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Preisdatenbank abonnierenA 19th century gold mounted octagonal miniature portrait pendant/brooch, inset with a fine portrait of a lady within a seed pearl set surround, the reverse with bright-cut decoration, 3.7cm x 2.5cm, total gross weight approx 7.7gms, unmarked yellow metal tests as approx 15ct goldCondition: good, wear and tear only
A late 18th century yellow gold navette shaped sentimental ring, set with a portrait miniature of a lady in a pink dress, beaded border, monogrammed to verso 'JB', bright-cut engraved shoulders, size Q, total gross weight approx. 7gms, unmarked yellow metal tests as 18ctCondition: good, no obvious signs of repair, small split to underside, wear and tear only
Collection of eight large lace type Victorian Valentines. 1: Central hand-coloured lithographic depiction of quiver, roses and snake, c.1830, handwritten romantic verse addressed to 'Anne'; 2: Dobbs type paper lace card with hand-painted embossed flowers and gauze panel revealing 'Love' in flowers, printed verse on small opening booklet; 3: 'Affectionate Tribute!', central oval silk design with applied hand-painted scraps of birds at fountain, mounted to scrapbook page with inscription, '14th February 1845'; 4: Folding card with two central silk panels, front panel with hand-painted floral font, 'Love & The Essence of Friendship', inner panel with pencil drawing of waterfall, Dobbs, Kidd & Co., paper lace depicting shells with applied feathers; 5: 'Affections Offering - Thy love is like a flower sent, for nature's sweetest ornament', paper lace border embossed 'Mansell' with central gauze window revealing applied watercolour figure and putti in clouds; 6: 'May joy ne'er wither', paper lace sheet with central watercolour rose and scroll signed 'E.E.E.', inscribed to verso, 'Mrs S. C. Hall, With Eva E. Edwards' Love, February 14th 1877'; 7: Paper lace embossed 'Addenbrooke' with central watercolour bouquet, inner page inscribed, 'The Rose is Red, the Violets Blue, The Honey's sweet and so are you', folded and addressed to Miss Mary Birkley in Carlisle, postmarked 13 February 1854, loss at wax seal; 8: Paper lace border embossed 'Addenbrooke' with central watercolour depiction of rose, bluebell and forget-me-not. Together with a large embossed folding card, 'Forget Me Not', c.1840, central etched portrait of a young Charles Dickens with accompanying verse (9)
A 19th century gilt metal and enamelled circular openwork brooch, painted with colourful flowers, approx 5cm diam; together with a gilt metal rectangular brooch, set with a black glass panel painted with colourful flowers, approx5cm x 4cm; another, similar in a silver frame; together with an unmounted portrait miniature; etc (5)Condition: good overall, wear and tear only
A 19th century gold, black enamel and embroidery oval brooch, the central glazed panel set with floral embroidery, in a gold and black enamel border, openwork shell and scroll frame, approx 3.6cm x 2.7cm, total gross weight approx 4.9gms, unmarked yellow metal tests as approx 4.9gms; together with an Elizabeth II 9ct gold portrait miniature oval brooch, watercolour portrait of a young girl in a blue dress, approx 2cm x 3cm, makers mark DB, Sheffield 1987, total gross weight approx 5.7gms (2)Condition: 19th century brooch - general wear, a few small splits and pin holes; modern brooch - generally good, wear and tear
Collection of ten mid-Victorian Valentines, elaborate paper lace designs printed in silver and gold with romantic motifs (chromolithographic or hand-coloured embossed paper), some 3-D/raised designs, to include one card bearing central lithographic depiction of man reclining beneath portrait of his lover ('Ever fondly looking on thee'), c.1860, the inside of the card inscribed in ink, 'roses reed and vilites blew, pinks ar sweet and so ar you, they that sent you this and when we met we will have A kiss' (10)
Am 18th/19th century gold oval pendant, set with a portrait of a lady wearing a bonnet, the gold border chased with foliate scrolls, the reverse engraved with initials, approx 1.8cm x 3cm over loop, total gross weight approx 4.2gms, unmarked yellow metal tests as approx 15ct goldCondition: replacement base metal loop with signs of solder, the back with a few small dents, wear to glass commensurate with age
Early-Victorian handmade novelty card or Valentine, watercolour illustration of pear that lifts up to reveal portrait of Queen Victoria and Prince Albert (watercolour on rice paper), light pencil inscription, 'The new Windsor Pair', inscribed again at foot of page and dated 1840 [the date of their wedding]
A Late XIX Century Meissen Porcelain Figure of a Young Gentleman, a pigeon carrying a letter perched on his arm, a lamb beside tree stump on the rocky circular base, blue crossed swords mark, impressed and gilt numerals, 19cm high; A German Porcelain Figure of a Lady, in flowering robes; A Berlin Style Cabinet Cup and Saucer, decorated with portrait medallion within gilt and dark blue ground, beehive marks. (4)
Atlases.- Speed (John) A Prospect of the Most Famous Parts of the World, 22 double-page engraved maps, Printed by John Dawson for George Humble, 1631; bound with The Theatre of the Empire of Great Britaine, 4 parts in 1, engraved title, dedication and 67 double-page maps, woodcut coats-of-arms, Imprinted at London...to be sold by George Humble, 1627, in Prospect world map with small piece of left border missing and a couple of short tears, one repaired to verso, Bermuda slightly trimmed, title laid down, Theatre lacking portrait (as often) and printed title, Yorkshire West Riding with inset plan of York cut out, Kingdom of England partially hand-coloured, some water-staining, occasional slight worming, affecting various maps, some browning, creases and a few marginal tears and repairs, later half calf, worn, [Chubb XXV; Phillips 442; Skelton, County Atlases 18; STC 23040 and 23043], folio⁂ The first Atlas of the British Isles and the first world Atlas compiled by an Englishman.Provenance: Edward Wallis (inscription on title dated 1791) beneath a trimmed 17th century ownership inscription dated ?1644.
Joyce (James) A Portrait of the Artist as a Young Man, first English edition, English sheets, signed presentation inscription from the author "To Beatrice Randegger. James Joyce. 25 Novembre 1919. Trieste." to front free endpaper, browning to endpapers, original cloth, spine very slightly faded, spine ends and corners a little bumped with small chip to foot of spine, 2 small patches of cockling to upper cover, some light rubbing, but still an excellent example overall, [Slocum & Cahoon A13], 8vo, The Egoist Ltd., [1918].⁂ Joyce's first novel with a near-contemporary presentation inscription. Inscribed copies of this or any edition are rare, especially so with a contemporary inscription. While the publication of A Portrait of the Artist did not prove to be as troublesome as that of Dubliners (see previous lot), it nevertheless proved difficult to find an English publisher willing to undertake the novel. The novel therefore was first published in America, with the first English edition published using sheets printed in America. The present edition was the first to be both published and printed in England. For the recipient, Beatrice Randegger neè Richetti, see previous lot. Joyce inscribed this copy during his brief return to Trieste following the war. It was not an especially happy period for Joyce - he struggled to strike up the same relationships he had left behind when he left 5 years ago and was working hard to finish Ulysses. Notably while Joyce resumed his position at the Scuola Superiore de Commercio Revoltella, he decided against recommencing his private lessons. That Randegger should seek out Joyce to inscribe her copy of A Portrait of the Artist so soon after his return to the city indicates that the former student and teacher maintained a degree of contact and mutual interest over a sustained period.Provenance: By descent in the family.
De Thou binding.- Helwich (Georg) Moguntia devicta, hoc est: de dissidio Moguntinensi, quod fuit inter duos archiepiscopus Moguntinos, Dietherum Isenburgium et Adolphum Nassovium...Narratio historica, title within woodcut typographic border, 2 engraved portraits and a coat of arms, final f. blank apart from printed border, outer margin of 1 portrait frayed, occasional spotting, some browning, mostly light, contemporary polished calf, with gilt arms to covers of Jacques Auguste de Thou and his second wife Gasparde de la Chastre, and their gilt monogram in 5 of 6 spine compartments, some restoration to spine ends, little rubbed elsewhere, 8vo (binding 166 x 108mm.), Frankfurt, Caspar Rötel, 1626.⁂ First edition of this work on the brief war between Pope Pius II and Diether von Isenberg, Archbishop of Mainz, with a distinguished provenance.
China.- Complete View of the Chinese Empire (A), first edition, half-title, engraved portrait frontispiece (browned), some light foxing, contemporary calf-backed boards, a little rubbed, 8vo, G. Cawthorn, 1798.⁂ The title continues: "Exhibited in a Geographical Description of that Country, a Dissertation on its Antiquity, and a Genuine and Copious Account of Earl Macartney's Embassy from the King of Great Britain to the Emperor of China."
Einstein (Albert) Relativity. The Special & General Theory, first edition in English , portrait frontispiece, diagrams and equations in text, some spotting to first few pp., light browning and ink inscription to endpapers, original cloth, light fading to spine, small mark to foot of upper cover, dust-jacket, spine a little browned, spine ends and corners a little chipped, small abrasion to foot of spine affecting publisher's name, lower joint split at foot with closed tear running across spine, light rubbing to extremities, but an excellent example overall, [cf. PMM 408 (first edition)], 8vo, 1920.⁂ The first English edition of one of the most influential scientific works of the 20th century. We can trace only one other copy in the dust-jacket in the last 20 years of auctions. "The theory of relativity has transformed astrophysics, and indeed the whole scientific outlook." - PMM.
Broadside.- Charles I.- The city and country remembrancer for the year of our Lord God. 1707. Containing divers remarkable things profitable and necessary to be known by all sorts of persons, woodcut portrait of Charles I, trimmed to border, folds, a few spots, printed by G. Croom, and sold by B. Bragg, 1707.⁂ Exceedingly rare, with ESTC recording only two copies, both at Harvard. 'An almanac, but largely devoted to data of the trial of Charles I' (ESTC).
Anatomical illustration.- Aselli (Gaspare) De lactibus sive lacteis venis quarto vasorum mesaraicorum genere nove invento...dissertatio, first edition, additional engraved title and portrait of the author, both by Cesare Bassano, 4 folding chiaroscuro woodcut plates printed in black, dark and light red, title with small stain to upper margin, repaired wormholes to rear endpapers and pastedown, one also affecting final plate, some plates with old reinforcing strips to folds on verso, contemporary vellum, slight worming to spine, edge and corners of lower cover slightly worn, [Garrison & Morton 1094; Heirs of Hippocrates 453; Norman 76; Osler 1846; Waller 502; Wellcome 6837], 4to (218 x 176mm.), Milan, Giovanni Battista Bidelli, 1627.⁂ A very good copy in contemporary binding of the first book with anatomical illustrations printed in colour and the first scientific study of the lymphatic system. "in 1622, while performing vivisection on a dog, Aselli chanced upon the lacteal vessels. His De lactibus is a landmark in the history of anatomical illustration: it may well be the first publication to use colored illustrations in the service of scientific clarity." (Norman). The plates have been attributed to the Milanese engraver Cesare Bassano (1584-1648) and his associate Domenico Falcini (c.1575-1632).Provenance: Giuseppe Perego (Mantuan physician, ink inscription dated 1651 to front endpaper); Luigi Francesco Castellani (Mantuan physician 1727-94, ink inscription dated 1752 to front endpaper).
Piranesi (Giovanni Battista) Le Antichità Romane, 4 vol., an early edition, including letterpress title to vol. I, frontispiece with engraved portrait of Giovanni Battista Piranesi by Felice Polanzani, additional double-page frontispiece with dedication to Lord Charlemont [noted by Hind as only present in "rare early copies"], an engraved head-piece and tail-piece, six initials, together with 3 further engraved titles in vols. II-IV, and 243 engraved plates, many double-page or folding, in all 217 numbered plates [complete as called for by Hind], all printed on thick Venetian laid paper, many with watermarks of an encircled fleur-de-lis [Hind's watermark 1, "noted in early states"], spotting and toning to some sheets, particularly to titles and other plates closest to the boards, otherwise somewhat marginal, occasional surface dirt and minor handling creases, some careful repairs to marginal nicks, uniformly bound in near contemporary half russia, covers detached from vol. I but present, upper cover detached from vol. III but present, otherwise extremities worn, folio, Rome, Angelo Rotili, sold by Bouchard, 1756Saleroom notice: Vol.1 has 1 text leaf remargined. Provenance:Bookplate to inside upper cover of each vol. with the head of a stag surmounting a crown, initials 'E R D' below;Private collection, Rome [sold with accompanying export license]Literature:Hind pp. 83-84⁂ Early edition of Piranesi's monumental landmark survey of the remains of the Eternal City. Eight years in the making, the four volume magnum opus illustrates Piranesi's interest in recording not only 'the vanishing past for scholars, but [his desire] to present antiquity as a fund of experimental ideas for the inspiration of the present.' [John Wilton-Ely, Piranesi, exh. cat., 1978, p. 47] The present copy was printed before the artist excised Lord Charlemont's name from the frontispiece dedication in 1757, an act said to be in imitation of the ancient Roman practice of damnatio memoriae, and the result of a misunderstanding between Piranesi and Lord Charlemont with regard to financial support for the project. In the same year, and largely in response to his Le Antichità Romane, Piranesi was made a fellowship of the Society of Antiquaries in London.
India.- Hunter (Lt. James) Picturesque Scenery in the Kingdom of Mysore, frontispiece portrait of the Tippoo Sultan and 40 hand-colored aquatint plates after James Hunter, most with tissue-guards, printed title, dedication and index ff., occasional light foxing or soiling, contemporary calf, covers detached, worn, [Abbey, Travel 424], oblong folio, Edward Orme, [1804]-1805.
Pirates.- Exquemelin (Alexandre Olivier) Bucaniers of America: Or, a True Account of the Most Remarkable Assaults Committed of late Years upon the Coasts of the West-Indies, by the Bucaniers of Jamaica and Tortuga, 3 parts in 1, second edition, engraved portrait frontispiece, 3 portraits, a map of Panama and 4 plates (2 folding), 1 portrait with small ink stains, some staining and spotting, lightly browned, bookplate of Robert J. Hayhurst, modern calf-backed marbled boards, small 4to, printed for William Crooke at the Green Dragon without Temple Bar, 1684.⁂ One of the most popular and widely imitated of the accounts of piracy in the Americas. The lives of the buccaneers included in the work were liberally embellished to such an extent that Captain Morgan, one of the most notorious of those featured, successfully sued for slander and was awarded £200.
Boyle (Robert) The Works, 6 vol, engraved portrait frontispiece by Baron after Kersseboom, 24 engraved plates on 16 sheets, most folding, some foxing, contemporary russia, gilt, [Fulton 241], 4to, 1772.⁂ Very handsome set in a contemporary binding. This edition enhanced by the long prefatory Life of Boyle by Thomas Birch in volume 1.
Sueyro (Emanuel) Annales de Flandes, 2 vol. in 1, vol.1 half-title and engraved allegorical title, vol.2 printed title with large woodcut vignette, full-page engraved portrait by Pieter de Jode with repair, light browning, contemporary Dutch vellum, gilt, yapp edges, [Salva 3192; Palau 324882], folio, Antwerp, Pedro & Juan Beleros, 1624.⁂ Handsome copy in contemporary binding of this chronicle of Flanders from 407 to 1477, ie until the death of Charles the Bold.Provenance: C. Amberes (ink inscription dated 1624 on front endpaper); Joaquin Abavrre (bookplate); Messenger family (bookplate).
Cicero (Marcus Tullius) Epistolae ad Atticum, ad M. Brutum, ad Quintum fratrem nuper exacta diligentia recognitae, et infinitis erroribus purgatae, collation: A-Z AA-RR8 SS12, Roman letter, woodcut portrait of Cicero to title, trimmed at head, just touching the odd headline, 18th century half calf, spine gilt and with yellow leather label, some worming to spine, rubbed and scuffed, [EDIT 16 CNCE 14597], 12mo (116 x 68mm.), Venice, 'Ex Officina Erasmiana' [Vincenzo Valgrisi], 1540.⁂ A rare little edition with EDIT 16 recording only five copies.
Canaletto (Giovanni Antonio Canal, called) Urbis Venetiarum Prospectus Celebriores, 3 parts in 1, 3 printed titles in red and black with engraved vignette, printed list of plates, engraved dedication by Baroni after Visentini, double portrait (of Canaletto and Visentini) after Piazzetta, 38 engraved plates by Visentini after Canaletto, near contemporary boards, a little rubbed, [Berlin Kat. 2695; Cicognara 4113], oblong folio, Venice, Giovanni Battista Pasquali, 1751.⁂ Richard Ford's copy of the second edition of this magnificent collection of views of Venice after Canaletto. Ford has inscribed the book in 3 places: on the front free endpaper in ink with his name and date "Dec. 1817"; again in ink in the upper margin of the engraved dedication and again with his name and the date a year later, "December 27th 1818"; and in pencil in the lower margin of plate 2 of part 1 "The original of this is in Gloucester Place."Visentini was commissioned to produce the work by Consul Joseph Smith after paintings by Canaletto in his own collection. The work was started in 1728 and completed in 1735 when an edition with only 14 views was published. The complete suite first appeared in 1742 and the present edition nine years later.
Italy.- Brescia.- Rossi (Ottavio) Le memorie bresciane opera istorica et simbolica, edited and enlarged by Fortunato Vinaccesi, engraved additional pictorial title and portrait, woodcut folding plate, numerous woodcuts within text, some foxing and light browning, contemporary vellum, 4to, Brescia, Domenico Gromi, 1693.⁂ Second enlarged edition of this important book on Brescia. Includes the origins and history of Brescia, and discussion of the architecture of the city.
Piranesi (Giovanni Battista) Della Magnificenza ed Architettura de' Romani, two engraved titles in Latin and Italian, engraved portrait of Pope Clement XIII by D. Cunego after Piranesi, three initials, two engraved tail-pieces, and 39 engraved plates, some folding, all on laid paper and many with watermarks of an encircled fleur-de-lis [Hind's watermark 1, "noted in early states"], marginal damp-stain to upper outside corners, a few with small loss, kk2 with thinning and marginal split, otherwise occasional spotting and marginal finger-soiling, 1761 [bound with] Osservazioni di Gio. Battista Piranesi sopra la lettre de M. Mariette; Parere su l'Architettura and Della Introduzione e del Progresso delle Belle Arte in Europa ne' Tempi antichi, complete with 3 engraved head-pieces, 2 tail-pieces, and 10 engraved plates, excellent impressions on thick laid paper, marginal split to printers' crease on E, some spotting and surface dirt, bound together in contemporary tree-calf, gilt spine with red morocco label, re-backed, joints split, extremities worn, folio, 1765 Provenance:Armorial bookplate of Arthur Hugh Smith-Barry, 1st Baron Barrymore (1843-1925) at Marbury Hall;Anonymous bookplate, initialled 'GL' and numbered/dated '1921';Private collection, Rome [sold with accompanying export license]Literature:Hind pp. 84-86⁂ A good copy of Piranesi's lavish and erudite contribution to the Graeco-Roman debate of the period, where he illustrates the decorative inventions of the Romans, and outlines his theories regarding the originality of Italy over Greece.
Livius (Titus) The Romane Historie, first edition in English, translated by Philemon Holland, large woodcut device on title, woodcut portrait of Queen Elizabeth on title verso and of Livy on verso of A4, lacking initial and final blank leaves, some light water-staining, mostly to lower edge and corner, 2 leaves with small burn-hole causing very slight loss of text, generally a good, crisp copy, contemporary calf, rebacked, joints cracking, rubbed, [STC 16613; Pforzheimer 495], folio, Printed by Adam Islip, 1600.⁂ A very good copy of this important Shakespeare source book, used in particular for Coriolanus.
Blake (William).- Blair (Robert) The Grave. A Poem, subscribers' copy, engraved portrait frontispiece of William Blake by Louis Schiavonetti after T.Phillips and engraved additional title and 11 plates by Schiavonetti after Blake, list of subscribers, some occasional light soiling, but largely a very good, clean copy, bookplate of Sir Henry Wilson to pastedown, original boards with paper label to upper cover, rebacked, corners bumped, rubbed, preserved in folding chemise and slip-case, 4to, 1808.⁂ The first Blake-illustrated edition, Sir Henry Wilson appears on p.3 of the list of subscribers.
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