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Preisdatenbank abonnierenHUGH CRONYN (BRITISH 1905-1996) SELF-PORTRAITsigned HUGH CRONYN lower right oil on canvas129 x 78.5 cm; 50 3/4 x 30 3/4in (unframed)Painted circa 1960 within a year of the Cronyns' purchasing Adyar Studio in Flanders Road, on the edge of Bedford Park, Chiswick. The splendid Arts and Crafts house boasted a magnificent studio on the first floor. In his early career Cronyn was a prolific and successful portrait painter.ARR may apply
HEDWIG PILLITZ (BRITISH - HUNGARIAN 1896-1987) Hedwig Pillitz (lots 31-39) Introduction We know frustratingly little of the talented Hedwig Pillitz who excelled as a portraitist, particularly portraits of those in the performing arts, notably leading actors and musicians. Born in Hampstead Hedwig was the eldest daughter of Arpad Armin Pillitz (1867-1948), and Josephine Fischer (1876) who had emigrated to England from Hungary. Both she and her younger sister Doris attended South Hampstead High School for girls. There Hedwig excelled at art and Doris in music and drama. The sisters’ considerable accomplishments are mentioned in the 1926 South Hampstead High School Magazine Jubilee Number where they are listed as members of the school’s Past and Present Club. Doris was praised for her musical contribution at the Old Girls’ Dinner in July that year, and the ‘Art’ report records that Hedwig had exhibited a landscape in the 1926 ‘Paris Salon’. Elsewhere, under the heading ‘Recent News’ it was noted that Hedwig was showing a flower piece and a landscape at the Autumn Exhibition at the Walker Gallery, Liverpool and that Doris had gained a First Class degree in acting at the Central School of Speech Training and Dramatic Art; was the winner of the second year students’ Diction Competition, and had been awarded a prize for verse recital at the 1926 Oxford Recitations. A year on Doris is a cast member in the 1927-28 season at the Old Vic, performing in Hamlet, The Merchant of Venice, King Lear, Romeo and Juliet, and The Two Noble Kinsmen. It may well have been through Doris that Hedwig met ‘Yorkie’, also an actor at the Old Vic, whose portrait she painted whilst living at 28 Abercorn Place, St John’s Wood (lot 39), and at which address she also painted the dashing Michael Lane (lot 35). Hedwig attracted notable female sitters too as the lots in the present sale attest. Among them, the striking Marguerite Kelsey, a professional model in considerable demand among painters of the day (lot 31), and Russian born Shulamith Shafir, a distinguished concert pianist who made her English concerto debut in 1936 aged just thirteen, and first appeared at the Royal Albert Hall in 1941 (lot 33). With many of Pillitz’s sitters being artists and performers, it is not surprising perhaps to find that of her few paintings in public collections, the best is also of an actor: Dorothy Black in the role of Emily Brontë in The Brontes (Victoria & Albert Museum). Hedwig painted Black in the lead role in 1933, the year that the play, written by Alfred Sangster, transferred from Sheffield to the Royalty Theatre, London. All Hedwig’s paintings in the present sale seem to have been painted from the late 1920s through until the 1950s.HEDWIG PILLITZ (BRITISH - HUNGARIAN 1896-1987)PORTRAIT OF MARGUERITE KELSEYoil on canvas 62.3 x 49.5cm; 24 1/2 x 19 1/2in(unframed)With her high cheek bones, fine features and cropped-back hair set off by her striking lime-green necklace, plunging neck line and viridian dress, Pillitz captures Kelsey with the contemporary poise and elegance for which she became noted. Kelsey started modelling at the age of fifteen and quickly became popular amongst artists for her ability to hold poses for a long time. The best-known likeness of her is by Meredith Frampton of 1928 in Tate Britain. Sitting upright on a settee with her legs behind, her gaze averted and wearing a white dress with red shoes she is the epitome of contemporary refinement. Kelsey also sat for Sir William Reid Dick, Sir John Lavery, Augustus John and Dame Ethel Walker amongst many other painters of the day. ARR may apply
SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) THE PAINSON AND THE PARTER (SELF-PORTRAIT)titled THE PAINSON AND THE PARTER rightcharcoal with white chalk34.3 x 20.5cm; 13 1/2 x 8in51.5 x 36cm; 20 1/4 x 14 1/4in (framed)Provenancewith Michael Parkin Fine Art Ltd, LondonWith one head placed above the other, Rothenstein's playful vertically descending title is a jeu de mot on 'the painter and the parson'. Presenting himself chorister-like with mouth wide open, Rothenstein's identity is clear, but less so that of the smiling parson beneath him, although it has been suggested that it could be a double self-portrait as Whistler's nickname for Rothenstein was the parson due to his tendency to seriousness.
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 40-65)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with fauve painter Emil Othon Friesz and cubist André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches and a range of civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another commercial gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lots 52-54), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting the Ascension above the altar at All Saints, Plumstead (lot 62); Angels with Children for the baptistry of Christ Church and St Stephen’s, Battersea (lot 60) and the Baptism of Christ for Old Saint George’s Baptist Church, Plymouth (lots 61). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, Feibusch evoked bomb-damaged London with a keen eye and in unnerving detail (lots 49 & 50); a natural colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 57 & 58); and he applied visual humour to his commercial designs (lot 55). But above all it is the manner in which he places the human form at the heart of his work with such innate fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The full details of the travelling exhibition abbreviated in lots 40-65 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF LUTZ FEIBUSCHsigned and dated H Feibusch / 1917 lower rightred chalk41 x 31cm; 16 x 12 1/4in46.5 x 36.5cm; 18 1/4 x 14 1/4in (framed) Lutz Feibusch, the artist's brother, was tragically killed in an avalanche while skiing in 1929. ARR may apply
HEDWIG PILLITZ (BRITISH - HUNGARIAN 1896-1987) PORTRAIT OF MICHAEL LANEsigned PILLITZ lower right oil on panel40.5 x 30.5 cm; 16 x 12in 49.5 x 39.5 cm; 19 1/2 x 15 1/2in (framed)Inscribed SKETCH / MICHAEL LANE / BY H E PILLITZ / 29 ABERCORN PLACE / N.W.8 by another hand on the reverseARR may apply
Oil on Canvas Painting of 2nd Life Guards Officer, fine naïve oil on canvas portrait painting of an officer of the 2nd Life Guards, Household Cavalry on horseback, wearing full dress uniform with metal helmet, cuirass and holding household cavalry pattern officers sword. No visible artist signature. Canvas dirty and in need of professional cleaning. Measures 51 x 61cms.
A COMPLETE SET OF FOUR FAMILLE ROSE 'EIGHT IMMORTALS' PLAQUES, BY WANG QI (1884-1937)China, Republic period, circa 1930. Exquisitely painted in bright enamels, each plaque depicting two of the Eight Immortals wearing fine robes and holding their attributes, with two seals of the artist. (4)Expert's note: The quality of this set is remarkable. The artwork is exquisitely detailed in vivid and confident brushstrokes, very much unlike the countless copies in circulation today. The enamels are exceptionally well fired, with crisp and elegant colors, blended to an overall near-perfect harmony, as found only in a small number of works from the Wang Qi studio. Equally noteworthy is the quality of the hardwood frames, including their fittings and backings, all exhibiting clear signs of age, original to the set and executed to the highest standards, a level of craftsmanship absent in later pieces.Inscriptions: Each plaque with two seals: the first, lower right, 'Wang Qi' and 'Liandan jishi'; the second, lower right, one reading 'Wang Qi'; the third, lower left, 'Xiaoyao' and 'Wang Qi huayin'; and the fourth, lower right, one reading 'Wang Qi'.Provenance: North American trade. By repute acquired from a local estate.Condition: Excellent condition with some old wear and firing irregularities. Little rubbing and flaking to enamels. One plaque with a phosphorescent firing flaw in the upper left corner. The frames with expected traces of use, minor splits and a natural patina.Dimensions: Panel size ca. 55 x 17 cm (each), Size incl. frame ca. 59 x 21 cm (each) The first plaque depicts Li Tieguai leaning on his iron crutch, carrying two gourds on his back, one releasing fumes, standing next to He Xiangu holding a long leafy blossoming lotus stem, under the full moon.The second plaque with Zhongli Quan holding his fan and Lu Dongbin with his sword sheathed to his back, below a flying crane.The third plaque shows Han Xiangsi, with his flute suspending a jade pendant, conversing with Cao Guojiu looking up towards his castanets in the air above.The fourth plaque with the elderly Zhang Guo holding his bamboo rod and standing beside Lan Caihe carrying his basket filled with flowers and lingzhi, below an iron-red bat.The Baxian (Eight Immortals) are a legendary group of Chinese heroes who fight to vanquish evil. Most of them are said to have been born in the Tang or Song Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. Stories of these immortals were first recorded by the Ming dynasty poet Wu Yuantai. Their status as folk icons makes them well-known in popular culture.Wang Qi (1884-1937) was the most outstanding porcelain painter of his day. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center in China. Porcelain artists, released from imperial restraints, developed their own styles based on famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves 'The Full Moon Society' came to be known as the 'Eight Friends of Zushan'. The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang's style. But not satisfied with just emulating, over the years, Wang increasingly developed his own distinct style by incrementally incorporating Western painting and enameling techniques in his work.His earlier works were characterized by the gongbi style, which employed fine outlines for human figures. However, his style evolved over time, transitioning into a more free style. Wang Qi's artistic journey led him to Jingdezhen in 1901, where he learned porcelain painting and portrait painting from Deng Bishan and Qian Hui An. His talent was recognized when he received the "Supernatural Technique" plate as a gift from the Fuliang County Magistrate in 1916, which significantly boosted his reputation. In 1916, Wang Qi traveled to Shanghai with Wang Dafan to attend the Shanghai Paintings Exhibition, where he encountered the Eight Strange Masters of Yangzhou. Among them, he was particularly impressed by the painting style of Huang Shen, who excelled in painting people, landscapes, and flowers and birds. Wang Qi's background in portrait painting, sculpture, and painting portraits on porcelain, combined with his exposure to Western painting techniques, elevated his porcelain paintings to a new level of artistic accomplishment.Literature comparison: A set of plaques, also painted with the Eight Immortals but in a different arrangement of pairs, is preserved in the China Ceramic Museum, Jingdezhen, albeit unpublished. The Muwentang Collection has a group of famille-rose plaques of different figural subjects painted in a related style by Wang Qi, attributed to the period between 1912-1925, published in Simon Kwan, Minguo ciqi (Chinese Porcelain of the Republic Period), Hong Kong, 2008, pls. 12-19. 王琦款一組四件粉彩八仙掛屏中國，民國，約1930年。木框為套裝原創。(4) 款識：王琦，煉丹濟世；王琦；逍遙，王琦畫印；王琦。 來源：北美古玩交易，據説購於當地舊藏。 品相：狀況良好，有磨損，琺琅輕微摩擦和剝落。一塊掛屏左上角有燒製缺陷。框架有使用痕跡、輕微裂痕和自然包漿。 尺寸：掛屏分別為55 x 17 厘米，總約59 x 21 厘米由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN EMBROIDERED SILK LADY'S WEDDING ROBE AND MATCHING SKIRT, MANGAO, QING DYNASTYChina, 19th century. Finely woven in silk and gold-wrapped threads with ten fierce five-clawed dragons pursuing flaming pearls amid interlocked lingzhi-shaped clouds, auspicious and Daoist symbols, and flying cranes, all above the terrestrial diagram and lishui stripe separated by further clouds and crashing waves, interspersed by Buddhist symbols and precious objects. The collar and sleeve ends decorated with floral and foliate designs, the cuffs of blue silk similarly decorated with qilin, dragons, phoenixes, and Shou characters.Provenance: An important private collection of an American connoisseur and collector of Chinese robes, and thence by descent in the family. Condition: Very good condition with minimal wear and soiling, few loose threads and minor pulls, small splits. The interior of the robe relined.Dimensions: Length 110.5 cm, Width 147 cm (across sleeves); Skirt length 189 cm, Waist 113.5 cm The bright yellow skirt is similarly woven with eight phoenixes and four five-clawed dragons, all above terrestrial diagrams and lishui. The hems with river landscapes. (2)Chinese wedding robes center around themes of good luck and happiness. The dragon, phoenix, and red and golden colors are thought to bring good luck and happiness, hence they have been indispensable elements in Chinese wedding dresses for ages. The mangao was a type of yuanlingshan fashioned in the style of the Ming dynasty which was red in color and was once worn by the Han women as a court robe. Later this style of clothing was only worn on a brides wedding day, since the bride was regarded as an 'empress for the day.' Bridal clothes were thus marked with imperial symbols. Bridal attire was the most prestigious dress women wore, hence Han women were often depicted wearing these garments in the posthumous portraits created for family rites honoring their ancestors.Literature comparison: Compare a related wedding robe, in the Minneapolis Institute of Art, accession number 78.71.2, illustrated in Robert D. Jacobsen's book Imperial Silks, Ch'ing Dynasty Textiles in The Minneapolis Institute of Arts, Vol. I, 2000, pp. 575. Compare a related robe, in the Mactaggart Art Collection, University of Alberta Museums, accession number 2005.5.195, illustrated by John E. Vollmer, Dressed to Rule: 18th Century Court Attire in the Mactaggart Art Collection, 2007, pp. 48. See also a hanging scroll with the portrait of a Han woman wearing a wedding robe, dated late 19th century, in the Mactaggart Art Collection, University of Alberta Museums, accession number 2004.19.78.1, illustrated ibid., p. 49.Auction result comparison: Type: Closely related Auction: Christies London, 17 May 2013, lot 1291 Price: GBP 10,625 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Red Manchu Summer Gauze Wedding Robe, 19th century Expert remark: Note the identical purpose of this robe and compare the red color, dragon motif, and lingzhi clouds. Note the lack of a skirt. 清代刺繡婚禮女袍中國，十九世紀。以絲金線精心刺繡而成，紅地十隻五爪龍在如意祥雲戲珠，暗八仙與飛鶴紋理，下方江崖麗水紋。領口和袖口飾有花卉和葉形圖案，藍色絲綢袖口同樣飾有麒麟、龍、鳳、壽字。 來源：重要美國鑑賞家和中國長袍收藏家的私人收藏，並在同一家族傳承。 品相：狀況非常好，少量磨損和污垢、鬆線，有小裂口。長袍的內部有重新襯裡。 尺寸：長 110.5 厘米, 寬 147 厘米(兩袖之間); 裙長 189 厘米, 胸圍113.5 厘米文獻比較： 比較一件相近的囍服，收藏於明尼亞波利斯藝術館，館藏編號78.71.2，見Robert D. Jacobsen，《Imperial Silks，Ch'ing Dynasty Textiles in The Minneapolis Institute of Arts》，卷I，2000年，頁575。比較一件相近的囍服， Mactaggart Art 收藏，亞伯達大學博物館，館藏編號2005.5.195，見John E. Vollmer，《Dressed to Rule: 18th Century Court Attire in the Mactaggart Art Collection》，2007年，頁48。一件十九世紀末漢人女性囍服，Mactaggart Art收藏，亞伯達大學博物館，館藏編號2004.19.78.1，見上書，頁49。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年5月17日，lot 1291 價格：GBP 10,625（相當於今日EUR 15,500） 描述：十九世紀紅地滿州夏季薄紗囍服 專家評論：請注意喜事專用正紅色、龍紋和靈芝雲紋。請注意沒有裙。
A PAIR OF LARGE RUBY-GROUND FAMILLE ROSE BUDDHIST EMBLEM ALTAR ORNAMENTS, QING DYNASTYChina, 19th century. Each finely modeled and enameled in brilliant tones in the form of an open worked ruby-red medallion enclosing one of the Eight Buddhist Emblems (bajixiang), one the Parasol (san), representing spiritual authority, reverence, and purity, and the other the Vase (ping), symbolizing eternal harmony, the receptacle for lustral water, the nectar of immortality. The turquoise-glazed bases each with an iron red six-character seal mark da Qing Qianlong nianzhi.Provenance: Collection of Milton Drexel Rutherford (1894-1976), acquired in China between c. 1930 and 1940, and thence by descent within the same family. The storage boxes padded with Russian and Chinese newspaper clippings from the period. Each altar stand inscribed in black ink to the base, 'China'. Milton Drexel (Rex) Rutherford was a US veteran and engineer. He lived and worked in the city of Chicago, excavating the tunnels for the city's subway. His proliferate collection began when a client gifted him an artifact from eastern Asia igniting a passion for collecting Asian art, including Kangxi ceramics as well as Japanese metalwork and lacquers. Condition: Superb condition with expected old wear, minor rubbing and flaking to enamels, occasional light scratches. Small glaze touchups inherent to manufacture, and other firing irregularities. The boxes worn, soiled and with minor damages.Weight: 1,934 g and 2,020 Dimensions: Height 38.5 cm and 38.3 cm Each emblem sits atop a lotus pod with recessed seeds nestled in a lotus blossom raised on a stem of chevrons flanked by openwork curling leaves, the whole raised on a domed base neatly enameled on a ruby-red ground with lappets framed by bands of ruyi-heads and key-fret, lappets, and covered in turquoise enamel on the interior.Each with an old fitted wood stand, finely carved with lotus lappets between two key-fret bands, dating to the late 19th century.Each with an old compartmented storage box, dating ca. 1930-1949. (6)The present lot belongs to a group of important altar ornaments placed in temples and chapels in front of Buddhist deities. The complicated openwork panels required a manual dexterity in handling the clay and testify of the technical virtuosity of the Jingdezhen potters at the kilns in Jiangxi province. Richly painted in the famille-rose enamel palette, they reflect the eclectic and ornate style of the period. As a serious student and active practitioner of Tibetan Buddhism, the Qianlong Emperor (r. 1736-1795) commissioned thousands of ritual implements and sacrificial utensils to furnish the renovated and newly built monasteries and temples as well as the numerous chapels and shrines in the palaces in the Forbidden City, Yuanmingyuan summer palace and the Chengde summer residence. Religious objects formed also part of the presents offered to family and court members. He is known, for example, to have lavished these on his beloved mother, the Empress Dowager Xiaosheng (1691-1771), who was a pious Buddhist. They equally played an essential role in the interchange of gifts to honor religious and diplomatic relations with the Dalai and Panchen Lamas who came to Chengde to pay homage to the Emperor.A complete set of the bajixiang, similar in design to the present lot, can be seen on an altar in front of a statue of Manjushri, the Bodhisattva of Wisdom, in the Fanzonglou (Hall of Buddhism), a private chapel in the Forbidden City, see Qing gong Zang chuan fojiao wenwu/Culltural relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1992, pl. 99-1, where related sets of altar ornaments in gilt copper and silver gilt are also illustrated, pls. 138 and 139. A complete set of altar emblems is depicted in an official Court portrait, illustrated in Court Paintings of the Qing Dynasty of the Collection in the Palace Museum, Beijing, 1992, pl. 14, where the emblems are arranged on a low table in front of Emperor Kangxi holding a string of beads.Auction result comparison: Type: Related Auction: Christie's New York, 19 September 2007, lot 414 Price: USD 43,000 or approx. EUR 56,500 converted and adjusted for inflation at the time of writing Description: A pair of famille rose Buddhist emblem altar ornaments, Qianlong seal marks in iron-red and of the period. Expert remark: Compare the closely related form and decoration, with one of the emblems also being the parasol, as well as the Qianlong reign marks. Note the closely related size (38.1 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 April 2002, lot 535 Price: HKD 3,594,100 or approx. EUR 612,000 converted and adjusted for inflation at the time of writing Description: A magnificent set of eight famille rose Buddhist emblems, iron-red Qianlong four-character seal marks and of the period. Expert remark: Compare the closely related form, decoration, and Qianlong reign marks, albeit with four characters. Note the smaller size (24 cm) and that this lot comprises a complete set of eight Buddhist emblems. 清代一對大型寶石紅地粉彩佛教八寶供器中國，十九世紀。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Boardman (James). America, and The Americans, by A Citizen of the World, 1st edition, London: printed for Longman, Rees, et al, 1833, later endpapers, some marginal toning & spotting, later boards & morocco spine label, slightly rubbed to head & foot, 8vo, together with:Phillips (Henry), The True Enjoyment of Angling, 1st edition, London: William Pickering, 1843, portrait frontispiece, numerous articles of sheet music, period & later inscriptions to the front endpapers, some light toning & spotting, original embossed green cloth, very lightly rubbed to head & foot, 8vo, plusYoung (Robert), The Southern World. Journal of a Deputation from the Wesleyan Conference to Australia and Polynesia:..., 1st edition, London: Hamilton, Adams, and Co., 1854, front gutter cracked, some light marginal toning, original embossed cloth, slightly rubbed to head & foot, 8vo, and Lady Barker, A Year's Housekeeping in South Africa, new edition, London: Macmillan and Co., 1879, 9 monochrome illustrations, some light marginal toning, original decorated green cloth, spine lightly rubbed to head & foot, 8vo, plus other late 19th century travel & miscellaneous literature, all original cloth, some in dust jackets, G/VG, 8vo/4toQTY: (3 shelves)
Westwood (John Obadiah). Arcana Entomologica; or Illustrations of New, Rare, and Interesting Insects, 2 volumes, 1st edition, London: William Smith, 1845, 96 hand-coloured plates (numbered 1-95 & 68bis), some spotting, later cloth-backed boards, slightly rubbed and frayed on joints, 8vo, together with:Wood (W. & Westwood, J.O.), Index Entomologicus; or, a Complete Illustrated Catalogue... of the Lepidopterous Insects of Great Britain, new and revised edition, London: 1854, 59 hand-coloured plates, a little spotting, contemporary green half morocco over marbled boards, gilt-decorated spine, rubbed, large 8vo, plusKirby (William & Spence, William), An Introduction to Entomology... , 4 volumes, mixed editions (volume 1 4th edition; volume 2 3rd edition, volumes 3 & 4 1st editions), 1822-26, 30 engraved plates including some hand coloured, portrait frontispiece to volume 4, some spotting, bookplates of William Charles de Meuron, Earl Fitzwilliam, to front pastedowns, early 20th-century brown half morocco gilt by Zaehnsdorf, 8vo, plus other entomology interest by Samouelle, Westwood, Wood and Cuvier, all but one leather bound QTY: (12)
Pidsley (William). The Birds of Devonshire, 1st edition, London: W. W. Gibbings, 1891, coloured lithographic frontispiece by J. G. Keulemans, large folding map to rear (slightly spotted, short closed tear to lower left), original green pictorial cloth gilt, rubbed, 4to, together with: Rodd (Edward). The Birds of Cornwall and The Scilly Islands, London: Trübner & Co., 1880, monochrome portrait frontispiece of the author, folding map (large closed tear affecting image repaired with tape to front and rear), occasional spotting, original blue pictorial cloth, corners rubbed, spine faded, joints cracked, 4to, with D’Urban (William and Rev. Murray Matthew). The Birds of Devon, 1st edition, London: R. H. Porter, 1892, coloured lithographic frontispiece of Yes Tor, coloured lithograph plates and monochrome illustrations after photographs throughout, folding maps, original blue-green pictorial cloth gilt, some spotting, 4to, together with 15 other related works including Mansel-Pleydell’s The Birds of Dorsetshire, Ryves’s Bird Life in Cornwall, Rodd’s The Birds of Scilly, Hudson’s The Land’s EndQTY: (18)
Raleigh (Walter). The History of the World, in five books..., Whereunto is added in this edition, the life and tryal of the author, London: Printed for Robert White, T. Basset, J. Wright, R. Chiswell, G. Dawes and T. Sawbridge, 1677, additional engraved title with imprint dated 1676 and bearing early ownership inscription to upper margin 'Maria Susanne Westcott ... John Westcott ... 1677' (margins strengthened to verso), 'The Mind of the Front' leaf present (torn to upper outer blank corner and verso strengthened to foremargin), letterpress title in red and black, 6 double-page engraved maps (Sicily map with short repaired closed tear at foot of central fold) and 2 double-page engraved battle plans, without portrait plate, final leaf of index repaired to lower outer blank corner, some dust-soiling, toning to margins, occasional damp stains (mostly to initial leaves), few marks, early 20th-century bookplate of F. H. Milbank to upper pastedown, adhesive tape residue to inner hinge of front endpaper, 19th-century sheep, upper board detached, rubbed and wear, folio (36 x 22.5 cm)QTY: (1)NOTE:Wing R167.
Gätke (Heinrich). Heligoland as an Ornithological Observatory, the result of fifty years' experience, 1st edition in English, Edinburgh: David Douglas, 1895, portrait frontispiece, vignette title, early ownership inscription to front pastedown, lightly spotted, original black pictorial cloth gilt, lightly rubbed, 8vo, together with:Meinertzhagen (Dan, R. P. Horby). Bird Life in an Arctic Spring, London: R. H. Porter, 1899, frontispiece, black and white illustrations after photographs throughout, original pictorial green cloth gilt, some wear to spine, small 8vo, with[Wheelwright, Horace]. A Spring and Summer in Lapland, 2nd edition, London: Groombridge and Sons, 1871, 6 hand-coloured plates (including frontispiece), armorial bookplates of Ilam Hall and Henry Guinness to front pastedown and free endpaper respectively, preliminary leaves with small damp-stain to gutter, original red pictorial cloth gilt, spine reinforced, rubbed, 8vo, with Trevor-Battye's Ice-Bound on Kolguev (1895), Chapman's The Borders and Beyond (1924), Gitz-Johansen's The Birds of Greenland, and 3 others relatedQTY: (9)
Leighton (Clare). The Farmer's Year, A Calendar of English Husbandry, written and engraved by Claire Leighton, 1st edition, London: Collins, 1933, titled with wood-engraved vignette, and 12 full-page wood-engravings by Claire Leighton, each with printed title to reverse, pictorial endpapers, green pictorial endpapers, original green cloth gilt, oblong folio, together with:Drinkwater (John & Rutherston, Albert). Claud Lovat Fraser, London: William Heinemann, 1923, 40 monochrome and colour collotype plates including portrait frontispiece, front blank with contemporary inscription 'Presented to Henry G. Dowling in appreciation of his services in the artistic redecoration of my offices at the Holborn Empire Theatre Chas. Gulliver 1923', top edge gilt, remainder untrimmed, original black cloth, folio (limited edition 372/450 signed by John Drinkwater and Albert Rutherston)QTY: (2)
Leigh (Charles). The Natural History of Lancashire, Cheshire, and the Peak, in Derbyshire: With an Account of the British, Phoenician, Armenian, Gr. and Rom. Antiquities in those parts, 1st edition, Oxford: Printed for the author, 1700, contemporary ownership inscription in brown ink 'John Grosvenor, Oct 1700' to title (who is listed in subscribers list), further notation in the same hand to head of title relating to the cost of the book, engraved portrait frontispiece, double-page folding map with contemporary outline colour, 24 engraved plates, some preliminary leaves damp-stained, all edges sprinkled red, contemporary speckled Cambridge panelled calf gilt, red morocco title label, other spine compartments elaborately gilt, rubbed, lacking portion of headcap, folioQTY: (1)NOTE:Wing L975.
[Dugdale, William]. A Short View of the Late Troubles in England; Briefly setting forth, their rise, growth and tragical conclusion. As also, some parallel thereof with the Barons-Wars in the time of King Henry III. But chiefly with that in France, called the Holy League, in the Reign of Henry III. and Henry IV. late Kings of that Realm. To which is added a perfect narrative of the Treaty at Uxbridge in an. 1644, 1st edition, 2 parts in one, Oxford: Printed at the Theater for Moses Pitt, 1681, engraved portrait frontispiece, title with engraved vignette of the Sheldonian Theatre, Oxford, five pages of advertisements at end, some damp staining to fore-margins, contemporary calf, old manuscript title label, upper joint splitting, lower joint with short split at head, folioQTY: (1)NOTE:Wing D2492; ESTC R18097; Lowndes p.692."The hiatusses in the above collation gave rise to the conjecture that the Licenser had curtailed this work of it 'fair proportion,' but on comparing the printed book with the original manuscript, this supposition was found to be erroneous." (Lowndes). First published anonymously; later reissued under the name of Sir William Dugdale.
Jaeger (B. & Preston, H.C.). The Life of North American Insects, Published for the Author, Providence: Sayles, Miller & Simons, 1854, 6 hand-coloured plates and uncoloured portrait plate of Hans Sloane, some spotting, library name ink stamp to foot of title, original blind-stamped cloth, rubbed and partly faded, rebacked with remains of original spine relaid, white ink library number at foot of spine, 8vo, together with:Hudson (G.V.), New Zealand Moths and Butterflies, 1st edition, London: West, Newman & Co., 1898, 13 plates (2 plain and 11 colour lithographic) at rear, later ownership signatures and bookplates to front endpapers, upper inner hinges slightly cracked, original green cloth gilt, rubbed, 4to, plusEltringham (H.), African Mimetic Butterflies... , 1st edition, Oxford: Clarendon Press, 1910, 10 colour plates and folding map at rear, a little spotting and soiling, later prize label bookplate to front pastedown, original cloth gilt, rubbed and slightly soiled, rebacked with spine relaid, 4to, andTalbot (G.), The Fauna of British India, including Ceylon and Burma. Butterflies, 2 volumes, London: Taylor & Francis, 1939-47, 5 colour plates, 2 folding maps, slightly damp-stained at rear of volume 2, original cloth gilt, rubbed, spine of volume 2 faded, 8vo, plus other non-European mostly 20th-century butterfly interestQTY: (20)
* French playing cards. Gatteaux Empire design, unknown maker, 1811, 51 (of 52, without jack of clubs) stencil coloured wood engraved playing cards (French suits), single figure neo-classical named courts, variable toning and generally pale spotting (mainly to pip cards), plain versos, each card 83 x 55 mm, together with: Gatteaux portrait officiel, unknown maker, circa 1830s-1840s, a complete piquet pack of 32 stencil coloured wood engraved playing cards (French suits), single figure named courts, filigranes on king of diamonds (head of cockerel) and queen of spades (head of dog), jack of clubs with medallion dated 1816, all courts without fleur de lys (abolished 1830), variable toning and generally light spotting, jack of spades with some surface loss to right side, versos plain, each card 82 x 54 mm, plus: Gatteaux double-figure design, unknown maker, circa 1855, a complete piquet deck of 32 stencil coloured engraved (possibly electrotyped) playing cards (French suits), double-ended named courts, jack of clubs with complete medallion dated 1853, king of clubs probably with (indistinct) GALV HULOT on shields, lightly toned, scarce minor marks (mainly to pip cards), versos plain, square corners, each card 83 x 54 mm, 16 cards from each pack mounted with photo corners onto 3 display boards, encapsulated in clear plastic (none examined out of boards), the remainder in plastic bags, the boards 54.5 x 40 cmQTY: (3)NOTE:Provenance: Collection of Dudley Ollis.First item: Berry in The Playing Card vol XIII no 1 Aug 1984, p.21; Cary, FRA 359; Hoffman (1973) p.34 & illustrated plate 53b. Uncommon.Second item: Berry, Playing Cards of the World, [63] & [78]; Berry in The Playing Card vol XIII no 1 Aug 1984, pp.21-23; Cary, FRA 19 & 20; Hoffman (1973) pp.34-35 & illustrated fig.11. Third item: Berry, Playing Cards of the World, [65], [66] & [628]; Cary, FRA 25.
Churchill (Winston S.) Thoughts and Adventures, 1st edition, London: Thornton Butterworth, 1932, half-tone portrait frontispiece, maps and illustrations, light offsetting to half-title, light water stain to gutter of rear pastedown, original green cloth gilt, a little rubbed, 8vo, together with Blood, Sweat, and Tears, with a preface and notes by Randolph S. Churchill, 1st edition, 2nd impression, New York: G. P. Putnam's Sons, 1941, half-tone portrait frontispiece, small previous owner ink stamp and signature, top edge blue, original red cloth gilt, dust jacket, small chips and tears, 8vo, plus Curzon (George Nathaniel, Marquess Curzon of Kedlesteone). British Government in India. The Story of the Viceroys and Government Houses, 2 volumes, London: Cassell and Company, 1923, photogravure frontispieces, half-tone illustrations, a little minor spotting, top edge gilt, original blue half morocco gilt, volume I spine slightly rubbed at foot, 4to, Edition de Luxe 26/500, plus others by Winston Churchill, including 1st editions The Unrelenting Struggle, 1942, The End of the Beginning, 1943, The Dawn of Liberation, 1945, The Great War parts 1-7 only (of 26), 1933, The Second World War, 1948-54, and The Island Race, 1964QTY: (44)
Taylor (Jeremy). The Great Exemplar of Sanctity and Holy Life according to the Christian Institution..., 4th edition, London: J. Flesher for Richard Royston, 1667, engraved portrait frontispiece, additional engraved title, letterpress title in red and black, 10 engraved plates (7 folding), armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedown, contemporary mottled calf, gilt decorated spine, upper joint split, spine and extremities rubbed and worn, folio (Wing T345), together with:[Downame, John, attributed]. Annotations Upon all the Books of the Old and New Testament, 2 volumes, London: Printed by John Legatt, 1651, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedowns, contemporary calf, contrasting morocco labels to spines (some lacking), joints cracked, some wear, folio,Hall (Joseph). The Works of Joseph Hall B. of Exceter. With a Table newly added to the whole Worke, 2 volumes, London: Printed by John Haviland, 1628 [-1661], general title to first volume within woodcut border with armorial bookplate of Sir Thomas Cave Bt. of Stanford Hall, Leicestershire to verso, numerous divisional title pages, title to second volume within woodcut border and entitled 'Contemplations upon the historie of the New Testament' with imprint London: Printed by James Flesher, 1661, last two leaves in second volume detached, frayed and with few short closed tears, armorial bookplate of Eus[ebiu]s. Horton (of Catton Hall, Derbyshire) to upper pastedowns, contemporary calf, contrasting morocco labels to spines (volume number label to vol. 2 lacking), worn to head and foot of spines, second volume with upper joint split and lower board detached, folioQTY: (5)
Mosley (Seth Lister & Frederick Ormrod). An Account of the Birds of the Huddersfield District, 1st edition, [Huddersfield]: issued privately to subscribers only, [1912-15], halftone portrait frontispiece, 39 hand-coloured lithographic plates, 37 hand-coloured lithographic maps of bird distributions, Liverpool Free Public Museum stamps to front pastedown and one text leaf (not affecting any plates), some plates with tissue-guards, occasional light toning, contemporary red cloth gilt, lightly rubbed, 8voQTY: (1)NOTE:Ballance p. 341; Nissen IVB 651; Wood p. 473; not in Mullens & Swann or Zimmer. 'This rare work was printed by the authors on a hand-press and issued in 20 parts, the 40 "crayon-watercolour plates" being prepared by a "new hand-process". The maps show the distributional areas of certain species - altogether a creditable and useful treatise on local ornithology' (Wood). While Ballance, Nissen and Wood each cite 40 plates and 40 maps, the British Library cites 38 plates, and the maximal collation otherwise traced at auction is a copy with the frontispiece, 39 plates and 38 maps (in 2013), in addition to two copies with the frontispiece, 39 plates and 37 maps, and two more copies with 39 plates and 37 maps but the frontispiece unmentioned.
Moule (Thomas). The English Counties Delineated; or, A Topographical Description of England Illustrated by a Map of London and a complete series of County maps..., 2 volumes, George Virtue, 1837, engraved portrait frontispiece of William IV, printed title and an additional decorative title to volume 2, folding engraved map of England and Wales with short handling tear, additional map of England and Wales on four sheets, comparison plate, large folding map of London (with a split along an old fold) and a folding map of the Metropolitan Boroughs of London and 51 engraved county maps and city plans, a few folding, all with contemporary outline colouring, one uncoloured engraved plate, occasional staining, marbled endpapers, contemporary half calf with gilt decorated spines, rubbed at extremities, 4to QTY: (2)
M'Clintock (Francis). A Narrative of the Discovery of the Fate of Sir John Franklin and his Companions, 1st edition, London: John Murray, 1859, 3 folding maps, folding facsimile letter, illustrations, some spotting at front, previous owner signature, endpapers renewed, contemporary half morocco gilt, joints rubbed, 8vo, together with Peary (Robert E.) Northward Over the "Great Ice". A Narrative of Life and Work along the shores and upon the interior ice-cap of Northern Greenland in the years 1886 and 1891-1897, 2 volumes, 1st UK edition, London: Methuen & Co., 1898, portrait frontispieces, half-tone illustrations, some toning to endpapers, top edge gilt, original blue cloth gilt, upper covers with small vignettes blocked in silver, one or two tiny indentations to edges, 8vo, with others including The Sea Lions: or, the Last Sealers, by J. F. Cooper, 1854, W. J. Gordon's Round About the North Pole, 1907, Heroes of the Polar Seas. A Record of Exploration in the Arctic and Antarctic Seas, by J. Kennedy Maclean, 1910, J. Gordon Hayes' The Conquest of the North Pole, 1934, The Conquest of the Arctic, by Louis Segal, 1939 and 36 issues of The Polar Record periodical, 1960's-2000'sQTY: (59)
* Du Maurier (George, 1834-1896). Happy Thoughts (What Shall we do with our Boys), Oct 1886, brown ink, depicting three well dressed gentlemen standing together, one holding a newspaper, text underneath, signed and dated 'Oct 86' to lower right, mount aperture 21.5 x 13 cm, framed and glazed (39 x 26.4 cm), together withBrowne (Hablot K., 'Phiz', 1815-82). Raising a Glass, pencil and watercolour, an original illustration depicting a large man sitting in a kitchen raising a glass with one arm, a younger man sitting to his right and a lady standing near a doorway, sheet size 10.5 x 9.5 cm, gilt plaque with 'Phiz 1830' to frame, framed and glazed (21.5 x 18.5 cm), plus 6 other prints, oil and watercolour, subjects comprising: abstract, topographical, architectural and portrait, all framed and glazed, various sizesQTY: (8)
Mathew (Rev. Murray A.). The Birds of Pembrokeshire and its Islands, 1st edition, London: R. H. Porter, 1894, 3 photographic plates, 2 folding maps at rear, Large paper copy, original green cloth gilt, 4to, together withCardiff Naturalist's Society. The Birds of Glamorgan, 1st edition, Cardiff: South Wales Printing Works, 1900, all edges gilt, original dark green cloth gilt, a little marked to edges, 4to, plusBull (Henry Gaves). Notes on the Birds of Herefordshire, 1st edition, London: Hamilton, Adams and Co., Hereford: Jakeman & Carver, 1888, photographic portrait frontispiece, some spotting to title, original decorated blue cloth, rubbed, 8vo, and other Welsh ornithology interest including Mathew, The Birds of Pembrokeshire (standard copy), A. G. Forrest, a Handbook to the Vertebrate Fauna of North Wales, 1919, E. Cambridge Phillips, The Birds of Breconshire, 1899, H. E. Forrest, The Vertebrate Fauna of North Wales 1907, T. R Phillips, The Breconshire Border between Wye and Usk with Notes including A First Flora of Breconshire, 1926, Wilfred Neill Phillips, The Birds of Breconshire 1948 (signed by author to title), Glamorgan County History, vol I, Natural History, edited y W. M. Tattersall, 1936 etc., all original cloth, mostly 8voQTY: (12)
* Gillray (James, after). A collection of ten caricatures, published in 'London und Paris', early 19th century, engraved hand-coloured caricatures, old folds, one (The King of Brobdingnag and Gulliver) uncoloured and laid on later card, one duplicate, various sizes and condition, together with a hand-coloured slightly later issue of 'A Pair of Polished Gentlemen' 190 x 110 mm, with Turner (Charles). Mr. James Gillray, H. Humphrey, 1819 [but slightly later impression], uncoloured mixed method engraved portrait, some creasing, 390 x 300 mm QTY: (12)NOTE:The prints consist of. The Kitchin below or Beelzebub going to Supper, The King of Brobdingnag and Gulliver, Destruction of the French Gun Boats - or - Little Boney & his Friend Talley in High Glee, A Morning Ride, Preliminaries of Peace (2 copies), The First Kiss of these Ten Years, The Flying Sword run Mad, The Nursery - with Britannia reposing in Peace, Dilettanti Theatricals - or - a Peep at the Green Room [and] A Pair of Polished Gentlemen.
Saalmuller (Max). Lepidopteren von Madagascar. Neue und wenig bekannte arten zumeist aus der Sammlung der Senckenberg'schen naturforschenden gesellschaft zu Frankfurt am Main unter Bertucksichtigung der gesammten Lepidopteren-Fauna Madagascars, 2 parts in one volume, Frankfurt: Selbstverlag der Gesellschaft, 1884-91, additional chromolithograph title for first part, portrait frontispiece of the author to second part, 14 chromolithograph plates, original half burgundy cloth over boards, small closed tear at foot of spine, light corner wear (one bumped), 4toQTY: (1)NOTE:Nissen ZBI 3544.
Cleveland (John). The Works of Mr. John Cleveland, containing his Poems, Orations, Epistles, collected into one volume, with the Life of the Author, London: R. Holt for Obadiah Blagrave, 1687, engraved portrait frontispiece, armorial bookplate of the Jollife family to upper pastedown, contemporary panelled calf, rebacked preserving original spine, small 8vo, together with:Fenelon (Francois de Salignac de La Mothe). The Maxims of the Saints explained, concerning the interiour life. By the Lord Arch-bishop of Cambray, &c, London: H. Rhodes, 1698, armorial bookplate of Charles Lord Alaynard to upper pastedown, contemporary speckled calf, 12mo, Norris (John). A Collection of Miscellanies, consisting of Poems, Essays, Discourses, and Letters, Oxford: Printed at the Theater for John Crosley Bookseller, 1687, foremargins of few initial leaves with repaired worming, contemporary calf, rebacked, 8vo,Subligny (Sieur de). La fausse Clelie: Histoire Francoise galante et comique, new edition, Amsterdam: Jaques Waguenar, 1672, additional engraved title, light dust-soiling, near contemporary vellum, 12mo, and two othersQTY: (6)
Galilei (Galileo). Opere di Galileo Galilei ... Nuova edizione coll'aggiunta di varj trattati dell'istesso autore non piu? dati alle stampe. [Edited by Tommaso Buonaventuri], 3 volumes, Florence: Gio. Gaetano Tartini, e Santi Franchi, 1718, half-titles present, engraved portrait of Galileo frontispiece and additional title in volume 1 (printed in red and black and with engraved vignette of Florence), woodcut initials, head- and tailpieces, woodcut diagrams and illustrations, bound without folding engraved plate in volume 1, repaired closed tear to Q6 in volume 3, occasional toning and damp stains to upper and lower margins of few leaves (generally in bright clean condition), edges untrimmed and mostly uncut, original limp paper covers, spine of first volume with small area worn, covers rubbed, 4toQTY: (3)NOTE:Cinti 170; Gamba 483; Riccardi i, 520.The second edition of the works of Galileo. Volumes I-II are a reprint of the Bologna edition of 1655-1656; volume III consists of previously unpublished materials.
Curtis (William). Lectures in Botany, as Delivered in the Botanic Garden at Lambeth... arranged from the manuscripts in the possession of his son-in-law, Samuel Curtis..., 3 volumes in one, London: printed for H. D. Symonds and Curtis, 1805, engraved portrait frontispiece, 119 hand-coloured engraved plates, occasional light spotting and toning, contemporary half calf gilt, some worming to spine, rubbed with some edge wear, 8vo, together with Curtisw (John). British Entomology; Being Illustrations and Descriptions of the Genera of Insects found in Great Britain and Ireland, volumes I & II (Coleoptera) only (of 8), London: printed for the author, 1823-40, 256 hand-coloured engraved plates, some detached, a little minor spotting and toning, previous owner inscription, contemporary cloth gilt, a little rubbed with some fading and stains, 8vo QTY: (3)
* French playing cards. Lyon pattern, type III, Lyon: Delaunay, circa 1765, a deck of 24 stencil coloured woodcut playing cards (French suits), probably reduced from a piquet pack of 32 cards for a specific game, comprising 4 suits of 6 (3 courts, ace, 9 & 10), single-figured courts, jack of clubs with LYON, jack of spades with DELAUNAY, lightly toned, scarce minor marks or spots, plain versos, each card 84 x 56 mm, 16 cards mounted with photo corners onto a display board, encapsulated in clear plastic (not examined out of board), the remainder in a plastic bag, the board 54.5 x 40 cmQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Berry, Playing-Cards of the World, French 555; Cary, Fra 80-88; Mann, All Cards on the Table, pp.121-122 & #165; The final changes from the Lyon pattern type II to type III were the addition of an orb with surmounting cross for the king of clubs, and fans for the queens, which according to Sylvia Mann occurred in 1761. This pattern declined when the portrait unifie was established nationally in 1780.
Camden (William). Britannia or a Chorographical Description of the Flourishing Kingdoms of England, Scotland and Ireland and the islands Adjacent..., Enlarged by the Latest Discoveries by Richard Gough, 4 volumes, John Stockdale, 1806, portrait frontispiece of William Camden, title page with near-contemporary ownership signature, half-titles to subsequent volumes, 5 plates of coins, 1 folding table, 100 uncoloured engraved plates (including 8 folding) and 56 engraved maps (51 with contemporary hand-colouring) a few maps trimmed to the neatline, occasional spotting, ownership stamp of Robert Montgomery of Conway to the front pastedowns, near-contemporary half vellum gilt with contrasting morocco labels to spines, bumped and a little stained, folioQTY: (4)NOTE:Chubb. CCLXXII. Unusual with contemporary colouring.
Euripides. Euripidis quae extant omnia..., 2 volumes in one, Cambridge: Johannis Hayes, 1694, 2 engraved portrait plates, some browning and spotting, contemporary vellum, rebacked, folio, together with:Diodorus (Siculus). The Historical Library of Diodorus the Sicilian. In fifteen books. The first five, contain the antiquities of Egypt, Asia, Africa, Greece, the islands, and Europe. The last ten, an historical account of the affairs of the Persians, Grecians..., London: Awnsham and John Churchil, 1700, one folding engraved map only of two (missing map provided in facsimile), one single-page engraved map, some browning and spotting, armorial bookplate of Lord Sinclair to upper pastedown and early ownership signature Humphry Hardwick dated 1702, contemporary panelled specked calf, rebacked, folio,Fuller (Thomas). The Church-History of Britain; from the Birth of Jesus Christ, until the Year M. DC. XLVIII., 1st edition, London: John Williams, 1655, general title trimmed to ruled border and lined to verso, folding engraved plan (repaired), double-page and single-page armorial plate, text bound out of sequence throughout volume, modern dark brown sheep, folio QTY: (3)
Lilford (Thomas L Powys). Coloured Figures of the Birds of the British Islands, 8 volumes (including index volume), 2nd edition, London: R.H. Porter, 1891-97, photogravure portrait frontispiece, 422 chromolithograph or hand-coloured lithographed plates by A. Thorburn and J.G. Keulemans (including "Extra Plate [of Turtle Dove], not issued by Lord Lilford" in volume 4), index volume containing original paper wrappers bound-in, occasional spotting, all mounted on guards, top edge gilt, original publisher's crushed red half morocco gilt by R.H. Porter, lightly rubbed, large 8voQTY: (8)NOTE:Nissen IVB 563; Anker 308; Fine Bird Books, p.91; Wood, p.436; Zimmer, p.399.
Earl of Selkirk. Observations of the Present State of the Highlands of Scotland, with a view of the causes and probable consequences of emigration, 1st edition, London: printed for Longman, Hurst, Rees, and Orme, 1805, front endpaper inscription by the author to the Duke of Somerset, some light spotting & toning, contemporary mottled full calf, boards & spine very lightly rubbed, 8vo, together with:Gilpin (William), Three Essays: on Picturesque Beauty; on Picturesque Travel; and on Sketching Landscape:..., 2nd edition, London: printed for R. Blamire, 1794, 8 monochrome plates, some light spotting & minor toning, contemporary blue boards, heavy loss to the spine, boards slightly rubbed & spotted, 8vo, plusAiken (John), A View of the Character and Public Services of the late John Howard, Esq., 1st edition, London: printed for J. Johnson, 1792, portrait frontispiece with some water marks & spotting, period inscription & blind stamp to the head of the title page, some light spotting & offsetting, gutters cracked, later calf spine retaining contemporary mottled full calf boards, slightly rubbed, 8vo, and other miscellaneous topography, history, & natural history reference, some leather bindings, some original cloth, G/VG, 8vo/4to, all contained within a circa1900s black painted wooden 6 drawer glass fronted specimen cabinet (39cm x 43cm x 137.5cm)QTY: (Approximately 40 plus a cabinet)
Plaw (John). Sketches for Country Houses, Villas, and Rural Dwellings; Calculated for persons of moderate income, and for comfortable retirement. Also some designs for Cottages, which may be constructed of the simplest materials; with plans and general estimates, 1st edition, London: J.Taylor, 1800, 42 aquatint plates & plans printed in sepia, tissue guards, 2 leaf folding publisher's book list bound-in at rear, occasional scattered spotting, edges untrimmed, additional plate from another similar work tipped onto front free endpaper, and with a pen and ink sketch entitled 'Elevation towards the Park of the entrance Lodge for Laxton Hall by ... H. & A. Repton 1806', drawn on wove paper with old folds (18.5 x 22.8 cm), contemporary marbled boards, upper board detached and lacking spine, slim 4to (Abbey Life 49), together with:[Disney, John]. Memoirs of Thomas Brand-Hollis, Esq., F. R. S. and S. A., London: Printed by T. Gillet, 1808, engraved portrait frontispiece, engraved vignette to title and 9 plates (one double-page), some worming to foremargins, occasional spotting and few other marks, edges untrimmed, original boards, modern paper label to upper board, spine worn with loss, cover scuffed and marked, slim 4to QTY: (2)
Pennant (Thomas). A Journey from London to the Isle of Wight, 2 volumes in one, London: Printed at the Oriental Press, by Wilson & Co. for Edward Harding, 1801, half-titles, frontispiece to each volume of folding engraved maps with contemporary outline colouring, preface, advertisements and index, 47 uncoloured engraved plates, including one folding (Brighton Pavilion), Plate of William Chillingworth misbound, some spotting throughout, bookplate of N. Webb Esqre. 24 Portland Place, contemporary half calf gilt, bumped and a little worn, spines faded and stained, 4to, together with Gastineau (Henry). Wales Illustrated, in a Series of Views, London: Jones & Co., 1830, two engraved vignette titles, 200 engraved views on 100 plates, tissue guards, occasional light spotting, contemporary half calf with gilt decorated spine, bumped and a little frayed at extremities, 4to, with Gathorne-Hardy (The Hon. A. E.). Autumns in Argyle-Shire with Rod and Gun, Longmans, Green and Co. 1900, additional half-title, dedication, preface and index, 8 uncoloured gravure plates after Archibald Thorburn, very slight spotting, modern half burgundy morocco gilt, 8vo, plus Lumsden (James & Son, publishers). Lumsden & Son's Steam Boat Companion and Stranger's Guide to the Western Islands & Highlands of Scotland..., 1828, letterpress title, 24 uncoloured engraved views on 6 plates, 3 uncoloured engraved folding maps at rear, contemporary burgundy morocco with ornate gilt title to the upper siding and spine, bumped and a little worn, upright 8vo, and Lumisden (Andrew). Remarks on the Antiquities of Rome and its Environs: Being a Classical and Topographical Survey of the Ruins of that Celebrated City, 1st edition, W. Bulmer & Co. 1797, portrait frontispiece, large engraved folding map of the environs of Rome, with a short handling tear, and 10 further engraved maps and plates (including 3 folding) occasional offsetting and spotting, contemporary speckled calf, re-backed, bumped and a little worn, 4toQTY: (6)
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