Mazot (Francois) Le tableau de la croix engraved throughout, by Jean Colin and Guilliaume de Gheyn, comprising title, dedication, portrait, f.1, leaf Les litanies, ff.2-40, [41-51], with imprimatur on last page, old marginal repairs affecting a few letters, minor stains, contemporary French red morocco, gilt with draw handle tools, fleurs de lys, etc., foot of spine and covers stained and repaired, 8vo, Paris, Mazot, 1651-53 *** A work of variable composition; cp. the copy in our sale 700 lot 448 in a similar(but not identical) binding..
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Lancisi De Motu Cordis et Aneurysmatibus 1st first edition, title printed in red and black and with engraved vignette, engraved portrait, 7 plates and an illustration, errata f. at end, water-stained, contemporary polished calf, spine in compartments and richly gilt, joints starting, [GM 2973; Norman 1275; Osler 3152; Wellcome III, p.441], folio, Rome, apud Joannem Mariam Salvioni, 1728. *** A posthumoulsy published continuation of De subitaneis moribus, Lancisi`s first work on cardiac pathology..
Bible, Dutch. Biblia 1748 additional engraved title, 2 letterpress titles with vignette portrait, folding engraved plan of Jerusalem and 4 folding maps, engraved plates, browning, bookplates, contemporary calf with gold-metal corner- & center-pieces, clasps, worn at spine edges, 4to, Amsterdam, 1748.
Verlaine (Paul) Sagesse, 1 / 25 copies, 1913 number 1 of 25 copies on papier chine with an autographed manuscript poem by the author tipped-in on front free endpaper, from an edition limited to 947 copies, portrait frontispiece, occasional foxing (mainly to first few leaves), contemporary black morocco, by Henri Blanchetiere, g.e., grey morocco doublures, signed in gilt at foot, silk endpapers, small chip to center of spine, original slip-case, a little rubbed, 4to, Paris, Albert Messein, 1913. *** The manuscript consists of 28 lines in Verlaine`s hand and is entitled "Vers pour l`Automne / I / En sortant d`un music Hall" and dated "Londres, Novembre 1893". .
Loveday (Robert) Loveday`s Letters, fifth edition, hand-coloured engraved portrait frontispiece, small hole in D6, some browning, name on title, colour bookplate, contemporary calf, ruled in blind, E.Tyler & R. Holt for Nathaniel Brooke, 1673 § Mackenzie (George) Idea Eloquentiae Forensis Hodiernae, names on endpapers, 2 ink corrections in text, contemporary mottled calf, worn, rebacked, Edinburgh, haeres Andreae Anderson, 1681 § Watts (Isaac) Reliquiae Juveniles, engraved portrait frontispiece, ruled in red throughout, names on fly-leaves, contemporary mottled calf, gilt, rubbed, Richard Ford & Richard Hett, 1737; and 4 others, 8vo(7)
Aldrich.Elementa architecturae civilis,1789 2 parts in 1 [Latin and English], first edition in English, stipple-engraved portrait after Kneller, list of subscribers, 55 engraved plates at end, a few with pencil annotations, light foxing, engraved armorial bookplate of John Edwards and with his signature on front endpapers, also signature of the architect Derek Matthews, contemporary sprinkled calf, spine gilt with red morocco label, rubbed, joints cracked, [Harris 17], 8vo, Oxford, 1789.
Brightland Grammar English Tongue 1st ed first edition, `The Approbation of Isaac Bickerstaff, Esq.` f. at start with small woodcut portrait, double-page engraved plate, short tear to H5 and P5, within text, but with no loss, lightly browned, contemporary calf, spine rather worn, but holding firm, rubbed and marked, large 12mo, for John Brightland, 1711. *** An attractively printed work. Variously attributed to John Brightland, Sir Richard Steele, and Charles Gildon. .
Pindar. Odes... To which is prefixed title in red & black with medallion portrait, half-title, 2pp. advertisement at end, occasional foxing, slightly browned, John Duncombe`s copy with his ink signature and inscription on front endpapers, ink signature of "Wm. Penn" on lower pastedown and engraved bookplate of Penn of Stoke Park on front pastedown, front free endpaper torn at head, contemporary mottled calf, a little rubbed, corners worn, joints splitting, upper cover detached, 4to, for R. Dodsley, 1749. *** Inscription reads: "J Duncombe From his Grace Thomas Lord Arch-Bishop of Canterbury - 1749." John Duncombe (1729-86), Church of England clergyman and writer; poet and contributor to the Gentleman`s Magazine under the pseudonym of "Crito"; friend of Thomas Herring (1693-1757), Archbishop of Canterbury..
Swift (Jonathan) TFour Last Years first edition, title browned, Kimbolton Castle booklabel, spine gilt, rebacked, preserving most of old spine, 1758 § Boyle (John, Earl of Orrery) Remarks on the Life and Writings of Dr. Jonathan Swift, third edition, engraved portrait, gilt rules, rubbed, hinges weak, 1752, contemporary calf, 8vo, A. Millar(2)
Butler (Samuel) Hudibras. 2 vol., engraved portrait, 15 plates, some folding, book-labels of Edward Rigden, rebacked, corners worn, C. Hitch et al., 1764 § Smollett (Tobias) The Adventures of Sir Launcelot Greaves, 2 vol., name on pastedowns `Nicholas Nicholas`, spines gilt, spine labels chipped, G. Robinson, 1774 § Smellie (William) The Philosophy of Natural History, 2 vol., spines gilt, covers little warped, Dublin, William Porter, 1790, contemporary calf, 8vo(6)
Plays.- Southern (Thomas) final f. blank, R. Butters, [c. ?1790] § Philips (Ambrose) The Distrest Mother; A Tragedy, [ESTC locates 3 copies only], H. Whitworth, [c. ?1785] § Murphy (Arthur) The Grecian Daughter. A Tragedy, H.D. [S]ymonds, [c. 1790] § Jones (Henry) The Earl of Essex, D8 blank at end, R. Butters, [?1790] § Francklin (Thomas) The Earl of Warwick. A Tragedy, [ESTC locates 4 copies in N. America and none in the British Isles], H.D. Symonds, [?1790] § Home (John) Douglas: A Tragedy, W. Cavell, 1798 § Shakespeare (William) King Lear. A Tragedy, Altered... by D. Garrick, G4 blank at end, lacks portrait and A1 ?blank, R. Butters, [?1790], together 7 plays in 1 vol., browned, engraved bookplate of Edward H. Delafield on front pastedown, foxed, all with few listings on ESTC, contemporary calf-backed boards, rubbed, lacks piece from spine, 12mo.
Dickens (Charles, editor) Joseph Grimaldi 2 vol., first edition, first issue, engraved portrait, 12 plates by George Cruikshank, vol. II 36pp. advertisments at end, original pink blind-stamped cloth, spines gilt, faded and little rubbed, ends of spine and corners knocked, [Eckel pp. 152-5], 8vo, Richard Bentley, 1838.
L.H. (W., editor) Charles` Wain first edition, number 22 of 95 copies signed by the contributors, frontispiece portrait signed by Nina Hamnett, pictorial endpapers, original cloth, spine darkened, worn slip-case lacking one section, t.e.g., 8vo, 1933. *** A work created to provide financial support for publisher & literary figure Charles Lahr. Signatories include friends H.E.Bates, John Brophy, T.F. Powys, Seán O`Faoláin, Liam O`Flaherty, Charles Duff and Rhys Davies..
Owen (Wilfred) Poems introduction by Siegfried Sassoon, first edition, photogravure portrait frontispiece, tissue guard, browning to title, original cloth with printed spine label, spine slightly sunned and label slightly browned, damp-mottling to lower fore-corners, small 4to, 1920. *** The most important book of poetry from the first world war. The power of Owen`s poetry is as significant today as it was when first written, under the encouragement of Siegfried Sassoon (who wrote the introduction to this posthumously published collection), in the trenches of Flanders, mostly in 1917 and 1918. Owen was killed one week before the armistice was signed in 1918. .
* Delfs (H., early 20th century). Head-and-Shoulders Portrait of Field Marshal August von Mackensen (1849-1945), watercolour with black charcoal, heightened with bodycolour, signed lower left, and dated Rawa Ruska 10/7 ‘15, additionallyinscribed Mackensen, and dated 10/7 1915 lower right, sheet size 37 x 26cm (14.5 x 10.25ins) Von Mackensen, newly promoted to Field Marshal, and wearing three medals, one of which is the Blue Max, which he was awarded on 3rd June 1915, led the 11th Army against the Russians, through Galicia, taking Rawa Ruska on 21st June 1915. (1)
* Munro (Alexander, 1825-1871). Head of Dante, plaster cast of a sculptured portrait of Dante, 17.4 x 17.4cm (7 x 7ins) Lower edge with the following pencilledinscription: ‘Cast taken from the Dante head sculptured by the late Alexander Munro. This is written by his sister J Munroe.’ Munro was closely associated with the Pre-Raphaelite Brotherhood from the start, although was never formally a member. He was born in 1825, the son of a stonemason employed on the Scottish estates of the Duke of Sutherland. His abilities attracted the attention of the Duchess, who helped with his education and in 1848 took him to London and introduced him to Charles Barry. Barry employed him on the sculptures for the Houses of Parliament, but he quickly tired of this subordinate position and set up on his own, sharing a studio with Arthur Hughes between 1852 and 1858. Success came quickly and between 1849 and 1870 Munro exhibited on average five or six works at every Royal Academy exhibition. Apart from a few statues and one or two subject pieces such as his famous Paolo and Francesca, these were mostly portrait busts or medallions, or groups of children. It has been suggested that Rossetti was responsible for suggesting Munro depict Paolo and Francesca, and sketches suggest that he was perhaps even responsible for the composition. (1)
* Artwork. A collection of twenty-three pencil drawings, c.1890s, incl. seventeen portrait studies of men and women, some head studies, others full-length, and six other pencil drawings, mostly architectural, one with watercolour, all carefully executed, each approx. 39 x 18cm (15 x 7ins), together with twelve leaves of calligraphic manuscript, Biblical and literary quotations, alphabets, etc., mostly in red and black ink, two with colours and illumination, incl. Tennyson’s The Brook, mostly approx. 46 x 29cm (18 X 11.5ins), but one or two smaller, plus two port. engs., incl. one of Sir Josiah John Guest, and a photograph of West End Studio, Morecambe. Purchased by the current owner from an Oxford auction house approximately eight years ago, as part of a collection of ephemera from the estate of Lady Charlotte Guest. Lady Charlotte, later Charlotte Schreiber, was a translator, businesswoman and collector, and was a great patron of the arts. An important figure in the study of Welsh literature and the Welsh language, she is best known for her pioneering English translation of the major medieval work, the Mabinogion. (a folder)
* Brown (Henry Harris, RP, 1864-1948). A sketchbook of pencil drawings, pp.70, containing mainly figure studies, botanical drawings, and animal studies, some initialled, some dust-soiling, leaf size 17.8 x 25.4cm (7 x 10ins), pencilled signature of H. Harris Brown on front pastedown, stitching partially broken, orig. qtr. roan, extrems. worn and spine missing, oblong 8vo. Henry Harris Brown was a portrait painter who studied art in Paris under Bouguereau and Tony Fleury. He painted many portraits in America and Canada. Brown exhibited at the Royal Academy from 1888 and also at the Paris Salon, and he is represented in a number of public collections. (1)
* Blampied (Edmund, 1886-1966). Portrait of the Artist W. P. Holland, lithograph, signed and dated in the image January 1933, additionallyinscribed by the artist in ink to lower margin, ‘To my friend Harold James Baily, E. Blampied Feb. 1933’, image size 34 x 24.5cm (13.25 x 9.5ins), framed and glazed, together with a printed Christmas card from Marianne and Edmund Blampied for 1964,inscribed by the artist, and given to Cecile Le Boyer, 15 x 11.8cm (6 x 4.65ins), framed and glazed (2)
* Blampied (Edmund, 1886-1966). Profile head portrait of a mustachioed elderly gentleman, pen and brown ink on paper, sheet size 19.8 x 14.8cm (7.75 x 5.75ins), mounted, framed and glazed, with Langlois Ltd. Auction Guernsey label attached to verso. Edmund Blampied was born in Jersey. He gained a scholarship to Lambeth Art School under Philip Connard and J. McKeggie in 1903-04. He exhibited at the Royal Academy, the Paris Salon, and won a gold medal for lithography at the Paris International Exhibition in 1925. Most of his life was spent in Jersey, including during the German occupation, and many of his drawings and etchings depict daily life on the Island. (1)
* Gunn (Sir Herbert James, RA, 1893-1964). Portrait of a lady, oil on canvas, head and shoulders portrait, signed in lower right-hand corner, 59 x 44cm (23.25 x 17.25ins), framed. Herbert James Gunn was a Glasgow born painter who studied at Glasgow School of Art before attending the Academie Julian in Paris. Although he painted many landscapes after travelling in France and Spain, he made a conscious decision to devote himself to portraiture. He gained a national reputation as a society portrait painter during the 1920s, producing portraits of prime ministers, field marshals, judges, dons, bankers and the like. Amongst others he painted Gracie Fields, a conversation piece depicting Hilaire Belloc, G. K. Chesterton, and Maurice Baring, and produced several portraits of the royal family, including ‘Conversation Piece at Royal Lodge, Windsor’ depicting George VI and his family, and a state portrait of Queen Elizabeth II in 1956. (1)
* Nabokov (Vladimir Vladimirovich, 1899-1977). Head and shoulders portrait sketch by Gerard de Rose, 1969, oil on canvas,inscribed in pencil in large white area ‘Vladimir Nabokov, sketch for Time magazine, Montreaux, Feb 1969’, signed and dated by the artist lower right, canvas size 70 x 45cm (27.5 x 17.5ins), framed. The finished oil painting from life contains additional background items including the Spires of St. Basil’s Cathedral in Moscow, two butterflies and a portrait of Nabokov’s mother. It was used on the cover of Time magazine for 23rd May 1969. The finished oil painting now hangs in the National Portrait Gallery (Smithsonianinstitution). Gerard de Rose (1918-87) was a portrait painter and teacher, born in Accrington, Lancashire. His father was a surgeon and professor of music of Russian descent. During the 1960s he developed a reputation as a painter of the famous, subjects including Julie Christie, Rod Steiger, Vita Sackville-West, Sammy Davis Jnr, and Claire Bloom. ‘The portraits are notable for their astute placing of the subject against a plain background’ (David Buckman, Dictionary of Artists in Britain since 1945.) (1)

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