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283284 Los(e)/Seite
Los 1236
A Mettlach Pottery Stein, of cylindrical form, incised and painted with a central portrait of of gentleman and dogs chasing boar, impressed mark, 15cm high; A Royal Worcester Coffee Pot and Cover, designed by Scottie Wilson, with birds, 16cm high (chipped); A Macintyre Style Vase, the dark blue ground with gilt Art Nouveau floral decoration, 9cm high. (3)
Los 3043
Fascinating accumulation on pages and stockcards, possibly a dealer's clear-out lot but containing many better items with a few of note including Labuan QV portrait types to 40c, duplicated. Jamaica KGV odds to 10s, Samoa 1890s issues duplicated, Gibraltar KGVI incl 1_d carmine-red perf 14 imprint block of 4, BVI 1867-68 4d (9) incl minor shades, NZ 1935-41 pictorials incl minor vars, also Arms postal fiscal odds to £1, Newfoundland 10c postage due wmk'd block of 20 u/m, Transvaal £5 green used (thinned), Morocco Agencies KEVII 12p on 10s used, St Helena KEVII 10s used, Johore 1891 2c on 24c (4 types) used, SWA 1931 20s pair used, Bermuda KGV to 5s, KGVI incl 2s line perf used and vals to £1, Bechuanaland 1888 Protectorate incl 4d on 4d used, KUT 1941-42 70c on 1s crescent flaw, Basutoland 1938 1d tower flaw used, Cook Is £5 'Arms, 1967 $2 on £1 to $10 on £5, New Hebrides 1938 postage dues to 1f, Ascension 1934 to 5s used, condition very mixed in places and some fakes present (Hundreds)
Los 639
*Scott (Robert Falcon, 1868-1912). Three-quarter length portrait by Maull & Fox, after 1913, sepia photogravure of Scott in uniform, wearing the Victorian Order and Polar medal from the National Antarctic Expedition, 1901-04, facsimile signature of Scott immediately beneath the image and printed calligraphic text, image 33 x 23.5cm, some spotting and narrow light brown horizontal stain to centre margins, framed and glazed (1)
Los 654
*Continental School. Portrait of Giuseppe Garibaldi (1807-1882), late 19th century, oil on canvas, unsigned, 22.5 x 17.5 cm (8.9 x 6.9 ins), old gilt oval frame Provenance: Purchased from Gray's Antiques Market, London, in the 1980s. Believed to have been painted during Garibaldi's visit to London in 1862 (information supplied by the current owner). (1)
Los 655
*English School. Portrait of Thomas Carlyle (1795-1881), circa 1900, oil on canvas, 26 x 20.5 cm (10.25 x 8 ins), later gilt frame Provenance: Christie's, London, 9 November 2000, lot 57, where purchased by Alexander Carlyle Moreland, a cartographer and descendent of Thomas Carlyle. Purchased by the current owner from Carl Moreland by Enrico Verdecchia. The present work is based on the famous portrait of Carlyle by James Archer (1823-1904), at Carlyle's House, Chelsea, London, itself based on a photographic portrait by Elliott & Fry of 1880. (1)
Los 658
*Greaves (Walter, 1845-1930). Portrait of Thomas Carlyle (1795-1881), pen and black ink, with black wash, heightened with white, traces of pencil underdrawing, on pale brown paper, signed lower right, some light creasing, 25.5 x 19.3 cm (10 x 7.5 ins) mount aperture, framed and glazed, with later handwritten labels, and a sticker bearing the printed number M 8079 to verso Provenance: Alexander Carlyle Moreland, cartographer and descendant of Thomas Carlyle. Enrico Verdecchia. (1)
Los 663
*Mazzini (Giuseppe, 1805-1872). Autograph letter signed, 'Gius. Mazzini', no place, 1 December 1853, to (?)Venenni, in Italian, a little spotting, one page with integral blank, album guard remains, together with two other similar autograph letters signed from Mazzini in Italian, one dated 1851, one to Mr Potter and one to Mazzoleni, all 16mo, plus an autograph note of jottings in English, beginning 'A grave is a sacred thing, but it is not a cradle. It is a landmark for the traveller...', signed and dated December 1865, one page, oblong 8vo, laid on card, plus a clipped sentiment and signature pasted beneath a carte-de-visite portrait of Mazzini and a brief autograph declaration concerning the authenticity of a document, clipped and pasted on to an old paper sheet with manuscript biographical notes on Mazzini written beneath, oblong 8vo (6)
Los 681
*Edward VIII (King of Great Britain, 1894-1972). Half-length portrait as Prince of Wales by Gillman & Co., Oxford, 1914, medallion gelatin silver print on original mount, signed and dated in brown ink by the Prince of Wales beneath, 'Edward, Oxford 1914', a few small scratches in upper part of image to right of the Prince's head, image 13.5 x 9.5cm, wooden desk frame with Prince of Wales' crest at head (chipped), glazed (1)
![Coburn (Alvin Langdon, 1882-1966). More Men or Mark, 1st edition, Duckworth & Co., [1922], 33 tipped-in photogravure plates,](https://cdn.globalauctionplatform.com/7a00c1db-f762-4868-99c5-a96100c0b485/a716268d-c585-40d4-fd8a-f693ddb7a971/468x382.jpg)
Los 711
Coburn (Alvin Langdon, 1882-1966). More Men or Mark, 1st edition, Duckworth & Co., [1922], 33 tipped-in photogravure plates, some spotting, mostly to initial text leaves, original cloth, rubbed and somewhat soiled, 4to, together with a photogravure portrait by Coburn of George Bernard Shaw, signed in pencil by the photographer to lower margin, 20.5 x 15.5cm The portrait of George Bernard Shaw appears as the first portrait in Coburn's first volume of portraits of eminent men titled 'Men of Mark', 1913. This second volume includes portraits of Thomas Hardy, Ezra Pound, Frank Harris, Augustus John, Joseph Conrad and the photographer himself. (2)
Los 761
Military & India. An incomplete photograph album, possibly compiled by Benjamin Proctor Simpson Rooke, 7th Company, 109th Rifles, containing 20 mounted albumen prints, including a hand-coloured portrait of an officer (Rooke?), 18 x 14.5cm, captioned 'Cress' to mount, General Turner, 17 x 14.5cm, Dr Woodhouse, 20 x 16cm, two groups of officers of the 109th Regiment, a group of members of the Magpore Hunt, all featuring Rooke, a photograph of the workshop of the Royal Regiment, 17 x 24cm, photographs in India including Gujarat, two views of Ahmedabad, one captioned 'Taken by Bhow Dajee', another portrait of an Indian man seated at a table with English books, captioned as 'Bhow Dajee', mostly 15 x 11cm and similar sizes, plus various others including two cartes de visite of Garibaldi, plus small-format photographs of artworks, etc., three loose photographs and a pencil sketch of a ship in rough seas (paper watermarked 1888), plus various cuttings including mentions of Rooke, contemporary half morocco, worn and upper cover detached, 4to (1)
Los 778
*Stock (William Ravenshill, active 1860s). Portrait of the actress Ellen Terry (1847-1928), 1866, albumen print, the actress full length and standing in a doorway facing the camera, 210 x 165mm, together with a vignette bust portrait of Ellen Terry by the same photographer, 1866, oval albumen print, 165 x 120mm, contemporary paper mounts with later pencil details inscribed beneath A visually compelling portrait in very good condition. (2)
Los 793
Zulu Wars. The South African Campaign, 1879, compiled by J.P. Mackinnon & Sydney Shadbolt, 1880, containing 57 (of 60) medallion portrait Woodburytypes of the officers of the British Army and Navy, gutta-percha perished and some leaves loose and slightly frayed at margins, library marks and stamps to title recto and verso, contents loose in modern plain cloth, split along joints, 4to Sold as a collection of photographs not subject to return. (1)
Los 803
*Daguerreotypes. A group of six daguerreotypes and one ambrotype, circa 1850s, including four half-plate daguerreotypes of couples (one hand-tinted) and two with children, one lid detached and one deficient, a hand-tinted half-plate ambrotype of a young couple and daughter, circa 1860s, lid detached, plus two sixth-plate daguerreotypes, one hand-tinted oval portrait of a young girl, the other of a mother with infant, some with mostly marginal oxidation, the last image with evidence of surface cleaning (7)
Los 817
*Shakespearean Actor. Head and shoulders profile portrait of an actor with friendly mutton chops, 1844, half-plate daguerreotype in arched top passe-partout, manuscript quotation from Shakespeare's The Merchant of Venice (act 1, scene 1, lines 77-79) as spoken by Antonio to paper backing label, 'I treat the world but as the world - where ev'ry man must play a part, and mine's a sad one', dated 13 September 1844 and initialled JDF, seal edges renewed, 14 x 11cm (1)
Los 818
*Stereoviews. A collection of 75 flat-mount stereoviews, circa 1850s/1860s, subjects include French hold-to-light tissue views, many of them pinprick pierced and all in excellent condition (21), views by Disderi of Osborne House on the Isle of Wight (4), hand-coloured portraits of tabby cats (4), views of the exhibits and exhibition spaces at the 1862 International Exhibition in Kensington (9), and several 'Simili Verre' (simulated glass stereoviews on celluloid), topographical views of different locations including Moscow, Edinburgh, Nice, Paris, Bayonne, Cherbourg and the grotto at Lourdes (11), the majority of the remainder being hand-coloured genre scenes, including some by J. Elliott and one 'ghost' scene, plus a hand-coloured group portrait of the Eton crew at the 1858 Eton & Radley Boat Race (75)
Los 823
*Voigtlander Petzval Camera Lens. Early Petzval portrait plate-camera lens made by Voigtlander & Sohn circa 1857, engraved "No 5518, Voigtlander & Sohn in Wien und Braunsweig", no aperture control or Waterhouse stops, lens elements mounted either side with two metal rings in the centre of the barrel, rack and pinion focusing design (controls missing), brass housing with barrel diameter of 100mm (3 7/8 inches), removable brass lens hood with front diameter of 112mm (4 7/16 inches) and thread diameter of 93mm (3 11/16 inches), brass lens cap included, visible lens diameter approximately 78mm (3 1/8 inch), total lens length including lens hood 195mm (7 9/16 inches) and 160mm (6 5/16 inches) without lens hood, mounted on wooden end plate measuring 15cm x 15.5cm (6 inches x 6 1/4 inches), overall weight 2,391 kg The Voigtl„nder objectives were revolutionary because they were the first mathematically calculated precision objectives in the history of photography, developed by the German-Hungarian mathematics professor Josef Maximilian Petzval, with technical advice provided by Peter Voigtl„nder. Petzval calculated for the first time the composition of the lenses based on optical laws, whereas optics before had previously been ground and polished according to experience. Petzval's design was 22 times more powerful which for the first time, under favourable conditions, enabled portraits with exposure times of less than a minute. Voigtl„nder went on to produce the first Petzval portrait photographic lens (the fastest lens at that time: f/3.6) in 1840, and the world's first all-metal daguerreotype camera (Ganzmetallkamera) in the same year, also bringing out photographic plate cameras shortly afterwards. (1)
Los 830
*Ceylon. A group of 16 photographs of Ceylon, circa 1870s/1880s, albumen prints, scenes and views, one portrait of a young woman with Apothecaries & Co. blindstamp, the remaining photographs views and scenes, one credited to Skeen in the negative, 21 x 28cm and similar sizes, some in modern mats (16)
Los 905
*Weston (Edward Henry, 1886-1958). Portrait of the Mexican painter Jose Clemente Orozco, 1930, gelatin silver press print, printed circa 1970s, museum stamp and adhesion mark to verso, 24 x 19cm, together with Cunningham (Imogen, 1883-1976), Theodore Roethke, 1965, vintage gelatin silver press print, photographer's credit stamp and date stamps to verso, 24 x 20cm, plus 2 x Wolf Tirado and 4 unidentified including 3 abstract compositions (7)
Los 936
*Edis (Olive, 1876-1955). George Bernard Shaw, c. 1936, half length, seated at desk with face turned to camera and lit by natural window light, vintage platinum print, 35.5 x 28 cm, together with David Lloyd George (1863-1945, prime minister), c. 1910, head and shoulders portrait, vintage platinum print, 48 x 38cm, flush mounted on original board, both with photographer's signature in pencil to mount lower right, both framed and glazed (2)
Los 942
*Fontana (Lucio, 1899-1968). Lucio Fontana shaving without cutting, circa 1965, vintage gelatin silver print by an unknown photographer (self portrait?), 39 x 29.5cm, mounted and framed The Italian artist Lucio Fontana began puncturing the surface of paper or canvas in the late 1940s, blurring the distinction between two and three dimensionality. He continued this through the 1950s and 1960s, the splits becoming more decisive slashes. This witty portrait shows Fontana lathering up for a shave before the first cut and with no blade in sight. (1)
Los 947
*Karsh (Yousuf, 1908-2002). Portrait of Dr D.A. Spencer FRPS, circa 1950, vintage gelatin silver print, signed in pencil by the photographer to lower margin left, 34 x 27cm, old adhesion marks to verso, loosely contained in contemporary Karsch Studio card folder with manuscript annotations, together with Jean Sibelius, 1948, platinum print, a little corner creasing and short split to right margin, 30.5 x 20.4cm Dr D.A. Spencer was author of 'Colour Photography in Practice', published by Pittman, 1948. This photograph, according to the inscription on the folder, was loaned by Pittman for the exhibition Hobbies and Reading, one of the National Book League touring exhibitions from the Festival of Britain, 1951. (2)
Los 965
*Ponting (Herbert George, 1871-1935). British Antarctic Expedition 1910-13, a group of four gelatin silver print photographs, printed later, images of Taylor and Wright in ice grotto, Shackleton's hut in Backdoor Bay near Cape Royds, Ponting making a hole in ice, and Portrait of expedition member on snowbound deck [from British National Antarctic Expedition, 1901-04], plus a gelatin silver print photograph of a facsimile of the last words in Captain Scott's journal, all with Paul Popper and/or Popperfoto stamps, labels and marks to versos, two with additional stamps 'Valuable Original', a few minor corner creases, final photograph with slight horizontal crease, 21 x 17cm and very similar sizes (5)
Los 735
MUSIC HALL & THEATRE c. 40 autographs, incl. Ivor Novello signed photo & on programme, Gerald Du Maurier signed programme, Jack Buchanan signed photo, George Robey signed caricature self portrait, signed theatre programme & 6 signed photos, Ruby Murray, Jack Hulbert, Cicely Courtnedge, Norman Wisdom, etc, mostly 1920's &30's
Los 114
A collection of vintage tobacco jars to include a green and black jar with birds and florals to the sides, a tobacco jar with illustrations from Dickens to the sides, a hexagonal form paisley print jar, a cobalt jar with a portrait of a man smoking a pipe with decorative rims and florals to the lid, A Royal Winton blue glazed jar, a cobalt jar with a match striker to the base, a bulbous form Carlton Ware jar with an oxford crest to the side. Tallest measures 16cm-high 11cm-diameter.
Los 37
A collection of 19th century Victorian Staffordshire ceramics to include a pair of pink ceramic portrait vases with scrolled twin handles, having round central panels depicting a gentleman and lady flower picking, a pair of Staffordshire dogs with hand painted detailing, a 19th century pair of ewer jug vases having floral sprays by Thomas Forester & Sons having cobalt scrolled handles and gilt work to the rims. Tallest measures 47cm-high 20cm-wide.
Los 50
A collection of 19th century Staffordshire ceramics to include a selection of matching cobalt blue portrait wares including a pair of urns having a central printed panels depicting the three graces with scrolled twin handles and gilt work, a blue jug having a scrolled handle and shaped lip, and a pair of Staffordshire fireside dogs with hand painted detailing and gilt work. Tallest measures 32cm-high 19cm-wide.
Los 126
Vanière Jacques. Della possessione di campagna quattro libri. Giusta l'Edizione di Tolosa 1706... Colla traduzione in verso sciolto italiano di Giampietro Bergantini... Venezia, Pietro Bassaglia, 1750.In-8° (mm 182x107). 2 di [4, manca l'antiporta], 275, [1] pagine. Marca tipografica incisa su rame al frontespizio. Iniziali decorate, testatine e finalini silografici. Due vignette calcografiche raffiguranti scene bucoliche alla seconda e terza pagina. Esemplare in buono stato di conservazione. Qualche fioritura e alone, più evidente al primo fascicolo e all'ultima carta. Legatura coeva in mezzo vitello con angoli, piatti in carta marmorizzata. Dorso a quattro piccoli nervi, con titolo su tassello. Tagli rossi. Qualche abrasione ai piatti, danneggiati gli angoli inferiori esterni. Nota di possesso al margine inferiore della seconda carta, datata '1754'.SI AGGIUNGE: Alamanni Luigi. La coltivazione e gli epigrammi di Luigi Alamanni e Le api di Giovanni Rucellai... Colle annotazioni del Sig. Dottor Giuseppe Bianchini da Prato Sopra la Coltivazione e di Roberto Titi sopra le Api. Con la vita dell'Alamanni scritta dal sig. Co. Giammaria Mazzuchelli... Bassano, Tipografia Remondini, 1828.In-8° (mm 163x92). 252 pagine. Antiporta incisa con ritratto di Alamanni. Leggera gora alle prime carte. Legatura in mezza tela nera, piatti in carta marmorizzata. Titolo in oro al dorso. Contropiatti e sguardie in carta rossa.La prima edizione in lingua italiana del poema Praedium rusticum del gesuita francese Jacques Vanière (1664-1739), apparsa originariamente a Tolosa nel 1706. Il lotto comprende inoltre la tarda edizione remondiniana di due note operette didascaliche in versi, composte entrambe nel Cinquecento ma destinate a duratura fortuna: la prima edizione della La Coltivazione di Luigi Alamanni (1495-1556) era stata infatti pubblicata a Parigi nel 1546, mentre il poemetto di Giovanni Rucellai (1474-1525) aveva visto per la prima volta la luce a Venezia nel 1539. II. Fumi, Fonti per la storia dell'agricoltura italiana (1800-1849), 2101. Vanière Jacques. Della possessione di campagna quattro libri. Giusta l'Edizione di Tolosa 1706... Colla traduzione in verso sciolto italiano di Giampietro Bergantini... Venezia, Pietro Bassaglia, 1750.8° (182x107 mm). 2 of [4, lacking frontispiece], 275, [1] pages. Engraved printer's device on the title-page. Woodcut decorated initials, head- and tail-pieces. Two engraved vignettes, featuring rural and bucolic scenes. A good copy, a few foxing and spotting, more prominent to the first quire and last leaf. Contemporary half-calf, marbled covers. Spine with four raised bands, title on lettering-piece. Red edges. Covers slightly rubbed, lower corners worn. Ownership inscription on the lower margin of the second leaf, dated '1754'.ADDING: Alamanni Luigi. La coltivazione e gli epigrammi di Luigi Alamanni e Le api di Giovanni Rucellai... Colle annotazioni del Sig. Dottor Giuseppe Bianchini da Prato Sopra la Coltivazione e di Roberto Titi sopra le Api. Con la vita dell'Alamanni scritta dal sig. Co. Giammaria Mazzuchelli... Bassano, Tipografia Remondini, 1828.8° (163x92 mm). 252 pages. Engraved frontispiece with Alamannis's portrait. Pale waterstain to the first leaves. Half black cloth, marbled covers. Title in gilt lettering on the spine. Pastedowns and flyleaves in red paper.The first edition of the Italian translation of the Praedium rusticum by the Jesuit Jacques Vanière (1664-1739), originally published in Tolouse in 1706. The lot also offers the late and accurate Remondini edition of two famous 16th-century works: the La Coltivazione by Luigi Alamanni (1495-1556), first appeared in Paris in 1546, and Le api by Giovanni Rucellai (1474-1525), which had been first published in Venice in 1539. II. Fumi, Fonti per la storia dell'agricoltura italiana (1800-1849), 2101.
Los 154
Mazzuchelli Maruli Federico. Scuola equestre. Forlì, Luigi Bordandini, 1841-1842. Due tomi in un volume in-8° (mm 224x138). 247, [1]; 342, [2] pagine. Ritratto dell'autore con il suo cavallo in antiporta. Completo delle 20 tavole incise su rame legate in fine al secondo tomo, e accompagnate da tre tavole esplicative. Testatine e finalini incisi. Bell'esemplare, fioriture. Legatura coeva in pergamena su piatti in cartone, titolo e numero dei tomi impressi in oro su duplice tassello in marocchino, fregi dorati. Tagli policromi. La migliore edizione di questo fondamentale trattato, ampliata di 10 tavole rispetto alla seconda edizione apparsa a Milano nel 1805 (la prima edizione venne impressa sempre a Milano nel 1802). SI AGGIUNGE: Conte Enrico. L'ippossiade o l'accademico equestre del cavallerizzo al reale maneggio di Torino Enrico Conti diviso in due libri. Torino, Stamperia reale, 1823. In-8° (mm 219x133). 278, [2] pagine. Completo delle due tavole: una acquaforte in seppia e una in nero, entrambe incise da Chianale. Buon esemplare con barbe, tracce di polvere al frontespizio, lievi macchie di inchiostro al margine esterno delle prime tre carte, compresa la prima tavola. Legatura novecentesca in mezza pelle, titolo impresso in oro al dorso. Al frontespizio nota di possesso manoscritta datata 1827 del nobile sabaudo Luigi Buffa del Perrero. Prima edizione di questo raro trattato stampato nell'anno della fondazione della Scuola di Equitazione di Venaria Reale. L'opera descrive i contemporanei tipi di monta, e desamina le differenti razze equine ed è adornato da due raffinate acqueforti. SI AGGIUNGE: Il gran marescalco moderno che tratta delle cognizioni dei cavalli, delle malattie, e dei rimedj per guarirle: come pure delle loro purghe... Milano, Pietro Agnelli, 1816. In-12° (mm 164x96). 276 pagine. Manca l'antiporta. Marca tipografica silografica al frontespizio. Nove illustrazioni silografiche nel testo. Sporadiche fioriture. Percallina moderna, titolo in oro al dorso. Timbro 'dottor Pietro Pagani' al frontespizio e al recto della carta di guardia anteriore. Mazzuchelli Maruli Federico. Scuola equestre. Forlì, Luigi Bordandini, 1841-1842. Two tomes in one volume, 8° (224x138 mm). 247, [1]; 342, [2] pages. Engraved frontispiece with portrait of the author with his horse. Complete with the 20 engraved plates, bound at the end of the second tome with three explicatory tables. Engraved head- and tailpieces. A hood copy, foxing. Contemporary vellum, over pasteboards. Title and number of tomes in gold on double morocco lettering piece, tooled in gold. Specked edges. The best edition, the third, of this fundamental work, enlarged with ten additional plates from its second edition (Milan, 1805). This treatise was first printed in Milan in 1802. ADDING: Conte Enrico. L'ippossiade o l'accademico equestre del cavallerizzo al reale maneggio di Torino Enrico Conti diviso in due libri. Torino, Stamperia reale, 1823. 8° (219x133 mm). 278, [2] pages. Complete with the two full-page etchings: the first one printed in sepia, the second in black. Both engraved by Chianale. A good, uncut, copy, title-page a little soiled, some pale margina link stains to the first three leaves, including the first plates. 20th-century half leather, title in gold on the spine. Manuscript owner's inscription on the title-page, dated 1827, by the Savoy nobleman Luigi Buffa del Perrero. First edition of this treatise printed the same year of the constitution of the Venaria Reale Riding School. The work describes the horse riding style at that time and the different horse races. The edition is enriched by two fine etchings.ADDING: Il gran marescalco moderno che tratta delle cognizioni dei cavalli, delle malattie, e dei rimedj per guarirle: come pure delle loro purghe... Milano: Pietro Agnelli, 1816. 12° (164x96 mm). 276 pages. Lacking the frontispiece. Woodcut's printer device on the title-page. Nine woodcut illustrations in the text. Occasional foxing. Modern cloth, title in gold on the spine. Ownership stamp 'dottor Pietro Pagani' on the title-page and on recto of the front guard leaf.
Los 155
Novi Giuseppe. Vanto delli cocchieri napolitani, o sia Dell'arte nobilissima, che tengono essi, in domare li cavalli, e guidarli sotto le carrozze, sopra qualsisia nazione. Napoli, Giuseppe Coda, 1776. In-4° (mm 196x133). xi, [1], 194, [2] pagine. Ritratto del cocchiere Gaetano Pozzella inciso su rame in antiporta. Capilettera silografici. Piccoli fori di tarlo al margine interno del volume, che talvolta toccano qualche lettera, alcune carte uniformemente brunite, fascicoli allentati. Brossura muta, mancante in corrispondenza del dorso. Prima e assai rara edizione di questo trattato che celebra 'la bravura dei cocchieri napoletani identificando il sapiente mestiere con l'essere napoletani, ovvero con l'appartenenza a un'unica comunità senza distinzione tra cittadini e forestieri' (M. Meriggi - A. Pastore. Le regole dei mestieri e delle professioni. Milano, p. 304). L'opera, redatta dall'abate Giuseppe Novi, è dedicata al Cocchiere maggiore e Maestro di stalla del principe di Francavilla Gaetano Pizzella, considerato massimo esempio di dedizione in questa nobile pratica. 4° (196x133 mm). xi, [1], 194, [2] pages. Frontispiece with engraved portrait of Gaetano Pozzella. Woodcut initials. Small wormeholes to the gutter of the volume, sometimes affecting some parts of letters, some leaves uniformely browned, some quires loosen. Wrappers, lost at the spine. First and very rare edition of this interesting discourse on the Neapolitan preeminence in coachman's art, dedicated to the renowned horseman and equerry to the Prince of Francavilla Gaetano Pozzella, greatest example of dedication in horsemanship.
Los 159
Sailer Michel. Del cavalcare riflessioni critico-didascaliche del cavallerizzo Michel Sailer. Milano, Giuseppe Marelli, 1793. In-8° (mm 200x132). XIII, [1], 56 pagine. Ritratto dell'autore a cavallo inciso su rame in antiporta. Fregio silografico al frontespizio. Splendido esemplare con barbe. Legaura coeva in pergamena su piatti in cartone, titolo impresso in oro su duplice tassello al dorso. Contropiatti e sguardie rinnovate. Al contropiatto anteriore etichetta de Il Polifilo. Prima e assai rara edizione di questo elegante trattato redatto da Michel Sailer, il celebre cavallerizzo che introdusse in Italia l'utilizzo delle doppie redini. 8° (200x132 mm). XIII, [1], 56 pages. Engraved portrait of the author on horseback. Engraved ornament on the title-page. A very good, uncut, copy. Contemporary vellum, over pasteboards; title in gold on double morocco lettering piece. Pastedowns and flyleaves renewed. Label of the Milanese book shop Il Polifilo on the front pastedowns. First and very rare edition of this nice treatise, by the horseman Michel Sailer, who introduced in Italy the use of the double reins.
Los 160
Santapaulina Nicola - Santapaulina Luigi. L'arte del cavallo... divisa in tre libri. Padova, Tipografia del Seminario, 1696. In-4° (mm 292x207). [12], 208 pagine. Esemplare completo dell'antiporta allegorica e del ritratto dell'autore inciso da Joseph Juster su disegno di Louis Dorigny, entrambi incisi su rame e non compresi nella segnatura. Fregio silografico al frontespizio. Capilettera e testatine silografiche. Diagrammi incisi su legno nel testo. Esemplare in ottimo stato di conservazione, stampato su carta forte. Legatura coeva in vitello agli acidi, titolo impresso in oro su tassello al dorso. Tagli spruzzati in azzurro. Timbro abraso al frontespizio e al verso dell'ultima carta. Prima e unica edizione di questo trattato sul cavallo e sul suo addestramento, dedicato al Granduca di Toscana Cosimo III e diviso in tre libri: 'nei primi due, che sono di Nicola, si tratta l'arte di ridurre a tutta perfettione il cavallo; nel terzo, che è di Luigi, vi si aggiunge il modo di usarlo in guerra e in festa'. L'opera è illustrata da diagrammi silografici esplicativi degli esercizi di maneggio. 4° (292x207 mm). [12], 208 pages. Complete with the two copper plates, not included in the collation: the allegorical frontispiece and the portrait of the author, engraved by Joseph Juster after Louis Dorigny. Woodcut ornament on the title-page. Woodcut initials and headpieces. Woodcut diagrams in the text. A very good copy, printed on thick paper. Contemporary calf leather, title in gold on lettering- piece on the spine. Edges speckled blue. Abraded stamp on the title-page an don verso of the last leaf. First and only edition of this interesting work on horses and hosemanship, dedicated to the Grand Duke of Tuscany Cosimo III and divided into three books, the first one by Nicola, the last two books by Luigi and devoted to the use of horses in battle and during celebrations. The work is illustrated with woodcut diagrams depicting exercises in the stables.
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Alchimia/Alchemy. König Emanuel. Regnum minerale, generale et speciale, quorum illud naturalem et artificialem mineralium productionem cum parallelismo alchymico verorum philosophorum, tractatibus hucusque ineditis, commentario super jntroitum Philalethæ, &c. candidè sistit; olim sub nomine regni quarti sulphurum fixorum metallicorum promissum. Hoc verò metalla, lapides, salia, sulphura, terras, quin & acidulas, thermas, physicè, chymicè, practicè recludit. Basel, Emanueli König, 1703. Due parti in un volume in-4° (mm 211x168). [24], 181, [3]; 428, [4] pagine. Manca una carta bianca nel primo fascicolo e il ritratto fuori testo dell'autore inciso da J. J. Thurneysser. Frontespizio stampato in rosso e nero. Con alcune figure in legno nel testo. Titolo un po' fiorito, a tratti uniformemente brunito per la qualità della carta, lievi aloni marginali, marginoso e genuine. Cartonato coevo con nervi passanti, titolo manoscritto su etichetta al dorso. Il dorso era ricoperto con una carta marmorizzata che è stata successivamente parzialmente rimossa. Terza edizione aumentata (la prima era apparsa nel 1686). "Its importance for Alchemy lies in the Appendix to the first part (p. 39-181) where is treated of the writings of Arnaldus, Seton, Morienus, Bernardus Trevisanus, Basilius Valentinus, Geber, Ripley, Lambspring, Lullius, Paracelsus, Philalethus etc. The author was doctor of Philosophy and Medicine and Professor at the University of Basle" (Duveen, 326). Two parts in one volume, 4° (211x168 mm). [24], 181, [3]; 428, [4] pages. Lacking a blank leaf in the first quire and the portrait of the author engraved by J.J. Thurneysser. Title-page printed in red and black. With several woodcut figures in text. Some light foxing on the title-page, several gatherings browned due to the quality of the paper, all in all a wide-margined and genuine copy. Contemporary cardboard 'alla rustica', lettering-piece on spine. The spine was covered with marbled paper that has been partially removed. Third augmented edition (the first had appeared in 1686). "Its importance for Alchemy lies in the Appendix to the first part (p. 39-181) where is treated of the writings of Arnaldus, Seton, Morienus, Bernardus Trevisanus, Basilius Valentinus, Geber, Ripley, Lambspring, Lullius, Paracelsus, Philalethus etc. The author was doctor of Philosophy and Medicine and Professor at the University of Basle" (Duveen, 326).
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Arte & Architettura/Art & Architecture. Baruffaldi Girolamo. Vite de' pittori e scultori ferraresi... con annotazioni. Ferrara, Domenico Taddei, 1844-1846.Due volumi in-8° (mm 239x149). I. XX, 471, [1 bianca] pagine, con 30 tavole fuori testo incise in rame al tratto. II. 610, [2] pagine, con 27 tavole fuori testo incise in rame al tratto. Il ritratto di Giovanni Battista dalla Torre nel secondo volume, pur essendo menzionato nell'indice, risulta mancante dall'origine. Esemplare intonso e a fogli chiusi. Brossure editoriali stampate.Prima edizione, pubblicata postuma ed accompagnata dalle note di Giuseppe Boschini, di questa opera compilata dal Baruffaldi (1675-1755) nel 1707. "Ricca miniera di notizie preziose per gli storici dell'arte" (D.B.I., VII, pp. 6-8).Two volumes, 8° (239x149 mm). I. XX, 471, [1 blank] pages and 30 engraved plates. II. 610, [2] pages and 27 engraved plates. The portrait of Giovanni Battista dalla Torre in volume two, though listed in the index, is not present. Uncut with deckle edges.First edition, published posthumously and accompanied by the notes of Giuseppe Boschini, of this work written by Baruffaldi in 1707 and still quite precious for the art historians.
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Arte & Architettura/Art & Architecture. Magrini Antonio. Memorie intorno la vita e le opere di Andrea Palladio pubblicate nell'inaugurazione del suo monumento in Vicenza, lì 19 agosto 1845 colla serie di ventisette scritture del medesimo architetto in parte inedite ed ora per la prima volta unite. Padova, Tipografia del Seminario, 1845.In-folio (mm 301x223). [12], 348, 66, LXXXVIII, [2] pagine, con il ritratto litografico di Palladio in antiporta (disegnato da Bellio e inciso da Ciani), 4 tavole litografiche fuori testo ed 1 grande tabella ripiegata contenente il Quadro genealogico della famiglia del Palladio. Bellissima copia in barbe di grande freschezza. Legatura coeva in mezza pelle, fregi, tassello e titolo in oro al dorso. Spellature, mancanze agl'angoli e alle cuffie.Si offre insieme il prospetto editoriale dell'opera ed un estratto sulla stessa tratto dall'Indicatore parmense del 20 luglio 1847. Folio (301x223 mm). [12], 348, 66, LXXXVIII, [2] pages with Palladio's lithograph portrait as a frontispiece, 4 lithograph plates and 1 folding table containing the genealogical tree of the Palladio family. A very nice, uncut copy. Contemporary half calf, morocco lettering piece on spine. Top and bottom of spine and corners worn and rubbed.We offer together the editorial prospectus of the work and a review on the book taken from the Indicatore parmense July 20, 1847.
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Astronomia/Astronomy. Manilius Marcus - Bentley Richard. Astronomicon ex recensione et cum notis Richardi Bentleii. London, Paul & Isaac Vaillant, Henry Woodfall, 1739.In-4° (mm 283x220). XVI, 307, [5] pagine. Ritratto di Bentley in antiporta inciso in rame da G. Vertue su disegno di J. Thornhill e 1 grande tavola ripiegata fuori testo raffigurante il celebre globo farnese. In testa alla dedica a Thomas Holles vignetta calcografica contenente le armi del dedicatario. Mancanza all'angolo superiore esterno del titolo senza perdita, lievemente uniformemente brunito. Elegante legatura coeva in marocchino oliva, piatti entro triplice filettatura dorata, dorso a cinque nervi riccamente ornato con tassello rosso e titolo in oro, dentelles interne, risguardi in carta marmorizzata, tagli dorati. Lievi spellature e piccolo mancanze gli angoli e al piatto posteriore. Prima edizione della celebre opera astronomica di Manilio con il commento del grande filologo inglese Richard Bentley.4° (283x220 mm). XVI, 307, [5] pages. Frontispiece with the copper engraved Bentley's portrait by G. Vertue after J. Thornhill and a large folding plate showing the famous Farnese Globe. On top of the dedication to Thomas Holles engraved vignette bearing the dedicatee's coat-of-arms. Outer upper corner of the title-page cut off with no loss of text, slightly uniformly browned. Nice contemporary olive green morocco, panels framed by a triple gilt fillet, richly gilt spine with three raised bands and morocco lettering-piece, inside gilt dentelles, marbled endleaves, gilt edges. Some scratches and minor losses to corners and back panel.First edition of Manilius with the commentary by the great English philologist Richard Bentley.
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