283322 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenField Marshall Bernard Montgomery El Alamein victor 1945 vintage Tuck portrait postcard. 30/8/1945 CDS postmark and written in pencil. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
"Ceramiques de Picasso" by Suzanne and Georges Ramie, edition D'Art Albert Skira, Geneve, with tipped in colour plate illustrations, 1948, together with one other illustrated book of Picasso paintings (2) Condition: 17 colour plates - of his ceramics, 1 black & white portrait of Picasso, the page have been separated, a little "brownish" to the outer edges, a little tatty overall, the original covering tissue is damaged.
An Italian 18ct gold miniature watercolour portrait pendant necklace, the hand painted enamel panel depicting female profile, signed HL, import London 1979, on 9ct Prince of Wales link chain, pendant 28.1mm, chain 50cm, 7g grossNo damage or repair, no broken links, clasp working, marks clear, stamped 750 and 9k
A large Georgian miniature portrait mourning pendant, circa 1800, the central miniature watercolour portrait depicting lady in black dress with pearl necklace unsigned, with woven hair reverse under convex glass within gilt-metal floral frame, 88.9mm, 59.9gSome surface dirt underneath glass around edge, otherwise no damage or repair, light wear to high points of settings, unmarked
An interesting mixed group of works of art and similar, to include a Mont Blanc fountain pen; two Ruskin pottery plaques; a Corpus Christi; a silver dwarf candlestick; a carved oak novelty shoe pincushion, inscribed 'Made From Old Pit Timber'; a railway pocket watch; and two Victorian portrait miniatures. (15)
France and US: A Napoleon I 1813 5 Francs, obv. Napoleon Bonaparte laur. bust r, rev. denomination within wreath (F), together with Louis Phillippe I 1838 and 1845 5 francs coins, both obv. portrait bust r, rev. denomination and date within wreath, (EF & F), a Napoleon III 1869 5 Francs, obv. laur. bust r, rev. crowned and mantled arms (GF), and a French Republic (Hercule 3rd Republic) 1873 5 francs, obv. denomination and date within wreath, rev. Hercules group, (EF). Also a United States of America 1879 1 dollar (Morgan dollar) (VF) and a United Sates of America 1923 1 dollar (Peace dollar) (GF). (7)
Baltasar de Figueroa the Elder (Seville, circa 1550 - Bogota, Colombia, early 17th century)‘Our Lady of the Rosary with Philip the Second and Charles, Prince of Asturias as donors’.Oil on canvas on tablexWith important carved and gilded period wooden frame.113 x 71,5 cm.As noted by art historian Manuel Salvador Sánchez Aparicio in his historiographical review of this artist, it is surprising that Baltasar de Figueroa the Elder, known as such to differentiate him from his grandson, remains "one of the great enigmas in the historiography of Colombian painting, despite the craftsman’s significance, as he, indeed, began a dynasty of painters that flourished well into the 18th century."When we study the artworks of the Figueroa Dynasty, we can appreciate a very particular and unique style among them, and almost by default or instinct, we find ourselves compelled to relate the works to each other to finally understand that this family developed a style that many have since followed. It is clear that within this family, they influenced and collaborated with each other. The significant generational presence of the Figueroas persisted throughout the 16th, 17th, and 18th centuries, positioning them at the pinnacle of painting in New Granada.The painting we study here depicts Our Lady of the Rosary and the Christ Child, with the notable feature of having King Philip II and Prince Carlos of Austria at their feet as donors. Both are dressed in the typically austere and puritanical, dark fashion promoted by King Philip II himself, due to the discovery of logwood in America for dyeing garments, a dye that would be commercialised by the Crown.This work is the only pictorial record produced in Latin America that depicts the King and the Prince together. It is also the only known image of Prince Carlos of Austria produced in America to date.Undoubtedly, the elongated face, pronounced features, marked eyebrows, beard, and moustache of our donor are exactly the same as in the portrait of Philip II found in the National Historical Museum of Chile, making the connection between these works evident. We could even consider that they had access to a print. The portrait of the King of Spain is also comparable to other versions by Sánchez Coello and Pantoja de la Cruz, where he is depicted at an older age with his white hair. In Pantoja de la Cruz’s engraving “Death of Carlos of Austria,” the prince is depicted similarly to this painting, as a young man of 21, a very similar age to that of Carlos when he was portrayed here, suggesting that Baltasar de Figueroa is likely to have painted it in the late 1560s.We highlight the importance of this piece not only because it was painted by one of the greatest artists of the Viceroyalty, who had the talent, initiative, and perseverance to create a school that endured over time, but also because it is an invaluable historical and pictorial record of the influence of Philip II and his fashion. This work makes us direct participants in a history of synergies and syncretisms that resulted not only in the creation of Latin American artworks influenced by European techniques and themes but also in the Americanisation of the old world, of which our work is a material witness. Reference bibliography:- Sánchez Aparicio, Manuel Salvador. (2012). "Baltasar de Figueroa «el viejo» Revisión historiográfica, aportaciones y rectificaciones relevantes en torno a su biografía y procedencia sevillana." Ensayos. Historia y teoría del arte, Bogotá, D. C., Universidad Nacional de Colombia, num. 22, pp. 70-86.
Spanish School. Early 19th century."Portrait of Maria Isabel of Braganza"Oil on canvas.120 x 106 cm.Maria Isabel de Bragança, daughter of John VI of Portugal and the Infanta Carlota Joaquina de Borbón, was born in Palácio de Queluz, Portugal, on 19 May 1797. In 1816 she married King Ferdinand VII of Spain with the aim of strengthening relations between the two Iberian countries. The Infanta was noted for her high level of culture and her love of art, which prompted her initiative to bring together works of art belonging to Spanish monarchs to create what was to become the Prado Museum, being its true architect. In fact, the Prado states that "Pedro de Madrazo, in the catalogue of the Royal Museum's paintings of 1854, goes so far as to say that it was the queen who "... designed the museum".There is a posthumous portrait of her exhibited in the Prado's Portrait Gallery, dated 1829, by Bernardo López Piquer (inv. P000863). This portrait, which was in turn inspired by an oval bust portrait painted in the year of the Queen's wedding by the painter's father, Vicente López, depicts Maria Isabel de Braganza as the founder of the Royal Museum of Painting and Sculpture. This canvas, as the critic and historian Gabriele Finaldi states in the catalogue of the exhibition "Spanish Portraiture in the Prado. From Goya to Sorolla", represents an "emblematic image for the history of the Prado Museum".Unfortunately, our sitter did not have the pleasure of attending the inauguration of the Museo del Prado, as she died a few months earlier, in December 1818, without any possibility of visiting the museum during her lifetime, which she nevertheless left us as a legacy. Bibliographic reference:- Museo del Prado (n.d.). "María Isabel de Braganza como fundadora del Museo del Prado". https://www.museodelprado.es/coleccion/obra-de-arte/maria-isabel-de-braganza-como-fundadora-del-museo/a7a1a933-6dc5-4636-b963-224d42e77110
Italian school. 18th century"Our Lady of Holy Hope"Oil on copper.35 x 25 cm. Size with frame 103 x 71 cm.Accompanied by an imposing cornucopia period frame, in carved wood, gilded and inlaid with mirrors.Exquisite and refined portrait of Our Lady of Holy Hope. The historical information about the origin of this image dates back to 1750, when a pious Christian had a painting of Mary with Child painted, which he donated to Fr. Tommaso del Costato di Gesù (later Monsignor Struzzieri, Bishop of Todi and first Bishop of the Passionist congregation), who always carried it with him in his SS. Missions. This image had from the beginning the title of "Mater Sanctae Spei".The entire composition, including its carved and gilded cornucopia frame, recalls the works of the Flemish baroque in which the Virgin Mary always appears surrounded by a garland of flowers. Here, in parallel, the garland is represented by the carving of the frame with acanthus leaves and flowers and a small canopy in the manner of Bernini. We contemplate the simple, serene and detailed perfection of the internal painting, framed by this "garland frame" as a tribute, veneration and prayer to this Madonna.The image has been perfected with miniscule brushstrokes.Based on the engraving by Hyeronimus Wierix, Flemish engraver of the 16th century, "Mater Sanctae Spei", the painting represents the Blessed Virgin Mary with the Child Jesus in her arms. She holds Him with her right arm and with her left arm she points to Him as the source of divine graces (iconography called Hodegetria: "she who shows the way", the Hodegetria Virgin Mary points to the Child as the way of salvation. And that Child, holding a cross with his left hand, with his right hand raised, is in the attitude of a king giving permission to approach Him. With a smile Mary and Jesus tell you that they are there to help you to have hope in them.The original image of "Our Lady of Holy Hope" is a canvas painted by Agustin Marqui in 1750, on the occasion of a Passionist mission preached by Father Tomas Stuzzieri, which he offered to St. Paul of the Cross suggesting that "every clergyman should have it in his cell". This image had devotees that included St. Vincent Maria Strambi and the second superior general of the Passionists (from 1755 to 1790), Father John Baptist of St. Vincent Ferrer. In fact, it cured Father John Baptist, who was dying, of an incurable illness, and it was he himself who decreed that the image be greeted three times a day. Devotion to the Blessed Virgin, under this invocation, developed in the Passionist Congregation from its origins.Its main promoter was the great missionary Fr. Thomas Struzzieri, who was later made bishop. In the holy missions he always carried an image of the invocation with him. Later, that image was reproduced in series and began to be placed in the rooms of the Passionist clergy so that they could direct their gaze to her, invoking her in their spiritual needs. The Virgin Mary, Mother of Holy Hope, thus became a singular model and a firm support for our own hope. The hope that Our Lady presents and to which she calls is the Cross that the Child Jesus holds in his hand, as a sign of his love without measure, manifested to us even unto death and a death on a cross.
Attributed to Mateo Perez de Alesio, also known as Matteo de Lecce (Lecce, Italy, 1547 - Lima, 1628)."Adoration of the Shepherds"Oil on panel.201 x 137 cm.Pérez de Alesio was a significant painter and sculptor, from the age of sixteen he was a distinguished apprentice in the workshop of Michelangelo Buonarroti, even working on the painting in the Sistine Chapel.The majority of his paintings are of a religious nature.In 1575, he settled in Spain, working at the Cathedral of Seville, and in 1588, he arrived in Lima, becoming the most important painter there for many years and an influence on local painters even after his death.He was the founder of one of the first art schools in Lima, according to research by the historian and Jesuit priest Rubén Vargas Ugarte.In 1590, he painted the portrait of the VIII Viceroy Don García Hurtado de Mendoza, IV Marquis of Cañete, who governed between 1589 and 1596.
‡  A WEDGWOOD BLACK JASPER PORTLAND VASE PROBABLY CIRCA 1790 Of typical form and after the Antique original, the handles with bearded mask terminals, sprigged in relief with a continuous frieze among trees and columns, the base with a portrait of Paris with a Phrygian cap, impressed WEDGWOOD to the side of the foot rim, 27cm high Note: The Portland Vase, now in the British Museum, is believed to have been made around 27 BC. The superb example of cameo glass-cutting inspired Josiah Wedgwood to try to match the skill of the ancient craftsmen but using black jasperware, the unique clay material developed by Josiah Wedgwood himself. He persuaded the third Duke of Portland to lend the glass original to him for modelling and began five years of trials to perfect his version. The vase was thrown on a potter's wheel with the handles and hand-formed figures and architecture were added in white before firing. The 'oven book', of the factory details the many challenges he experienced; the first attempts show air bubbles had formed on the surface where gases from inside the clay expanded in the heat. Later attempts show the reliefs failing to adhere correctly to the base vase. Condition Report: Sprigging dirty, could do with a clean Otherwise in presentable order With collection or inventory sticker to underside 'Northwood' - please see additional images on our website for an image of this Please see additional images for visual reference to condition Condition Report Disclaimer
‡  A WEDGWOOD (THOMAS LOVATT) BLACK JASPER PORTLAND VASE CIRCA 1880 Of typical form and after the Antique original, the handles with bearded mask terminals, sprigged in relief with a continuous frieze among trees and columns, the base with a portrait of Paris with a Phrygian cap, the side of the base stamped WEDGWOOD and inscribed T.LOVATT 27.5cm high SALEROOM NOTICE: PLEASE NOTE THIS PORTLAND VASE IS BY THOMAS LOVATT AND NOW DATED CIRCA 1880 AND IS NOT 18TH CENTURY AS PREVIOUSLY CATALOGUED. Condition Report: Sprigging dirty, could do with a clean Otherwise in presentable order With collection or inventory number to underside in red: L 1107.8Please see additional images for visual reference to condition Condition Report Disclaimer
‡ A WEDGWOOD BLACK JASPER TRIAL 'FIRST EDITION' MODEL OF THE PORTLAND VASE CIRCA 1789 The twin-handled black basalt urn sprigged in white relief with the typical frieze of draped classical figures and the base with Paris in the Phrygian cap 25cm high Note: The Portland Vase, now in the British Museum, is believed to have been made around 27 BC. The superb example of cameo glass-cutting inspired Josiah Wedgwood to try to match the skill of the ancient craftsmen but using black jasperware, the unique clay material developed by Josiah Wedgwood himself. He persuaded the third Duke of Portland to lend the glass original to him for modelling and began five years of trials to perfect his version. The vase was thrown on a potter's wheel with the handles and hand-formed figures and architecture were added in white before firing. The 'oven book', of the factory details the many challenges he experienced; the first attempts show air bubbles had formed on the surface where gases from inside the clay expanded in the heat. Later attempts show the reliefs failing to adhere correctly to the base vase. Both of these features can be seen on the present lot, along with slight warping of the vase in the firing. The asymmetry of the handles, however, is deliberate and emulates the ancient original. Only forty-five copies of the perfected first edition vase were believed to have been made. This vase shows the distinctive features of the first edition but is unnumbered and it is probably an early trial. The portrait of Paris faithfully copies the glass original, with the tip of his elbow being cut off by the edge of the base. The tiny pin pricks visible around the edge of the base suggest that the vases were fired in the upright position, perhaps on a support dusted with sand to prevent sticking. See the trial of the Portland Vase in the collection of the Wedgwood Museum, dated circa 1787, which shows similar blistering to the surface, but also a lack of shading and undercutting which is more evident on the present vase, Robin Reilly, Wedgwood, Vol. I, London, 1989, p. 670, fig. 1,031. Condition Report: As per the description and catalogue notes there are idiosyncrasies indicating this is from the early trial period including bubbling, cracking, uneven handles. No later damage or restoration notedPlease see additional images for visual reference to condition and appearance Condition Report Disclaimer
‡  A WEDGWOOD BLUE JASPER MODEL OF THE PORTLAND VASE CIRCA 1791 The twin-handled blue urn sprigged in white relief with the typical frieze of draped classical figures and the base with Paris in the Phrygian cap 25cm highNote: The Portland Vase, now in the British Museum, is believed to have been made around 27 BC. The superb example of cameo glass-cutting inspired Josiah Wedgwood to try to match the skill of the ancient craftsmen but using black jasperware, the unique clay material developed by Josiah Wedgwood himself. According to Robin Reilly, Wedgwood: The New Illustrated Dictionary, p. 340, when supplies of the black clay ran out in 1791 some fine blue Portland vases, were produced. There is no record of any solid blue vases produced during the previous ten years and this vase was probably one of those made during the shortage of black clay. See the sold blue jasperware example of circa 1791 in the British Museum (1802,0312.1).This vase shows the distinctive features of the early Wedgwood Portland vases, but is unnumbered. The portrait of Paris faithfully copies the glass original, with the tip of his elbow being cut off by the edge of the base. The tiny pin pricks visible around the edge of the base suggest that the vases were fired in the upright position, perhaps on a support dusted with sand to prevent sticking. Condition Report: Several small and sizeable foot rim chips. Firing cracks to the sprigging generally.Please ask for the additional images available from the Dept. upon request.Condition Report Disclaimer
‡  A WEDGWOOD BLUE JASPER PORTLAND VASE LATE 18TH CENTURY Of typical form and after the Antique original, the handles with bearded mask terminals, sprigged in relief with a continuous frieze among trees and columns, the base with a portrait of Paris with a Phrygian cap 26.5cm high Condition Report: Two light rim chips, blemish the base, tinted foot rim chip.Please see additional images available from the Dept. upon request. Condition Report Disclaimer
[Arnauld (Antoine) & Pierre Nicole]. Logic; Or, the Art of Thinking, second edition, corrected & amended, browned, title mounted on stub, contemporary panelled calf, initials "W.Ll." to centre of boards, titled in ink on fore-edge, [Wing A3724aA], by T.B. for John Taylor, 1693 § Ward (Richard) The Life of the Learned and Pious Dr.Henry More, first edition, engraved portrait by Van der Gucht after D.Loggan, some soiling, contemporary calf, rebacked, corners repaired, Joseph Downing, 1710 § Bulstrode (Whitelock) Essays upon the Following Subjects..., first edition, engraved portrait by Cole after Kneller, contemporary panelled calf, A.Bettesworth, 1724 § Locke (John) Some Thoughts Concerning Education, contemporary ink signature of J.F.Howell to head of title and front paste-down, contemporary blue morocco, gilt, spine gilt, g.e., spines faded and worn at foot, 1710, all rubbed; and 3 others, 8vo et infra (7)
Bouchet (Guillaume) Serees..., 3 vol. in 1, titles with woodcut device (vol.2 & 3 different to vol.1), title of vol.1 soiled, contemporary calf, gilt, spine gilt with black roan label, Rouen, Loudet, 1635-34-35 § Rabelais (François) Oeuvres..., 3 vol., half-titles, some browning, vol.3 with modern ink marginalia to two leaves, contemporary calf, spines gilt, pink and red marbled endpapers, The Hague, 1789 § Thomas (A.L.) Oeuvres Diverses, 2 vol., half-title in vol.1 only, engraved bookplate of Hon. John Haldane of Gleneagles, contemporary speckled calf, spines gilt, Lyons, Perisse, 1763 § Zacharie (Friedrich Wilhelm) Les Quatre Parties du Jour, 5 engraved plates & 4 vignettes by Baqouy after Eisen, with an additional version of Le Matin with decorative frame and caption (not present in the other plates), also with 4 smaller additional landscape engravings of the times of day (3 by Campion, one by Gallays) bound in, some spotting, handsome red morocco, gilt, spine gilt with floral compartments and tan morocco label, g.e., [Cohen-de-Ricci 1074], Paris, Nyon, Durand & Belin, 1781 § Grafigny (Françoise d'H. de) Lettres d'une Péruvienne, 2 vol., engraved portrait and plates by Lefevre, contemporary blue calf, gilt, one label chipped, Pris, Didot l'Aîné, 1797, a little rubbed; and 10 others, French literature, some odd vol., 8vo et infra (18)*** The first work is supposed to have inspired Sterne to write Tristram Shandy.
Coloured Paper.- De Rossi (Giovanni Gherardo) La Democrazia del Regno d'Amore Anacreontica, 12pp., printed on blue paper, old boards, creased, spine worn, Rome, Tommaso Pagliarini, [c.1800] § Boulmier (Joseph) Estienne Dolet: Sa Vie, one of only 4 copies on coloured paper, from an edition limited to 500, with preliminaries in triplicate on yellow, white & blue paper, the text on blue, engraved portrait on 2 different white papers, ex-library copy with perforated stamp to first dedication, contemporary blue morocco, gilt, by Petit Succr. de Simier, spine gilt, rubbed & faded, upper joint split, sticker to rear cover, Paris, 1857 § Wolff (O.L.B.) Histoire de Gilion de Trasignyes et de Dame Marie, sa Femme, printed on green paper, contemporary red morocco with gilt-tooled border, g.e., Paris & Leipzig, 1839 § Taylor (John) The Certain Travailes of an Uncertain Journey...1653, one of only 6 copies printed on yellow paper, original cloth-backed printed yellow wrappers, soiled, [c.1880]; and 6 others, mostly printed on coloured papers, one on straw, 8vo & 4to (10)
Beckford copy.- Le Sueur (Eustache) Galerie de Saint Bruno fondateur de l'Ordre des Chartreux, engraved portrait and 25 plates, foxing, William Beckford's copy with his pencil manuscript note of acquisition "H.G.Bohn 1-5- bindr 17-" to top corner of front free endpaper, later bookplate, contemporary half morocco ruled in gilt, g.e., rubbed, tall 8vo, Paris, Villerey, 1808.
Dickens (Charles) A Christmas Carol, seventh edition, title in red & blue, 4 hand-coloured etched plates by Leech and 4 vignettes after Leech, advertisement leaf at end, some spotting, shaken, 1844; The Chimes: A Goblin Story, engraved frontispiece and additional title after Maclise, some soiling, 1886 § [Bradley (Rev. E.)], "Cuthbert Bede". The Adventures of Mr. Verdant Green, 3 parts in 1, portrait, additional title and illustrations by the author, 1857 § [Banks (Henry Nugent)], "Henry Aitchenbie". Melchior Gorles. A Tale of Modern Mesmerism, 3 vol., first edition, half-titles browned, new endpapers, 1867 § B. (M.A.) Marjory Verner, the Actress, unrecorded, text detached, Greenwich, Henry Richardson, [c.1890], all original cloth, the first three decorative/pictorial gilt, most a little rubbed, the first faded, the second soiled, the last two with faded spines; and a quantity of others, literature, including a boxed set of 12 vol. 'Cameos of Literature', 8vo et infra (4 boxes)
Longleat and Beriah Botfield.- Botfield (Beriah) Stemmata Botevilliana. Memorials of the Families of De Boteville, Thynne, and Botfield, one of 250 copies, portrait (loose), foxing, contemporary morocco-backed cloth, 1858; Some Remarks on the Prefaces to the First Editions of the Classics, presentation copy from the author to the Earl of Bradford with Weston library bookplate, original limp pink boards, spotted, spine frayed, [c.1850]; Bibliotheca Hearneiana..., one of 75 copies, engraved portrait (foxed), ex-library copy with stamps & labels, original red boards, rebacked in cloth, corners repaired, 1848 § Jackson (Rev. J.E.) Wulfhall and the Seymours. With an Appendix of Original Documents discovered at Longleat, presentation copy from the author to Prof. J.E.Thorold Rogers, plate & plan, upper hinge broken, contemporary morocco-backed cloth, 1874 § Historical Manuscripts Commission. Calendar of the Manuscripts of the Marquis of Bath preserved at Longleat, 5 vol., mixed set, cloth, vol.2 rebound, vol.4 & 5 with dust-jackets, 1904-80 § [Sale Catalogue] Highly Important Incunabula, Bibles, Early Greek Printing and Colour-Plate Books from Beriah Botfield's Library, with note by JC "According to Hans Fellner, who gave me this, only 200 copies were done in cloth", original cloth, dust-jacket, Christie's, 1994 § Burnett (David) Longleat: The Story of an English Country House, signed & inscribed "To John Collins with grateful thanks for all his expertise, knowledge & advice from Bath 1978", original boards, dust-jacket, 1978, the first five rubbed; and c.40 others on Botfield and Longleat including other pamphlets printed by Botfield and bound volumes of the Sotheby's Longleat sale catalogues of 1954-79 with John Collins's brochure on the library produced by Sotheby's in 1980, many pamphlets, some duplicates, v.s. (c.45)
Wilmot (John, 2nd Earl of Rochester).- Book of Common Prayer (The), engraved portrait of Charles II, with the insertion of 41 engraved plates, portrait and plates all with contemporary hand-colouring, some heightened with gold, ruled in red throughout, lacking I12-M2 (from Communion to Psalms i.e. without services for baptism, confirmation, matrimony, burial etc.) and all after R4 (from end of Psalms) and with contemporary ink instruction on I11 "to be left out", rather soiled, portrait torn and laid down, a little offsetting from red colouring and occasional slight wear to plates, one plate and F2 with top corner torn away not affecting image but with loss of a few words, with near contemporary ink inscription "The Honble Mrs. Prideaux her Book 1724" to front free endpaper and another note regarding her connection to the Earl of Rochester (see below), contemporary red morocco with triple gilt fillet border & panel with ornament at corners, engraved silver monogrammed piece mounted in centre of both boards, spine gilt in compartments with five raised bands, g.e., rubbed, lacking portions to corners (repaired), [Wing B3646], 12mo, by the Assigns of John Bill and Christopher Barker, 1676.*** Alledgedly the Earl of Rochester's prayer book, described in the manuscript note to front free endpapers, "This Book was the property of & used by John Wilmot Earl of Rochester after his conversion by Burnet Bishop of Salisbury - see Burnet's account of Rochester's conversion. An ancestor of Sir John Wilmot Prideaux of Netherton in the County of Devon married one of the sisters [corrected to daughters] and coheiresses of the above mentioned Earl, by which means this book came into that Family, and became eventually the property of my ever lamented mother who was daughter of the late Sir John Prideaux Bart. [signature illegible]".John Wilmot, 2nd Earl of Rochester (1647-1680) was a poet and courtier of Charles II's Restoration court. He was notorious for his dissolute and libertine lifestyle which eventually caught up with him and he died, probably of syphilis, aged 33. At the instigation of his mother Bishop Burnet attended him in his final illness and wrote of his conversion in Some Passages of the Life and Death of the Honourable John Wilmot Earl of Rochester published in 1680. If indeed this was Rochester's prayer book it cannot have been used by him for long but it is an attractive item with the addition of the hand-coloured plates and in a pretty binding.The British Library also contains a copy with hand-coloured plates.
Almanacks.- Kalendario Manual, y Guia de Forasteros en Madrid, para el año de 1792 [&] Estado Militar de España…, 2 parts in 1, hand-coloured double-page engraved map, engraved portrait, 2 titles and folding map, contemporary red morocco with triple gilt fillet, g.e., Madrid, [1791] § Stockholms Skrif-Calender på åhret efter Christi Födelse 1721, 2 parts in 1, first part printed in red & black, a few head-lines shaved, Macclesfield copy with embossed stamp and bookplate, contemporary calf with border in blind, Stockholm, 1720 § Nieuw Geinventeerde Koopmans, Comptoir- en Schriff-Almanach…MDCCCII, numerous entries in pencil and ink throughout, original green vellum with wallet flap and tie, soiled, tie frayed, Dordrecht, P. van Braam & Rotterdam, Jac.Thompson, [1801], all a little rubbed; and 9 others, continental almanacks in various languages, 12mo (12)
[Le Febvre (J.)] Anciens Memoires du Quatorziême Siecle...de la Vie du Fameux Bertrand du Guesclin..., bookplate of John Hunter, Douay, B.Bellere, 1692 § La Rochefoucauld (F. de) Memoires de la Minorité de Louis XIV, title in red & black, old manuscript notes to rear endpaper, Villefranche, Jean de Paul, 1688 § Vauban (S. Le Prestre de) Projet d'une Dixme Royale qui supprimant la Taille..., half-title, Brussels, G.de Backer, 1709 § [Gervaise (F.A.) Histoire de Suger, Abbé de S.Denis, Ministre d'Etat..., 3 vol., lightly stained, Paris, Jean Musier, 1721 § Memoires de Montecuculi, Generalissime des Troupes de l'Empereur, 2 vol., engraved portrait, Amsterdam, Wetstein, 1760 § Dissertations sur l'Origine des Francs, Paris, Chaubert, 1748 § Joly de Maizeroy (P.G.) Institutions Militaires de l'Empereur Leon le Philosophe, 2 vol., Paris, C.A.Jombert, 1771, all but the first Macclesfield copies with embossed stamps and bookplate, all contemporary calf, gilt, most spines gilt, some a little rubbed; and 11 others, French history, a few odd vol., v.s. (22)
Cunningham (Peter) Saint Anne's Hill; a Poem, third edition, 5 mounted lithographed plates after C.Stirling, most printed by Hullmandel, tissue guards, foxing, one leaf creased, contemporary half calf, upper joint split, Chertsey, Robert Wetton, 1833 § Crabbe (Rev. George) Tales of the Hall, 2 vol., half-titles, extra-illustrated with mezzotint portrait and engraved plates, most by Heath after Westall, with letterpress sheet of "Book Society of Twelve" circulating library with details of borrowers in manuscript tipped in at beginning of vol.2, foxing, modern half morocco, spines gilt, uncut, 1819 § Tennyson (Alfred, Lord) The Foresters. Robin Hood and Maid Marian, first edition, with ink note in contemporary hand "1st Copy Printed for final proof (from type for publishers)" on front paste-down and with pencil corrections to p.2, endpapers foxed, original cloth, damp-stained at edges, preserved in cloth folder and slip-case, 1892 § [Canning (G.)] Poetry of the Anti-Jacobin, sixth edition, bookplates of William Ewart and John Fowles with ink note to front free endpaper re William Ewart Gladstone and pencil notes to text, contemporary calf, worn, lacking backstrip, 1813 § Gardner (W.) Poems, [3 copies], only edition, original blind-stamped limp cloth in blue, purple and brown, one spine faded, [Library Hub records a single copy only - BL], Bridport, W.Frost, 1872, all rubbed; and c.55 others, poetry, v.s. (c.60)*** The first is a scarce, privately-printed poem by the curate of Chertsey, about the country seat belonging to Mrs. Elizabeth Armistead, later the wife of Charles James Fox.
Bindings.- Barrow (Isaac) A Brief Exposition of the Lord's Prayer and the Decalogue, first edition, lacking portrait, contemporary black morocco tooled in gilt with double fillet border & triple fillet panel with floral ornaments at inner & outer corners, pyramid of dotted semi-circles to centre of each side of panel and central lozenge of various tools, spine gilt with red morocco label, g.e., rubbed, joints and corners a little worn, M.Flesher, 1681 § Rawlet (J.) A Treatise of Sacramental-Covenanting with Christ, seventh edition, browned, handsome contemporary black morocco elaborately tooled in gilt and blind with mitred panels and ornaments in gilt and scalloping, leafy fronds with acorns and flowers in blind, spine with compartments of acorns in alternating gilt & blind, g.e., a little rubbed, split to upper joint, corners bumped, Edmund, Parker, 1721; and 3 others, bindings, one empty but with Royal arms, 8vo et infra; sold as bindings, not subject to return (5)
Bindings.- Martialis (Marcus Valerius) Epigrammata, attractive contemporary dark red straight-grain morocco with blind-stamped panel of horizontal acorns & flowers, g.e., spine slightly faded, 1816 § Thomson (James) The Seasons, additional engraved vignette title and 5 part-titles, contemporary red calf cathedral binding stamped in blind with border in gilt, g.e., soiled, 1821 § McIntosh (Maria J.) Conquest and Self-Conquest, wood-engraved frontispiece and additional vignette title, handsome ?publisher's binding of purple morocco with decorative panel in gilt, spine gilt, g.e., 1851 § Hope (Eva) Grace Darling, the Heroine of the Farne Islands, lithographed portrait, additional vignette title and plates, original pictorial black morocco stamped in gilt on upper cover and in blind on lower, spine gilt, g.e., 1875, all a little rubbed at edges; and 10 others, bindings, 8vo et infra (14)
White (Francis) A Replie to Jesuit Fishers answere to certain questions propounded by his most gratious Ma:tie King James, 2 parts in 1, first edition, lacking engraved frontispiece but with engraved architectural title, title to second part with woodcut border, neat contemporary ink inscription “Sum Johannis Woodbridgii ex dono Dulcibella Dunch 27: May 1624” to head of title, light damp-staining towards end, [STC 25382], Adam Islip, 1624 § Drummond (William) The Works, first collected edition, with engraved frontispiece portrait but lacking second portrait, old ink inscription “To Mr Walter Stirling from his humble servant J.Drummond” on front free endpaper, Edinburgh, James Watson, 1711 § Howell (James) S.P.Q.V. A Survay of the Signorie of Venice, first edition, initial leaf with verse, title in red & black with woodcut of winged lion of Venice also in red & black, lacking engraved frontispiece and portrait, some browning, bookplate of Edward Lord Suffield, for Richard Lowndes, 1651, all contemporary calf, rubbed or worn, the first with torn & defective spine, the second rebacked; and a defective 1603 Common Prayer rebound with Psalms, folio; sold not subject to return (4)*** ?John Woodbridge (1582-1637), rector of Stanton, Wilts., and follower of John Wycliffe. Dulcibella Dunch (1599-1664), wife of Samuel Dunch MP for Berkshire in the Barebones Parliament.
Sturm (Christoph Christian) Reflections on the Works of God, handsome contemporary dark blue straight-grain morocco with roll-tool border, spine gilt, g.e., 1826 § Wheatly (Charles) A Rational Illustration of the Book of Common Prayer..., contemporary dark blue calf, spine ruled in gilt, 1825 § [Anderdon (J.L.)] The Life of Thomas Ken Bishop of Bath and Wells, 2 vol., second edition, engraved portrait, contemporary calf, gilt, spines gilt, 1854 § Mendham (Rev. Joseph) The Life and Pontificate of Saint Pius the Fifth, 8pp. catalogue at beginning, original cloth-backed boards, paper label, spine faded, 1832 § Gaskin (John) Doctrinal and Practical Sermons, Lord Eldon's copy with his signature, original cloth, uncut, spine faded, Bristol, for the Author, 1844 § Spurgeon (C.H.) Farm Sermons, original pictorial blue cloth, gilt, 1882, all but the first and last a little rubbed; and a quantity of others, theology & ecclesiastical history, v.s. (5 boxes)
Printing in red & gold.- Secundus (Joannes) Kisses: A Poetical Translation of the Basia..., third edition, engraved frontispiece and additional title with portrait, printed in red & black, advertisement leaf at end, contemporary red straight-grain morocco, gilt, g.e., J.Bew, 1778 § Livre Rouge, or Red Book (The): being a list of Secret Pensions paid out of the Public Treasure of France, first edition in English, printed entirely in red, spotting, contemporary mottled calf, rebacked, Dublin, 1790 § Goldney (Edward) A Friendly Epistle to the Deists..., dedication to George III on title printed in gold, 2 engraved portraits and plate, dedication printed in red, contemporary sheep, for the Author, 1761, all rubbed; and 2 others with printing in red, 8vo (5)
Missionaries.- Newell (Harriet) Memoirs of Harriet Newell, wife of the Rev. Samuel Newell, one of the First American Missionaries to India, engraved portrait, original printed boards, uncut, Bristol, P.Rose, [c.1823] § Smallwell (Edward, Bishop of Oxford) A Sermon preached before the Incorporated Society of the Propagation of the Gospel in Foreign Parts, contemporary marbled wrappers, S.Brooke, 1791 § Barnard (James ) The Dignity, Labours and Reward of Apostolick Missionaries proposed in a sermon...at Lisbon, original boards, uncut, J.P.Coghlan, 1782 § Stenhouse (Fanny) An Englishwoman in Utah: The Story of a Life's Experience in Mormonism, title browned, lacking part of front free endpaper, original pictorial boards, rubbed and stained, 1882 § Lovett (R.) James Gilmour of Mongolia, 1892 § Costain (Rev. A.J.) The Life of Dr. Arthur Jackson of Manchuria, 1911 § Taylor (Mrs. Howard) Pastor Hsi (of North China): One of China's Christians, 1904, the last three with plates and in original cloth, the last with lower cover stained, all rubbed; and c.25 others on missionaries including vol.3 only of Dobrizhoffer's An Account of the Abipones of Paraguay, 8vo & 4to (c.30)*** The fourth, originally published as Exposé of Polygamy in Utah in 1872, is regarded as one of the sources for Conan Doyle's A Study in Scarlet.
Natural History.- Yarrell (William) On the Growth of the Salmon in Fresh Water, first edition, 3 hand-coloured engraved plates, original cloth-backed printed wrappers, rubbed & soiled, lacking small portion from top edge of upper wrapper, vertical crease from folding, 1839 § Jardine (Sir William) The Natural History of the Birds of Great Britain and Ireland. Part I: Birds of Prey, engraved portrait, additional vignette title and 34 hand-coloured plates, some slightly shaved at fore-edge, illustrations, Peter Tate's copy with his bookplate, handsome half green calf, by J.Dunlop of Edinburgh with his ticket, spine gilt, Edinburgh, 1838 § Gosse (Philip Henry) Actinologia Britannica. A History of the British Sea-Anemones and Corals, first edition, frontispiece and 11 plates, all but one printed in colours by W.Dickes, guards, advertisement leaf at end, original cloth, gilt, corners slightly bumped, 1860; and c.20 others, natural history, including an album of mounted seaweeds, an uncut vol.2 only of Bewick's Birds of 1804 and 4 more copies of Gosse, v.s. (c.25)
Barnes (William) Poems of Rural Life in the Dorset Dialect, First Collection, third edition, half-title, 16pp. catalogue at end, original embossed purple cloth, spine faded, 1862; Poems of Rural Life in Common English, 4pp. advertisements at end, ink inscriptions to half-title and front free endpaper, light spotting, original blue cloth, gilt, 1868 § Baxter (Lucy), "Leader Scott". The Life of William Barnes Poet and Philologist, first edition, half-title, advertisement leaf and 32pp. catalogue at end, mounted Woodburytype portrait frontispiece, original dark blue cloth, 1887 § Taylor (Weld) Old Pictures in New Frames. Poems, first edition, dedication to William Barnes, original reddish brown cloth, Wimborne, [1870] § Maggs Bros. Ltd. William Barnes 1801-86: The James Stevens-Cox Collection, unpublished, one of a few copies printed and bound, this one with prices, proofs etc. bound in at end, original cloth, [c.1998], a little rubbed; and c.20 others by or about Barnes, many pamphlets/catalogues including a bound volume of works on his engraving and a box file of pamphlets, v.s. (c.25)*** The fourth item, Weld Taylor's poems, is very rare and was unrecorded until Maggs catalogued the Stevens-Cox collection. The said collection was sold en bloc and therefore the catalogue was never issued.
Loading...
![[Arnauld (Antoine) & Pierre Nicole]. Logic; Or, the Art of Thinking, second edition, corrected & amended, b](https://cdn.globalauctionplatform.com/0252a742-362c-457e-b7f6-b18f00e49597/a9411ab3-14a2-4dbe-a030-b18f00ead2d2/468x382.jpg)
![Almanacks.- Kalendario Manual, y Guia de Forasteros en Madrid, para el año de 1792 [&] Estado Militar de Espa&ntil](https://cdn.globalauctionplatform.com/0252a742-362c-457e-b7f6-b18f00e49597/63070d37-2932-4251-854b-b18f00eba73e/468x382.jpg)
![[Le Febvre (J.)] Anciens Memoires du Quatorziême Siecle...de la Vie du Fameux Bertrand du Guesclin..., bookplate of Joh](https://cdn.globalauctionplatform.com/0252a742-362c-457e-b7f6-b18f00e49597/580d639a-f645-470c-896b-b18f00eaceaf/468x382.jpg)
