing", and along with the unprinted engraving at H3 indicates that this is an early family copy, possibly a pre-publication issue of this work. Other early family names include Elizabeth Wing (possibly John Wing's daughter born in 1664) and Tycho Wing (an early Tycho Wing with an eighteenth century signature).Wing's most important work, published posthumously in 1669. Astronomia Britannica, a Latin treatise on the Copernican movements of the planets, with observations by Tycho Brahe, Bullialdus, Gassendus and some by Wing and other English astronomers. This work was highly influential and was instrumental in the adoption of the Copernican heliocentrism over the Tychonic System.
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Yeats (William Butler) The Tables of the Law and the Adoration of the Magi, first edition, number 65 of 110 copies, portrait frontispiece by Jack B. Yeats, tissue-guard, light browning to endpapers, original red buckram, spine lettered in gilt, light sunning to spine, light rubbing to spine tips and corners, a bright and excellent example, [Wade 24], 8vo, Privately Printed, 1897.⁂ The true first edition of this rare publication containing two short stories written by Yeats at the height of his fascination in occultism.
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Briseux (Charles-Etienne) Traité du Beau essentiel dans les Arts, appliqué particulierement applique particulierement a l'architecture et demontre physiquement et par l'experience à l'architecture et démontré physiquement et par l'expérience, first edition, engraved throughout, portrait frontispiece, 2 titles within decorative borders, 138 plates, some double-page or folding, including pictorial divisional titles, blank f. following p.44, privilege f. at end of vol.2, a few ff. with outer edge uncut, spotting and mostly light staining, lightly browned, contemporary mottled calf, richly gilt spines in compartments and with red leather labels, some gilt restored, corners worn, rubbed, [Berlin Kat. 2403; Fowler 69], 4to, Paris, The Author & Chereau, 1752.⁂ 'A fine example of an entirely engraved book' (Fowler).
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Lawrence (T.E.).- Richards (Vyvyan) T.E.Lawrence: Book Designer, one of 50 specially-bound copies signed by the artist, wood-engraved portrait by Peter Reddick, original parchment-backed boards, uncut, Wakefield, Fleece Press, 1986 § Knowles (Richard) Precious Caskets: the Friendship of T.E.Lawrence and William McCance, one of 240 copies, tipped-in illustrations, some colour, original cloth-backed marbled boards, uncut, Upper Denby, Fleece Press, 2003 § Lawrence (T.E.) Playground Football, number 20 of 60 copies, tipped-in wood-engraving on Japon by Ian Stephens, prospectus loosely inserted, original cloth-backed patterned-paper boards, uncut, Shilton, Reading Room Press, [2007]; The Diary kept...while travelling in Arabia during 1911 [&] An Essay on Flecker, together 2 vol., limited facsimile reprints of Corvinus press editions, original wrappers, together in slip-case, [Walton-on-Thames], [1990]; and 8 others on Lawrence, mostly Fleece Press, 8vo & 4to (13)
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