283284 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283284 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283284 Los(e)/Seite
Los 88
SIR JOHN LAVERY RA RSA RHA (IRISH/BRITISH 1856 - 1941), SKETCH, THE HOSPITABLE GATE oil on panel, signed, titled and dated '86 26.5cm x 40.5cm Framed Provenance: Sotheby's, London, 22 July 1987. lot 150. Sotheby's, London, 6 May 2010, lot 4. Note: John Lavery was welcomed as a celebrity by collectors in Paisley after his return from France at the end of 1884. They were impressed by avant-garde ambitions expressed in large canvases such as On the Loing, An Afternoon Chat, (Ulster Museum, Belfast), shown at the Glasgow Institute of Fine Arts in February 1885. Although he established a studio in Glasgow, these wealthy middle-class local worthies were keen to retain his services. The wool and cotton manufacturer, James Fulton, for instance, offered Lavery a cottage/studio, close to his baronial mansion on his estate at The Glen, Paisley, while the artist produced portraits of members of his family. William MacKean, a soap manufacturer and the town’s Provost also provided portrait commissions and some of these are likely to have been shown at the artist’s first solo exhibition at the George A. Clark Town Hall at the end of November 1886. This grand edifice was funded four years earlier by the Clark family, owners of Anchor Mills, one of Paisley’s principal employers, who were also Lavery patrons. No catalogue for Lavery’s first show is known to be in existence, but he advertised it as ‘Portraits, Pictures & Sketches painted in the Neighbourhood’. We may however assume that in addition to views of The Glen, and smaller pictures painted in the garden of the MacBrides’ house at nearby Cathcart, where Lavery had worked on his most famous canvas, The Tennis Party, (Aberdeen Art Gallery), the exhibition also contained sketches like that of the ‘Hospitable Gate’. An earlier street scene, Lady on a Safety Tricycle 1885, (Government Art Collection), is however thought to be an entrance to Cartbank. This tentative watercolour lacks the bold handling, vivid realization and atmospheric qualities of Sketch of The Hospitable Gate. The swift notation and autumnal palette of this suburban street scene indicates that it was painted shortly before Lavery’s exhibition opened. Although there is little detail of the house, it is possible that it represents Chapel House in Ardgowan Street, Paisley - then on the fringe of the Blackhall Estate and the river White Cart Water. In the 1880s this four-square Georgian house on a leafy lane, was owned by James Clark, one of the brothers who inherited Anchor Mills. The building’s square façade, its placing in relation to the street, and the shallow pitch to its roof, suggests that the ‘hospitable gate’ could lead to just such a house.
Los 95
* ALFRED AARON WOLMARK RA (BRITISH 1877 - 1961), PORTRAIT OF TERRICK WILLIAMS WITH STATUE OF VENUS oil on board, signed and dated 1932 76.5cm x 64cm Framed Artist's label verso Provenance: Sotheby's Modern British sale, 27 November, 2002. Lot 233 Note: John Terrick Williams RA RI ROI, better known as Terrick Williams was a British painter who was a member of the Royal Academy. During his lifetime, Williams became one of the most successful painters in London.
Los 74
SIR JOHN LAVERY RA RSA RHA (IRISH 1856 - 1941), THE GARLANDED BALLERINA oil on canvas, signed and dated '96 61cm x 33cm Framed. Provenance: Sale; Christie's, Glasgow, 20 May 1987, lot 222. Sale; de Veres, Dublin, 11 June 1996, lot 69. Private Collection, from whom acquired by the present owner in the early 2000s. Private Collection, Ireland. Note: Sir John Lavery was an artist widely associated with the Glasgow Boys movement (1880-1900), with whom he shared an interest in subjects from modern life. He enjoyed great success after his move to London in 1896, where he combined his talents as a portrait painter with an interest in contemporary events. The painting offered here was executed in his first year in London (1896) and it is likely that Lavery attended his first major ballet in this period and was to form a lifelong fascination with the subject. This is clearly demonstrated in the highly acclaimed painting of the Ballerina Anna Pavlova (1911) held in the collection of The Kelvingrove Museum.
Los 110
EDMUND THORNTON CRAWFORD RSA RSW (SCOTTISH 1806 - 1885), ON THE FARM oil on canvas, signed 46cm x 61cm Framed Note: Crawford was a landscape and marine painter, born at Cowden, near Dalkeith, in 1806. He was the son of a land surveyor, and when a boy was apprenticed to a house-painter in Edinburgh. He entered the Trustees' Academy under Andrew Wilson, where he had fellow-students David Octavius Hill and Robert Scott Lauder. William Simpson, who was one of the older students, became a close friend. Crawford's early paintings were exhibited in the Royal Institution, and his first contributions to the annual exhibition of the Royal Scottish Academy appeared in 1831, two of these being taken from lowland scenery in Scotland, and the third being the portrait of a lady. Although not one of the founders of the Academy, Crawford was one of its earliest elected members. His name appears in the original list of associates, but having withdrawn from the body before its first exhibition, it was not until 1839 that he became an associate. Meanwhile he visited Holland for the first of what would be several times. He studied the Dutch masters, whose influence in forming his picturesque style was seen in nearly everything he painted. Despite acclaim and commercial success it was 1848 before he was elected a full academician. In the same year he produced his first great picture, ‘Eyemouth Harbour,’ which he rapidly followed up with other works of high quality which established his reputation as one of the greatest masters of landscape-painting in Scotland. Among these were a ‘View on the Meuse,’ ‘A Fresh Breeze,’ ‘River Scene and Shipping, Holland,’ ‘Dutch Market Boats,’ ‘French Fishing Luggers,’ ‘Whitby, Yorkshire,’ and ‘Hartlepool Harbour.’ He also painted in watercolours, usually working on light brown crayon paper, and using body-colour freely. The only picture he contributed to a London exhibition was a ‘View of the Port and Fortifications of Callao, and Capture of the Spanish Frigate Esmeralda,’ at the Royal Academy in 1836. The characteristics of his art are the old school of Scottish landscape-painting. This was not so realistic in detail as the modern school, but was perhaps wider in its grasp, and strove to give impressions of nature rather than the literal truth. In 1858 Crawford left Edinburgh and settled at Lasswade, but he continued to contribute regularly to the annual exhibitions of the Academy until 1877, maintaining to the last the high position he had gained early in life. He was at one time a keen sportsman with both rod and gun. He died at Lasswade 27 Sept. 1885, ‘Coast Scene, North Berwick,’ and ‘Close Hauled; Crossing the Bar,’ by him, are in the permanent collection of the National Gallery of Scotland and a further nineteen works are held in UK public collections.
Los 85
GEORGE HENRY RA RSA RSW RP NEAC (SCOTTISH 1858 - 1943), A LADY OF MEANS oil on canvas, signed 92cm x 71cm Framed and under glass Provenance: Deceased estate. From a substantial private Scottish collection of 20th century British art. Note: A leading member of the Glasgow School, the most progressive artists in Britain during the latter part of the 19th c., George Henry moved to 26 Glebe Place, Chelsea (London) in 1905 to establish what would become a hugely successful society portrait practice. He showed annually at the Royal Academy from 1904. Aside from formal figure work, he produced a number of elegant exhibition pieces around this time which were, in part, influenced by his lengthy visit to Japan with E.A Hornel 1893-94. Almost one hundred (96) examples of George Henry's paintings are held in UK public collections including at Glasgow Museums, Kelvingrove, The Hunterian, The Laing, The Guildhall Art Gallery (London), Kirkcaldy Galleries, Manchester Art Gallery, The National Galleries of Scotland and The City Art Centre (Edinburgh).
Los 140
* WILLIAM CROSBIE RSA (SCOTTISH 1915 - 1999), JOHN MORTON (radio personality from the 1940s/50s) ink on paper, signed, titled and dated '93 46cm x 31cm Mounted, framed and under glass Note: Glasgow Museums hold the William Crosbie portrait (in oils) of John Morton (Radio Personality) in their collection.The MacFlannels, also a wartime programme and a radio equivalent of The Broons, starring John Morton as Willie, Meg Buchanan as Sarah and Willie Joss as Uncle Matha. It was a humorous evocation of life in a room and kitchen in a Glasgow tenement with waxcloth on the floor and a jawbox at the window.
Los 120
Georgios Mavroidis (Greek, 1912-2003)Portrait of a Boy signed in Greek and dated '87' (lower left)oil on canvas40 x 29.5 cm. 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 3
Yiannis Tsarouchis (Greek, 1910-1989)Portrait of a Young Man signed in greek and dated '16-10-66' (upper left) oil on canvas47 x 38 cm. Painted in 1966.Footnotes:ExhibitedThessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 94 (illustrated in the exhibition catalogue, p. 175).Distilled with marvellous restraint, this captivating portrait of a young Greek male epitomizes the artist's signature subject. Impeccably painted in earthy colours, highlighted by solid outlines, and handled with confident brushwork, the work conveys a sense of immediacy and presence, distantly echoing Gysis's psychologically acute portraits. The honesty of representation, genuineness of character and purity of form give this portrait its power and directness, impelling the viewer to scratch beyond the veneer to seek the inner world of the young Greek. As noted by D. Kapetanakis, 'Tsarouchis managed, with the wisdom of his art, to elevate a model posing in his studio into a symbol of the Modern Greek spirit.'1 As noted by Athens National Gallery Director M. Lambraki-Plaka, 'in Tsarouchis's work, the human figure managed to survive three sins: the primordial, the academic and the 'modern'. With the latter one I mean modern art's iconoclastic crusade, which never tired to demolish, distort or expel the human form. Tsarouchis did not give in to this negative aesthetic theory which preached the systematic rejection of the rules of Western tradition. He is one of the few painters who managed to cross the tempestuous 20th century by keeping intact the precious human figure.'2 1 D. Kapetanakis, Yiannis Tsarouchis, Return to Roots, Nea Grammata magazine, 1937.2 M. Lambraki-Plaka, 'Yannis Tsarouchis, the Icon and the Work' [in Greek], Lexi magazine, no. 73, March-April 1988, p. 229. See also Osei Myra, Yannis Tsarouchis 1910-1989 [in Greek], Kastaniotis editions, Athens 1998, p. 452. 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 6
Yiannis Tsarouchis (Greek, 1910-1989)Portrait of Dominique with small landscape signed in Greek and dated '1974' (lower right)tempera on paper 26 x 21 cm. Footnotes:ExhibitedThessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 94 (illustrated in the exhibition catalogue, p. 172). 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 8
Georgios Bouzianis (Greek, 1885-1959)Mänlicher Kopf signed Jo Bouzianis (lower right) and titled and signed on the pass-par-tout watercolor on paper 44 x 30 cm. Footnotes:Painted c. 1913-1915.ExhibitedAthens, Bouzianis House Museum - Bouzianis Cultural Centre, Bouzianis Returns Home, October 4-31, 2010 (illustrated in the exhibition catalogue, p. 17).Thessaloniki, Tellogleio Art Institute, Selections of a Bold Collector, Stavros Tsigkoglou, February 2017, no. 77 (illustrated in the exhibition catalogue, p. 104).LiteratureD. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 1 (additional catalogue entry), p. 313 (catalogued), 69 (illustrated).Newspaper clipping, c. 1990s (illustrated).'Bouzianis's watercolours confirm his status as one of the greatest artists of his time.' - Dr. H. Hofmann, 1928.1Invested with the lightness of watercolour and painted with a directness that immediately captures the eye, this brilliant self-portrait of fluid colour and evocative form sings a Mediterranean, Grecian song, full of sun and golden light.2 Reviewing the 1932 exhibition of Bouzianis's watercolours at the Barchfeld gallery in Leipzig, art critic M. Schwimmer remarked: 'Employing the most frugal means, the artist conveys powerful and insightful impressions, a sense experience of form and colour more intense than any offered by even the best watercolours by Nolde or Kirchner,'3 while in an essay prefacing the artist's 1965 posthumous retrospective in Athens, art critic G. Mourelos noted: 'Bouzianis's watercolours constitute a monumental accomplishment in contemporary European art.'4 As noted by Professor D. Deliyannis, who prepared the artist's monograph, 'Bouzianis's portraits are by no means static. A slight differentiation in the rendering of the eyes suffices to suggest the sitter's active presence. One of the key characteristics of Bouzianis' portraiture is the frontal pose. That's why he pays close attention to the depiction of the eyes. His insistence on frontality is not of minor import. He breaks away from ancient Greek portraiture, while retaining a close relationship with the Byzantine style.'5 Indeed, the frontality of the portrait, set against a barren background, is akin to the perception governing icon painting and endows it with a symbolic dimension, as if it were the image of a modern saint. 1 H. Hofmann, Leipziger Abendost daily, September 6, 1928.2 See C.S. Spencer, 'George Bousianis', Studio magazine, vol. 159, no. 806, June 1960, p. 206.3 MS, Leipziger Volkszeitung daily, December 23, 1932.4 G. Mourelos, preface to Bouzianis-Watercolours [in Greek], exhibition catalogue, Greek-American Union, Athens 1965.5 D. Deliyannis, Bouzianis [in Greek], Athens 1996, pp. 38, 39.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 91
Georgios Bouzianis (Greek, 1885-1959)Seated Man, Antonios Hariatis charcoal on paper 99 x 69 cm.Painted c. 1944.Footnotes:LiteratureEptanisiaka Fylla magazine, vol. XV, no.4, Winter 1989 (illustrated).This portrait of Antonis Hariatis is the largest of the 40 works (oils, crayons and charcoals) Bouzianis painted during his private tutorials to the sitter's sister, painter Katerina Hariati, from 1943 to 1959. As noted by art critic Alexandros Xydis, 'Bouzianis came to Greece in 1935 to teach at the Athens School of Fine Arts. Given that this arrangement was never carried out, these few studies—evidence of an unusual teaching process—are of great value. They shed light to an aspect of this great artist's modest personality and creative genius.'11 A. Xydis, 'Bouzianis the Teacher' in Bouzianis Returns Home, exhibition catalogue, Bouzianis House Museum - Bouzianis Cultural Centre, Athens, 2010. See also A. Xydis, Bouzianis the Teacher, Periplous editions, Athens 1999, p. 19.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 218
Lorrain (Claude).- Liber veritatis or a collection of prints after the original designs of Claude le Lorrain, 3 vol., 2 mezzotint portraits and one stipple-engraved portrait, 300 etched and mezzotint plates by Richard Earlom, printed in bistre, some foxing, largely restricted to title and plate margins, ink gift inscription to vol.1 & 2, 20th century library morocco-backed cloth, [cf. Abbey, Life 200 (first edition)], folio, Messrs. Boydell and Co [vol.1 & 2], Hurst, Robinson and Co. [vol. 3], 1819.⁂ "A landmark in the history of the reproduction of master drawings" - Abbey.Provenance: Ann Everard, the gift of her uncle D. Everard (inscription).
Los 208
Antiquities.- Winckelmann (Johann Joachim) Storia delle Arti des Disegno presso gli Antichi, translated and edited by Carlo Fea, 3 vol., half-titles, engraved frontispiece, 2 portraits, title-vignettes and 61 plates, a few folding, engraved head- & tail-pieces, a few leaves lightly browned, stain to lower margin of I2 in vol.3, contemporary vellum, a little rubbed and soiled, Rome, Pagliarini, 1783 § Leonardo da Vinci. Trattato della Pittura, 2 vol. including plate vol., engraved portrait and 22 plates, light foxing and soiling, mostly marginal, ink stains to first two plates, contemporary vellum, spines gilt with red roan labels, a little soiled, Rome, 1817; and another, 4to (6)⁂ The first is the enlarged second Italian edition of Winckelmann's Geschichte, first published in 1764.
Los 263
Britain.- Burton (William) A Commentary on Antoninus his Itinerary, or Journies of the Romane Empire, so far as it concerneth Britain, title in red and black, engraved portrait frontispiece, folding map by Hollar, later tree calf, covers detached, spine worn, [Wing B6185], by Tho. Roycroft, 1658 § [Camden (William)] Remaines Concerning Britaine, third impression, title with woodcut device, woodcut initials and headpieces, lacking folding chart and initial and final blank ff., title rather soiled with margins repaired, last text f. silked, ink ownership inscription of Richard Rouse Bloxam with gift inscription to Matthew H. Bloxam, modern calf-backed boards, [STC 4523], by Nicholas Okes, 1623; and 2 others, British topography, v.s. (4)
Los 202
Armour.- Meyrick (Sir Samuel Rush) A Critical Inquiry into Antient Armour..., 3 vol., first edition, half-titles, additional engraved vignette titles, 76 aquatint plates only (of 80, lacking plates 12, 13, 14 & 42), 70 finely hand-coloured, many heightened with gold, tissue guards, fine hand-coloured initials to chapters heightened with gold or silver (silver tarnished), titles foxed, some other light spotting or soiling, mostly marginal, plate 35 becoming loose, B1 to vol.2 with small tears to outer margin, contemporary half calf, rubbed, some wear to boards, folio, 1824 § (Meyrick (Sir Samuel Rush) and Joseph Skelton. Engraved Illustrations of Antient Arms and Armour, from the Collection at Goodrich Court, Herefordshire, 2 vol., engraved frontispieces, additional vignette titles, portrait and 150 plates, tissue guards, some foxing, bookplate of M.H.Bloxam, contemporary half russia, worn, spines defective, most covers detached, 1830, folio (5)
![[Camden (William)] Tomus alter, & idem: or The historie of the life and reigne of that famous princesse, Elizabeth, first](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/eb80391e-751a-41a9-ad5e-ac5d011b984c/468x382.jpg)
Los 111
[Camden (William)] Tomus alter, & idem: or The historie of the life and reigne of that famous princesse, Elizabeth, first edition in English, lacking frontispiece and initial blank f., woodcut portrait to title verso, woodcut initials and headpieces, occasional dampstaining, engraved illustrations trimmed and laid down to front and rear endpapers, contemporary calf, gilt, joints cracked, extremities rubbed and a little worn, [STC 4498], Thomas Harper, 1629 § Strange Newes from Warwicke which hapned 17 Nov., 1642, manifesting how Jeremiah Stone, a Corporal of Dragoons (in the Civil War) being wounded at the Battell at Keynton came to the Anchor at Warwick, 1 of 20 copies, presentation inscription from the editor, contemporary half roan, extremities rubbed, 1826; and 12 others, similar, v.s. (14)⁂ The second mentioned a reprint of a tract with only 1 copy listed on ESTC.
Los 138
Baker (Sir Richard) A Chronicle of the Kings of England, sixth edition, engraved frontispiece portrait of Charles II (laid down), engraved additional title, the odd rust-hole, light foxing and browning, library morocco-backed cloth, [Wing B507], for George Sawbridge and Thomas Williams, 1674 § [Frankland (Thomas)] The Annals of King James and King Charles the First, lacking initial errata f., laid engraved portrait of Jamies I laid down facing title, title trimmed and laid down, a1 corner repaired, 3G4 torn and repaired, the odd rust-hole, light foxing and browning, contemporary calf, rebacked, corners repaired, [Wing F2078], by Tho. Braddyll, for Robert Clavel, at the Peacock in St. Paul's Church-yard, 1681; and 13 others chronicles and histories, folio & 4to (15)
Los 284
Warwickshire.- Dugdale (Sir William) The Antiquities of Warwickshire, first edition, engraved portrait frontispiece by Wenceslaus Hollar (trimmed and mounted on blank leaf), title printed in red & black, frontispiece and title ruled in red, 5 double-page engraved maps mounted on stubs and 10 engraved plates and plans by Hollar & others, 6 folding, a few trimmed and mounted, numerous engraved illustrations including many full-page, errata leaf at end but lacking final blank, extra-illustrated with many additional plates and ephemera relating to Rugby and Warwickshire, many of churches or ecclesiastical monuments, a few original pencil or watercolour sketches, mainly 19th century, most bound in but a few loosely inserted, some light browning and soiling, title and one or two other leaves trimmed or reinforced at edge, bookplate of M.H.Bloxam, contemporary calf, rubbed, corners a little worn, rebacked with gilt spine and red roan label, [Wing D2479], folio, Thomas Warren, 1656.
Los 23
Apollonius, Dyscolus. Apollonii Alexandrei De constructione. Magni Basilii De grammatica exercitatione, Greek type, initial spaces with guide-letters, final verso with woodcut printer's device, title with 3 very small wormholes at head, occasional spotting and light browning, 18th century green morocco, gilt, spine in compartments and with red morocco label, spine darkened, corners little worn, rubbed, [Adams A1308; EDIT 16 CNCE 2158], an attractively printed edition, [Florence], [Filippo Giunta], 1515 § Ausonius (Decimus Magnus) Opera, title with woodcut portrait of the author, woodcut head- and tail-pieces and decorative initials, woodcut printer's device at end, final f. blank, marginal water-staining and small worm traces / holes, later vellum, [Adams A2280], Lyon, Jean de Tournes, 1558; and 5 others, Latin & Greek classics, v.s. (7)
![[Chandler (Richard)] Marmora Oxoniensia, 3 parts in 1 vol., first edition, engraved portrait frontispiece and 75 plates or f](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/24b2c14b-61bb-4e19-83d2-ac5d011cc841/468x382.jpg)
Los 213
[Chandler (Richard)] Marmora Oxoniensia, 3 parts in 1 vol., first edition, engraved portrait frontispiece and 75 plates or full-page illustrations only (of 76, lacking no. 48) by J. Mille, engraved vignettes, title and frontispiece creased, some scattered light foxing but a very clean, well-margined copy generally, contemporary calf, sympathetically rebacked, some wear to extremities, [Blackmer 316], folio, Oxford, Clarendon, 1763.⁂ "A sumptuous folio edition that described the lapidiary inscriptions as well as the statues and other antiquities, and superseded previous editions by Humphrey Prideaux and Michael Maittaire." - ODNB.
Los 147
Shakespeare (William) Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added, Seven Plays, never before Printed in Folio, edited by John Heminge and Henry Condell, fourth folio edition, double column, title with woodcut fleur-de-lis device, title and text within double- and single-rule borders, lacking engraved portrait, A1 (dedication), second A3&4 (Tempest pp.5-8), 2T3&4 (Henry VIII pp. 209-212), 3A3&4 (Timon of Athens pp. 5-8) and 4B6-4C2 (The Tragedy of Locrine pp. 298 to end), comprising 11ff. total, title trimmed to margin and laid down, first A2-4 and 4B3-5 spotted, creased, torn with loss and heavily silked, small hole or rust hole to A2, E1, Q5, R6, 2C4, 2E6, 2H5, 2Y6, 3E1, 3G5 sometimes with loss to 2 or 3 letters of text, slash to F3 affecting a few letters of text, 2C6 chip to upper margin, 2U2 and 2X1 with partially repaired tear running into text, *3B1and 3G1 with long tear running into text, 3S4 with paper flaw to lower margin, scattered foxing and occasional light browning, a few minor text or typographic corrections in an early hand, ink ownership inscriptions to title, bookplates, later half calf, rebacked and recornered, rubbed, some wear to extremities, [Greg, III, p.1119-21; Wing S2915; cf. Pforzheimer, 910], folio, for H. Herringman, E. Brewster, and R. Bentley, at the Anchor in the New Exchange, the Crane in St. Pauls Church-Yard, and in Russel-Street Covent-Garden, 1685.⁂ A largely complete example of the fourth folio measuring 347 x 210mm.Provenance: Tho. Babington 1693; Mich. Babington; Wm. Brinkley; J. Brees ex Dono Gal Croftes anno 1745 (ink inscriptions).
Los 75
Cervantès Saavedra (Miguel de) El Ingenioso Hidalgo Don Quixote de la Mancha, 4 vol., Nueva Edición, corregida por la Real Academia Española, 4 engraved additional titles after Antonio Carnicero by Fernando Selma, portrait of the author, folding map with route outlined in red, and 30 plates only (of 31, lacking 1 plate in vol.3) after Barranco, Brunette, Carnicero, Del Castillo, Ferro, and Gil by Ballester, Barcelon, Fabregat, Gil, Mol, Muntaner, Salvador y Carmona, and Selam, engraved initials, head- and tail-pieces, occasional light foxing, vol. 2 with some dampstaining to lower margin at start, vol.3 with light dampstaining to lower corner towards end, ink inscriptions to vol.1 endpaper, letter tipped onto vol.1 endpaper, contemporary Spanish tree sheep, gilt, spines gilt in compartments with red morocco labels, some bumping to corners, g.e., 4to, Madrid, Joaquín Ibarra, 1780.⁂ A handsome set of this lavish production, a masterpiece of typographic design. Provenance: Percival Hunter, 1831; M. H. Bloxam (ink inscriptions).
![Dante Alighieri. [Opere]La Divina Commedia con varie annotazioni..., 4 vol. only, half-title with 'avviso a' legatori' verso,](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/20e64b4f-bc99-42c6-8c34-ac5d011c9f4f/468x382.jpg)
Los 73
Dante Alighieri. [Opere]La Divina Commedia con varie annotazioni..., 4 vol. only, half-title with 'avviso a' legatori' verso, first title in red and black, engraved frontispiece, title vignettes, dedication f., portrait of the dedicatee Empress Elisabeth Petrovna of Russia, portrait of Dante, 107 plates only by Magnini, Rizzi, Crivellari and others after Fontebasso, Zompini, Schiavonio and Marcaggi, argomento at head of each canto, initials and tail-pieces, vol.3 water-stained, a couple of ff. with small section of lower blank corner torn away, all vol. occasional spotting and light staining, contemporary mottled calf, spines lacking all labels, rubbed and scuffed, [Mambelli 65; Morazzoni p.225], 4to, Venice, Antonio Zatta, 1757-1758. sold not subject to return. ⁂ The important Zatta edition, which is the first substantial critical edition since the mid-sixteenth century, and the first illustrated edition to be published since 1596. It is the first edition to contain Giuseppe Pelli's Memorie per servire alla vita di Dante e alla storia della sua famiglia.
Los 165
Shakespeare (William).- Whalley (Peter) An Enquiry into the Learning of Shakespeare, with Remarks on Several Passages of his Plays, first edition, engraved portrait frontispiece, title soiled, some spotting and occasional staining, bookplate, contemporary half calf, extremities a little rubbed and scuffed, 8vo, for T. Waller, at the Crown and Mitre opposite to Fetter-Lane in Fleet-Street, 1748.⁂ Provenance: M. H. Bloxam (bookplate).
Los 167
Music.- Tans'ur (William) The Psalm-Singer's Jewel, first edition, engraved portrait frontispiece, some foxing and staining, contemporary sheep, rebacked, corners chipped, for S. Crowder, 1760; The Elements of Musick, engraved portrait frontispiece, woodcut illustrations and musical notation, light browning, later calf, gilt, worn, upper cover detached, 1772; and 2 others by Tans'ur, 8vo (4)
Los 266
Britain.- Camden (William) Britannia: or a Chorographical Description of Great Britain and Ireland, translated by Edmund Gibson, 2 vol., second edition of Gibson's translation, engraved portrait frontispiece, titles in red and black, 9 engraved plates of coins, 49 double-page and 2 folding engraved general and county maps by Robert Morden, vol.2 final f. silked, O1 with tear running into text, 2I1 and 3P1 with small hole causing loss to 2 or 3 letters of text, occasional minor soiling or discolouration, a few short marginal tears, modern half calf, [Goldsmiths 6088; Chubb CXV], folio, by Mary Matthews, for Awnsham Churchill, 1722.
Los 164
Music.- Tans'ur (William) The Royal Psalmodist: Or, The Universal Harmony, first edition, engraved throughout, comprising frontispiece portrait of David composing the psalms, title, list of subscribers, Psalms 1 to 150 and "An Anthem taken out of the 52nd chap. of Isaiah", a few short marginal tears and some occasional chipping, occasional light foxing, a few early ink markings, musical score in an early hand to final f. verso, ink ownership inscriptions to frontispiece recto, bookplate to pastedown, 19th century half calf, 4to, Rugby, by the Author, 1742.⁂ The exceedingly rare first edition of this collection of psalms set to music by "one of the most successful exponents of the elaborate hymn tune of the time" - New Grove. The only other copy we can trace sold in 1984, until which point this edition was unrecorded with the first edition assumed to have been published in Ewell in 1746.Provenance: Richard Salsbury (ink inscription dated 1744).
Los 61
Machiavelli (Niccolò) Tutte le opere...divise in V. Parti., 5 parts in 1, woodcut portraits to general and divisional titles, *4, è4, 2z2 and aa4 at end blank, general title all but detached, occasional marginal passage marking, some spotting and staining, lightly browned, contemporary armorial calf, gilt, rebacked in 19th century calf in compartments, corners worn, rubbed, [Adams M9; EDIT 16 CNCE 64604], 4to, [?Geneva], no printer, 1550 [but c.1630].⁂ A 'Testina edition', which uses the woodcut portrait of Comin da Trino's 1541 edition of Il Principe. Dated 1550, but in fact published in the first half of the 17th century. Some of the later editions bear a Geneva imprint, hence the tentative attribution of this edition to Switzerland.
Los 232
Asia.- Fryer (John) A New Account of East-India and Persia, first edition, lacking half-title with portrait on verso, with title printed in red and black, 2 engraved maps only (of 7 maps/plates) and one full-page engraved map in text with printed slip pasted below, engraved or woodcut illustrations, old ink inscriptions to front free endpaper, foxed and soiled, later half sheep, worn, broken and loose, [Wing F2257], folio, R.R. for Ri. Chiswell, 1698; sold not subject to return⁂ In 1672 Fryer embarked on a 10-year tour to India, Goa, the Arab Gulf and Persia before returning to England. The work includes a detailed account of Surat and Muscat and mentions pirates in the Gulf, and the natural history of the region.
Los 296
Astronomy.- Gassendi (Pierre) Tychonis Brahei, equitis dani, astronomorum coryphaei, vita. Accessit Nicolai Copernici, Georgii Peurbachii, & Joannis Regiomontani, astronomorum celebrium, vita, 2 parts in 1, first title in red and black, engraved portraits of Brahe and Copernicus, woodcut diagrams of the solar system, woodcut head-pieces and decorative initials, last 2 ff. of preliminaries mis-bound after title, these and title loose, The Hague, Adrian Vlacq, 1655 bound with Gassendi (Pierre) Viri illustris Nicolai Claudii Fabricii de Peiresc, senatoris aquisextiensis vita, third edition, title in red and black, engraved portrait of Peiresc, The Hague, Adrian Vlacq, 1655, together 2 works in 1 vol., occasional spotting, contemporary panelled calf, spine in compartments and with later red and black morocco labels, covers detached, rubbed and scuffed; and Gassendi's life of Epicurus, 1656, small 4to (2)⁂ Biographies of celebrated astronomers. Includes an account of the duel following a mathematical dispute in which Brahe famously lost his nose, and the story of his pet elk, who died after drinking beer at a banquet and falling down stairs.
Los 191
Whitman (Walt) Leaves of Grass, third edition, first printing with imprints to verso of title, frontispiece portrait in first state on tan background, some foxing to title, a few gatherings pulling, spotting to endpaper, original brown ribbed cloth (Meyerson binding E), spine darkened, spine ends chipped and frayed, corners bumped, some splitting to lower joint, [BAL 21397], 8vo, Boston, 1860-61.
Los 265
Britain.- Camden (William) Camden's Britannia, Newly Translated into English with Large Additions and Improvements... by Edmund Gibson, engraved portrait frontispiece by R. White, 8 plates of coins, and 50 folding double-page maps by Robert Morden mounted on stubs, engraved and woodcut illustrations, one or two full-page, b2 holed with loss to a few letters of text, occasional marginal worming, just affecting 4 or 5 plates, very occasional foxing, mostly to contents ff. at end, marginal dampstaining to contents ff., but a very good, clean copy generally, ink ownership inscription to head of title, contemporary calf, neatly rebacked, retaining original backstrip, joints cracked, light wear to extremities, new endpapers, [Wing C359], folio, by F. Collins for A.Swale...and A & J Churchill, 1695.⁂ First edition of Gibson's translation and the first to contain the fine maps by Robert Morden.Provenance: John Bridgeman (ink inscription dated 1696).
Los 285
Warwickshire.- Dugdale (Sir William) The Antiquities of Warwickshire, 2 vol., second edition, engraved portrait by Wenceslaus Hollar, titles in red and black, list of subscribers, 5 engraved double-page maps and 19 plates by Henry Beighton, 14 double-page including fine prospects of gentlemen's seats, numerous engraved illustrations by Hollar and others, many full-page, contemporary ink signature of Mary Pitt to titles, extra-illustrated with a few additional plates and ephemera, mostly engraved and bound in, a few loosely inserted, portrait and titles lightly foxed, otherwise very clean, a few marginal tears and repairs, bookplate of M.H.Bloxam, handsome contemporary panelled calf tooled in blind, a little rubbed, rebacked preserving old gilt spines, folio, for John Osborne and Thomas Longman [& others], 1730 .
Los 211
Boydell (John & Josiah) A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty The Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton in Norfolk; with Plans, Elevations, Sections, Chimney Pieces & Ceilings, 2 vol., first edition, text in English and French, engraved portrait frontispiece of Empress Catherine II by Caroline Watson after Alexander Roslin in vol. 1, vol. 2 lacking portraits frontispiece of Robert Walpole, engraved titles with vignettes, engraved dedication to vol.1, 28 engraved plans, elevations and interiors of Houghton Hall on 19 sheets, and 129 plates on 105 sheets (1 double-page), mostly engravings or mezzotints from paintings by Bartolozzi, Boydell, Farington, Earlom, Green, Fittler, Heath and others, after Rembrandt, Poussin, Claude, Leonardo, Caracci, Rubens, Titian and others, many excellent impressions, well inked with strong contrasts, and including some scratched letter and unlettered proof impressions, titles and dedications with some spotting, chips and repaired tears, vol. 2 with dampstaining to lower corner, heavier at start, mostly to margins but straying into a few images, double-page plate with tape repair to verso, a few plates creased, a few short tears to margins, some repaired, a few plates trimmed within margins, bookplates to pastedowns, modern half morocco, [Brunet I, 1192; Lowndes III, 856], large folio (670 x 495mm.), John and Josiah Boydell, 1788.⁂ Large and finely engraved record of the large collection of paintings formed by Sir Robert Walpole at Houghton Hall sold en bloc to Empress Catherine II of Russia. Provenance: James Archibald Campbell (1807-1879, bookplate with autograph note: "These two volumes... offered to me... by James Archibald Cameron, in apparently good health, Dec. 9, 1879. Mr Campbell died the same evening about 9p.m.").
Los 65
Tacitus (Gaius Cornelius) Les Oeuvres, translated by Achilles de Harlay, woodcut printer's device to title, woodcut head- and tail-pieces and historiated initials, occasional spotting, some light browning, hinges cracked, contemporary vellum, head of spine worn, soiled, a wide-margined copy, scarce, Paris, Thomas Joly, 1659 § Ovidius Naso (Publius) Opera omnia, edited by Nicholas Heinsius, 3 vol., engraved portrait frontispiece, pictorial titles and plates, occasional some water-staining, spotting, lightly browned, contemporary vellum, Amsterdam, Waesberg [& others], 1702; and a small quantity of others, Latin classics, v.s. (Sm.Qty.)
![NO RESERVE [Nicholson (Peter)] The New and Improved Practical Builder, 3 vol., engraved portrait, additional vignette title a](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/977a7efb-ea13-4297-9f3d-ac5d011c1840/468x382.jpg)
Los 219
NO RESERVE [Nicholson (Peter)] The New and Improved Practical Builder, 3 vol., engraved portrait, additional vignette title and c.250 plates (erratic numbering but possibly lacking a few plates), some folding, light marginal water-staining to a few plates, Thomas Kelly, 1837 § [Elsam (Richard)] The Practical Builder's Perpetual Price-Book, engraved frontispiece and 7 plates, lacking title, spot to frontispiece and half-title, [c.1834], together 4 vol., uniformly bound in contemporary half russia, rubbed, rebacked § Winkle's Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, 2 vol.., engraved additional titles and plates after R.Garland, some foxing, contemporary half russia, rebacked, 1836-38 § Cockerell (C.R.) Iconography of the West Front of Wells Cathedral, lithographed plates, contemporary calf, Oxford & London, 1851 § Britton (John) The History and Antiquities of the Cathedral Church of Salisbury, additional pictorial title, engraved plates, contemporary half calf, rebacked, 1814, some foxing, rubbed; and 6 others, similar, v.s. (14)
Los 127
Levellers.- Lilburne (John) The Resolved Mans Resolution, to Maintain with the Last Drop of His Heart Blood, His Civill Liberties and Freedomes..., first edition, caption title, E1 with short tear running into text, [Wing L2174], [1647] bound after The Exceptions of John Lilburne Gent. Prisoner at the Bar, to a Bill of Indictment, [Wing L2108], for Richard Moon, at the Seven-stars in Pauls Church-yard, near the great north-door, 1653 and The Triall of Mr. John Lilburn, Prisoner in Newgate, [Wing T2201], 1653 and The Triall, of Lieut. Collonell John Lilburne, By an extraordinary or special Commission, of Oyear and Terminer at the Guild-Hall of London, lacking portrait and initial imprimatur f., [Wing W338], by Hen. Hils in St. Thomas's Southwark, [1649] and The Tryal of Sir Henry Vane, with initial blank and final errata ff. (errata detached), [Sabin 98500; Wing T2216], 1662, together 5 works in 1 vol., contemporary calf, rebacked, covers detached, extremities worn, spine with central vertical split, later endpapers, small 4to.⁂ A good group of pamphlets by or about Lilburne, the first especially rare, we can trace no copy at auction since 1964.
![Aratus of Soli. Aratou Soleos Phainomena kai diosemeia. Theonos scholia [graece]... Accesserunt Annotationes in Eratosthenem](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/63563b85-5308-4a4c-ada8-ac5d011bb9b0/468x382.jpg)
Los 137
Aratus of Soli. Aratou Soleos Phainomena kai diosemeia. Theonos scholia [graece]... Accesserunt Annotationes in Eratosthenem et Hymna Dionysii, [edited by John Fell], text in Greek, engraved allegorical frontispiece, 2 folding engraved celestial maps, woodcut diagrams and musical notations in the text, light foxing, disbound, [Wing A3596], Oxford, Sheldonian Theatre, 1672 § Collier (Jeremy, editor) The Emperor Marcus Antoninus his conversation with himself, engraved portrait frontispiece (laid down), light foxing, contemporary green morocco, gilt, upper cover detached and discoloured, wear to extremities, R. Sare, 1702; and 5 others, classics, 8vo (7)
Los 146
Shakespeare (William) Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added, Seven Plays, never before Printed in Folio, edited by John Heminge and Henry Condell, fourth folio edition, double column, engraved portrait by Martin Droeshout above the verses "To the Reader" on verso of the first leaf (trimmed closely to image and laid down), title with woodcut fleur-de-lis device, title and text within double- and single-rule borders, title lightly creased and surface-soiled with short internal tear, first A3&4, F2, 2H5, 2Q5, 2R6 2T2, 2U3, *3C4, *3E6, 3A1, 2D2, 3F6, 3I2 and 3M4 with neat expert repairs and restorations to lower margins, 1 or 2 running into text but without loss, B2, L5, 2M2, 2R1, *3A4, 3N6, 3Y1 with small holes or rust-holes, F2 and 3X4, closely shaved at head affecting rule border, 2O5 and 3D6 with light vertical creasing causing printing flaw affecting a few letters of text, 4A3&4 fore-margins trimmed, occasional dampstaining to margins, a few ff. lightly browned, occasional light soiling, but a very good, crisp copy generally, bookplates to title verso and pastedown, 19th century half calf, spine gilt in compartments with green morocco label, extremities rubbed, [Greg, III, p.1119-21; Wing S2915; cf. Pforzheimer, 910], folio, for H. Herringman, E. Brewster, and R. Bentley, at the Anchor in the New Exchange, the Crane in St. Pauls Church-Yard, and in Russel-Street Covent-Garden, 1685.⁂ The last of the 17th century editions of Shakespeare's collected plays. It was printed on taller paper stock than the previous folio editions (here measuring 352 x 218mm.). Herringman and his co-publishers decided on a larger paper size in order to increase the number of lines per page, and so decrease the bulk of the book. However, including the added plays, the number of sheets in the Fourth Folio is almost exactly the same as that in the First and Second.Provenance: His Grace the Duke of Cleveland; Honble Fredk. Vane (armorial bookplates); Lord Barnard of Raby Castle (book-label).
Los 155
Sombre Binding.- Book of Common Prayer (The)..., engraved throughout and ruled in red, with decorative borders, illustrations, volvelle on Circular Table and advertisement leaf at end, a little soiled and water-stained, with details of Matthew family births etc. in manuscript on front free endpapers, occasional smudging to red rules, volvelle loose causing hole to backing leaf, contemporary black morocco sombre binding, tooled in blind with decorative border and panel of volutes, flowers atop circles, raspberries and other tools, spine tooled in compartments, g.e., rubbed, corners and spine ends a little worn, split to head of spine, 8vo, John Baskett, sold by John Sturt, engraver, 1717.⁂ The engraved portrait of George I on verso of title is made up of the Lord's Prayer, Creed, Commandments etc. in minuscule script.
Los 258
Turkey.- Gilles (Pierre) The Antiquities of Constantinople, edited by John Ball, 2 parts in 1, first English edition, engraved portrait, title, 11 plates & plans, some folding, and tail-piece, H3 defective at foot with loss of a few letters, lacking H4-6, foxed, some water-staining, old calf-backed boards, rebacked preserving most of old spine, worn, for the translator, 1729 § Busbecq (A.G. de) Travels into Turkey, second English edition, old ink library stamp to corner of title, contemporary calf, rebacked preserving old spine, worn, upper cover detached, J.Robinson, 1744 § Walsh (Rev. R.) Narrative of a Journey from Constantinople to England, third edition, 2 folding lithographed maps, 8 lithographed plates, 2 folding, some foxing, contemporary calf, spine gilt with red roan label, 1829; and a defective set of Tavernier's Six Voyages...en Turquie, en Perse, et aux Indes, 3 vol. in 5 only (lacking vol.3 part 1), The Hague, Henri Scheurleer, 1718, 8vo et infra; sold not subject to return (8)
Los 144
Monmouth rebellion.- T. (S.) An Historical Account of the Heroick Life and Magnanimous Actions of . . . James Duke of Monmouth, first edition, engraved portrait frontispiece by F. H. Van Houe (fore-margin shaved), title within double-rule border, with final advertisement f., light foxing, closely shaved at head, bookplate, 19th century calf, extremities a little rubbed, [Wing T53], small 8vo, for Thomas Malthus, at the sign of the Sun in the Poultrey, 1683.⁂ Scarce biography of the Duke of Monmouth, we can trace no copy at auction since 1979. The effusive tone of the work indicates its purpose was largely as supportive propaganda as popular support for Monmouth grew in the build up to his ill-fated rebellion 2 years later.Provenance: M. H. Bloxam (bookplate).
Los 169
Collection of five brooches, mid - late 19th century1st: A portrait pendant brooch, 2nd: Garnet-set brooch of foliate design, 3rd: Garnet and pearl brooch with black enamel details, 4th: An oval-cut citrine set in a floral surround, 5th: Brooch with floral and ropetwist detailing, lengths 4.2cm to 4.5cm (partially illustrated) (5)For further information on this lot please visit Bonhams.com
Los 783
ELLA MARY BANKS, NÉE COATES (1884-1937) - A SOLDIER; AN ELEGANT LADY; PORTRAIT AND ANATOMICAL STUDIES, PENCIL AND/OR PASTEL AND WASH, 78 X 63CM AND SMALLER, SOLD IN PORTFOLIO (APPROX 60) Typically creased with minor tears and marks, more heavily on some than others as a consequence of long term storage in a dusty attic or similar
Los 790
FREDERICK TREVELYAN GOODALL (1848-1871) PORTRAIT OF RUTH SPARROW DAUGHTER OF ARTHUR SPARROW, HEAD AND SHOULDERS, SIGNED AND DATED AUGST 1868 - JANY '69, SIGNED AGAIN AND INSCRIBED WITH THE TITLE ARTIST'S ADDRESS ON A LABEL VERSO, COLOURED CHALKS, OVAL, 53 X 40.5CMEXHIBITED: ROYAL ACADEMY, 1869, NO 804THE SON OF FREDERICK GOODALL RA, THE SCARCITY OF TREVELYAN'S HIGHLY ACCOMPLISHED DRAUGHTSMANSHIP IS EXPLAINED BY HIS TRAGIC DEATH AGED ONLY 23. BOTH HE AND HIS BROTHER HOWARD HAD SPENT SOME WEEKS IN ITALY AND WERE AWAITING THE ARRIVAL OF THEIR FATHER IN CAPRI. THE BROTHERS WERE SAID TO BE FOND OF PISTOL SHOOTING AND ACCORDING TO A TIMES REPORT OF APRIL 20TH 1871, "AFTER A SLIGHT REFRESHMENT, HOWARD TOOK OUT HIS PISTOL TO SHOW IT TO THE PARTY WHO WERE SEATED ON THE ROCKS, WHEN, FROM SOME MISUNDERSTANDING AS TO ITS STATE, IT WENT OFF AND THE BALL PASSED THROUGH THE BODY OF THE BROTHER, MR TREVALYAN GOODALL...."RUTH SPARROW (1862-1911) WAS ONE OF THE DAUGHTERS OF THE IRONMASTER ARTHUR SPARROW (1827-1898) OF UPPER PENN, STAFFORDSHIRE AND SUBSEQUENTLY PREEN MANOR, SHROPSHIRE, BY HIS WIFE EMMA RUTH SPENCER GRATRIX. F T GOODALL'S PORTRAIT OF RUTH'S ELDER SISTER EDITH SPARROW (1853-1911) WAS ALSO EXHIBITED AT THE ROYAL ACADEMY IN 1869, NO 817 In original unrestored condition, evident foxing to the drawing and mount, mid Victorian gilt frame and backboard original, frame with typical loss and accretion of dirt
Loading...-
283284 Los(e)/Seite