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Preisdatenbank abonnierenVines (Richard). The Hearse of the Renowned, the Right Honourable Robert Earle of Essex and Ewe..., As it was Represented in a Sermon, Preached in the Abbey Church at Westminster, at the Magnificent Solemnity of His Funerall, Octob. 22. 1646, Published by Order of the House of Peeres, Printed by T.R. and E.M. for Abel Roper, 1646, lacks first leaf facing title (A1, Order to print), 38pp., some browning and spotting, modern qtr. cloth, slim 4to. Wing V553. (1)
Disney (Walt). Treasures of Disney Animation Art, Preface by Robert E. Abrams, Introduction by John Canemaker, New York, Abbeville Press, 1982, col. illusts. throughout, orig. cloth gilt in d.j., oblong folio, together with The Disney Studio Story, by Richard Hollis and Brian Sibley, 1988, col. and b&w illusts. throughout, orig. printed cloth in d.j., folio, plus Walt Disney’s Fantasia, by John Culhane, New York, Harry N. Abrams Inc., 1983, col. and b&w illusts. throughout, orig. print cloth gilt in d.j., folio, plus fifteen other Disney related (18)
* Great Britain, Australia, etc. A pair of photo albums, late 19th c., containing mounted albumen print views of Britain, Spain, Canada, the smaller album containing some views of Ceylon, Sydney and other views in Australia, St. Helena, etc., various sizes, contemp. half morocco/morocco, rubbed, second album with covers detached and backstrip deficient, both 4to (2)
* India. A group of twenty-four mounted albumen prints, c. 1870s and later, mostly approx. 20 x 25cm and similar, some mounted back to back, together with an album containing twenty-three mounted gelatin silver print and albumen print views of India and Burma, c. 1890s, many views and scenes in and around Naini Tal, a few family group portraits and one loose leaf with two images of Burmese interest, approx. 15 x 20cm and similar, some spotting and soiling throughout, six photos loosely inserted, contemp. half morocco, covers detached and spine deficient, oblong folio (approx. 30)
* [Jackson, William Henry, 1843-1942]. The Rocky Mountains - Scenes along the line of the Denver and Rio Grande Railway, c. 1885, mammoth albumen print showing the progress of locomotive 273 through a valley, some fading from margins and printed details in the negative now indistinct, original mount with printed caption beneath and logo at head, image 42 x 53cm, framed and glazed (1)
* Japan. A collection of approx. 100 mostly colour tinted albumen prints, late 19th c., the majority views, temples and some of people, mostly on old album mounts, a few mounted back to back and all but approx. twenty smaller format images including gelatin silver print snapshots are approx. 20 x 25cm or similar (approx. 100)
* Macpherson (Robert, 1811-1872). Facade of the Church of Santa Maria at Toscanella, c. 1860, mounted albumen print, somewhat faded, 40 x 31.5cm, together with Etruscan gateway at Perugia, c. 1860, mounted albumen print, somewhat faded, 40 x 31cm, photographer’s oval embossed stamp with pencil negative numbers 142 & 135 beneath, first mount lightly soiled, second mount heavily soiled at extremities and with several closed tears, together with four further mounted albumen prints with Macpherson stamps and pencil negative numbers, numbers 72 & 73 (2 copies), all bas-reliefs by Gibson, and 79 (from a painting by Ratti), plus two further mounted albumen prints of paintings and a Vatican sculpture of Antoninus, probably all by Macpherson, various sizes, mounts sl. soiled, plus a mounted albumen print of Venice by Ponti with embossed studio stamp to lower left corner, 24 x 35cm, mount sl. soiled (10)
* Macpherson (Robert, 1811-1872). Arch of the Goldsmiths, sometimes called the Arch of Septimius Severus, in the Forum Boarium, c. 1860, mounted albumen print, image 35.5 x 27cm, together with a more faded albumen print by Macpherson, Arch of the Consul Dolabella on the Celian Hill, c. 1860, 40 x 27cm, both with photographer’s oval embossed stamp on mount beneath, numbered 76 and 54 respec., first mount a little soiled at extremities, second mount creased and soiled (2)
* Military Officer. A hand-painted whole plate salt print of a military officer, c. 1850, the English officer seated with one hand on his sword, 19 x 14.5cm, oval mount in a leather desk frame with two hinged flaps by Sutton of Regent Street, somewhat rubbed and scuffed, catches no longer working, 24 x 20cm (closed), together with ten unrelated albumen prints of military groups and related (11)
* Miscellaneous photography, late 19th c., a group of three albums, the first containing mostly small format albumen print portraits and British views, c. 1860s, second including a small number of (mostly faded) West Africa albumen prints, late 19th c., plus an assortment of loose photographs loosely inserted, the third album containing cartes de visite, cabinet cards, pasted in family portraits, c. 1870, various bindings, some wear, 4to (3)
* Fenton (Roger, 1819-1869). The Reed Deep, River Ribble, [1858-59], albumen print, some fading, 235 x 290 mm, mounted on card, neat italic pencil title `The Reed deep` and `No 110` below image with photographer`s printed credit beneath, mount spotted, soiled and bruised with several closed tears outside of image, (see Valerie Lloyd, `Roger Fenton Photographer of the 1850s`, (1988), cat. 80), together with `On the Wye, the Wyndcliffe`, c. 1859, albumen print, some fading, 218 x 278 mm, mounted on thick paper with photographer`s printed credit beneath, mount spotted and soiled with small marginal closed tears, plus `View up the Esk, Roslin Castle`, c. 1856, arched top albumen print, some fading, 354 x 290 mm, mounted on card with neat italic pencil caption and `H. No. 42` beneath image, , mount spotted and soiled with small marginal closed tear to right margin, plus twenty unrelated miscellaneous mounted albumen prints incl. views of Middleham Castle, Genoa, Rome, mosques (two by E. Bechard), Algeria (two by C. Portier), an Arab tent, Yorkshire, etc. (23)
* Roman models. An album containing eight mounted albumen prints, c. 1870s, each a staged portrait including six of single subjects, approx. 22 x 18cm and similar, mounted one to a leaf, a pencil note at the front indicating they were purchased in Rome in 1874-5 by W. F. Witts, the remainder of the album containing approx. sixty mounted albumen print views of Italy and Britain including snapshot views, mostly identified in the negative on the mount, various sizes, contemp. half sheep, worn and lower cover det., folio (1)
* Taber (Isaiah). “The Grizzly Giant”, Marlposa Grove, Yosomite, Taber Photo, San Francisco, c. 1880, mammoth albumen print, photographer’s title, credit and number in negative, 51.5 x 39cm. This is an extraordinary photograph of Giant Sequoia trees in Marlposa Grove, California, some of which reach heights of over 300 feet. (1)
* Talbot (William Henry Fox). Salt print from calotype negative of Orleans Cathedral, as seen from the opposite tower (From Nature, 1843), mounted opposite p. 143 in The Art-Union, Monthly Journal of Fine Arts, vol. 8, 1846], image 16 x 20cm (clipped corners), faded as usual, printed caption beneath and printed patent label to mount verso, volume a composite of twelve monthly issues from the years 1842-46 with accompanying engravings and some ads., etc., one leaf of ads. at rear excised, occ. spotting, contemp. half morocco, worn, 4to (1)
* Zanzibar. Profile portrait of a seated Zanzibar slave, c. 1873, oval albumen print, 11 x 8cm, horizontal crease, tipped-onto card with modern pencil note and date at foot, together with five similar but somewhat faded and with horizontal creases, three tipped-onto later mounts with modern captions dating the photographs to 1873, subjects being an arab priest, “a native of the west coast of Africa” and three further head and shoulders portraits of arabs, together with six other contemporary but unrelated India interest albumen prints, including four carte de visite size portraits (12)
* Landau (Ergy, 1896-1967). Unidentified woman dancing in the style of Isadora Duncan, c. 1920, vintage sepia toned gelatin silver print, photographer’s name in the negative, 21 x 16cm, signed in pencil on mount beneath “Landau, B”pest”, photographer’s Budapest Studio wetstamp to mount verso (1)
* Mitchell (Bernard, 20th c.). A collection of eighteen portraits of artists in Wales, 1990-97, gelatin silver print portraits of Joseph Herman, Kyffin Williams, Ernest Zobole, John Knapp Fisher, Shani Rhys James, Peter Prendergast, Will Roberts, etc., including two dups., all signed and identified with name of subject, place and date to lower margin or written vertically to right hand margin of portrait format photographs, 30 x 24cm or the reverse, plus two gelatin silver prints of John Piper in his studio by Jan Goulding, c. 1983, 25 x 20cm and the reverse, unsigned (18)
* Morath (Inge, 20th c.). Italian procession, n.d., gelatin silver print, photographer’s credit stamp to verso, 25 x 17cm, tipped onto mount, together with Haas (Ernst, 20th c.), a German politician (?) shaking hands with numerous fans, gelatin silver print, photographer’s name stamp and other credit marks to verso, 18 x 25cm (2)
* Oxley (Alan, 20th c.). Muhammad Ali, 1980, carbon pigment print by Jon Cone printed 2009, image size 30.5 x 45.5cm, signed and numbered (3/40) in pencil to wide lower margin and additionally signed, titled and numbered to verso. Taken at Chris Dundee’s 5th Street Gym on Miami Beach in January 1980 and showing a perspiring Muhammad Ali during preparations for his upcoming fight (October 1980) against Larry Holmes. (1)
* Sato (Hiro, born 1951). Nude in the wood, c. 2000, vintage gelatin silver print, signed on the reverse, matt mount with printed label to verso, image 20 x 25cm, together with Mutter (Scott, 1944-2008), Shopping mall/cathedral, photo montage silver print, sl. crease on surface, 22 x 17.5cm, matt mounted, with pencil identification (signature?) to mount verso plus unrelated photo portraits by Joe Cox, Claudino Cocilio and two photographs of Mussolini’s body in the morgue (7)
* [Uhlenhuth, Eduard]. A large royal party at Coburg on the occasion of the wedding of Princess Victoria Melita and Prince Ernst Ludwig of Hesse, 9th April 1894, platinum print on board in old dampstained and chipped window mount, image size 28 x 24cm. The thirty-three people featured in this photograph include Kaiser Wilhelm II, Queen Victoria, the Empress Frederick of Germany, Tzar Nicholas II and his fiancee Princess Alix of Hesse, her sisters Princess Louis of Battenberg and Princess Henry of Prussia, the Grand Duchess Vladimir of Russia, the Prince of Wales, the Grand Duke Paul of Russia, Prince (later King) Ferdinand of Romania, the Grand Duchess Serge of Russia, Grand Duke Vladimir of Russia, Prince Alfred of Saxe-Coburg-Gotha, et al. The Royal Collection has a near-identical photograph taken on the same occasion showing some slight variations of head positions. (1)
* Korda (Alberto, 1928-2001). Camilo Cienfuegos in a Crowd of Guajiros in Havana, 26th July 1959, gelatin silver print, printed c. 2000, an aerial view showing revolutionaries on horses with raised rifles, smiles and straw hats, embossed stamp and Korda’s ink signature to lower margin, image size 24 x 17cm. On July 26, 1959, the anniversary of the assault on the Moncada and a new national holiday, Fidel invited guajiros from all over the islands to Havana. They arrived in their thousands with palm leaves in their hats and machetes in their belts. Camilo Cienfuegos, the Rebel Army’s Chief of Staff, rode at the head of the horsemen. With his easy smile and looking like Jesus out for a good time, he became the darling of Havana’s women, (Cuba by Korda, 2006). (1)
* Korda (Alberto, 1928-2001). El Quijote de la Farola (Don Quixote of the Lamppost), 1959, gelatin silver print, printed c. 2000, with photographer’s embossed stamp and signature to lower margin, touching image, image size 26 x 18.5cm. While Fidel was making his speech, this fellow scrambled up the streetlight like a cat, then settled astride the lights and calmly lit a cigarette. I called him ÒDon Quixote of the lamppostÓ, (Cuba by Korda, 2006). (1)
* Korda (Alberto, 1928-2001). Guerrillero Heroico, 1960, gelatin silver print, printed c. 2000, two embossed stamps and Korda’s ink signature to lower margin, image size 14 x 22cm, paper size 24 x 30cm. This is the uncropped landscape version with the profile of a male figure and leaves of a plant intruding at the edges of the scene. At the start of March 1960, more than a year after taking power, the French cargo vessel La Coubre from the General Transatlantic Company arrived in port at Havana. It was carrying a second load of munitions that the Cubans had succeeded in buying from Belgium, inspite of Washington’s opposition. But on March 4, two enormous explosions shook the city. The attack killed 81 port workers and wounded another 200. Fidel blamed the CIA and this carnage ended any hope of reconciliation with the United States. The next stage during the funeral service for the victims at Havana Cemetery, Korda was there for the newspaper Revolucion. He took photos of Fidel Castro during his angry speech, some of Che Guevara, and others of Jean-Paul Sartre and Simone de Beauvoire, the French intellectuals who had just arrived in Cuba. By reflex, I snapped twice - one horizontal shot and one vertical. I didn”t have enough time to take a third photo, as he stepped back discreetly into the second row. Back in my studio, I developed the film and made a few prints for Revolucion. Because there was a head showing over his shoulder in the vertical shot, I cropped the horizontal photo. The editor-in-chief chose to publish a photo of Fidel on the front page instead, but I liked the Che portrait so much I later made a bigger print, 11 x 14 ins, and hung it in my studio” (Cuba by Korda, 2006). (1)
* Korda (Alberto, 1928-2001). Guerrillero Heroico, 5th March 1960, gelatin silver print, later printing, small black Korda stamp to verso lower right, signed pencil inscription by Korda dated 1986, “El pudiera haber dicho: ÒSolo se ve con el corazon. Lo esencial es invisible para los ojos.Ó Tu lo sabes.”, 25 x 20cm. The inscription translates as: “It could be said: ÒOnly the heart can see essential things which are invisible to the eyes.Ó You know it is so.” Famously, Korda made no money from this photograph, the most iconic portrait photograph of the 20th century. A special association item. (1)
* Korda (Alberto, 1928-2001). Guerrillero Heroico, 5th March 1960, gelatin silver print, later printing, signed in red ink by the photographer in wide (3.5cm) margin at foot, with later additional signed inscription in Spanish in blue ballpoint pen to from one of Che’s sons to two friends, “Para Miriam y Nicolas con el mas grande aprecio y afecto di Ernesto Guevara Lynch”, dated in Havana, 28th July 1984, no marks or inscriptions to verso, a few minor surface marks, image size 19.5 x 17.5cm. Besides the fine and unusual red signature of Korda this is additionally signed by Che’s fourth, and youngest, son by his wife Aleida March. Ernesto Guevara March (born 1965) has here used his father and grandfather’s family name of Lynch - Che’s father had noted of his son that the blood of Irish rebels flowed in his veins.. The dedicatees Nicolas and Miriam are the real names of Alberto Pedro Torriente (1954-2005) and his wife Miriam Lezcano (born 1943). Torriente was a Cuban playwright and actor whose most famous and performed play is “Manteca”. Together they founded Teatro Mio in Havana in 1987. (1)
* Korda (Alberto, 1928-2001, attrib.). Camilo Cienfuegos and another revolutionary in the Sierra Maestra, c. 1959, vintage gelatin silver print, showing the head and shoulders of Cienfuegos in profile, having a friendly conversation with another man on a horse, both wearing straw hats, pasted on card cut close to image border, 17 x 25.5cm (1)
* Korda (Alberto, 1928-2001). Fidel Castro leading a line of soldiers in the Sierra Maestra, 15th June 1962, vintage gelatin silver print with Korda and overlapping ink credit stamp to verso with pencil annotations, a few surface marks and sl. soiling to upper right corner, remains of adhesion marks to corner versos, 12.5 x 20.5cm (1)
* Korda (Alberto, 1928-2001). Fidel Castro at a press conference, early 1960s, vintage gelatin silver print, Castro with a peaked military cap with his left hand touching his sunglasses and standing with other men behind microphones with the legend “CMBF-TV”, a few minor marks and light crease to lower left corner, Korda Studios ink stamp to verso, 20 x 25cm (1)
* Korda (Alberto, 1928-2001). Fidel Castro playing baseball, 1960s, gelatin silver print showing Castro full length with peaked cap, striped trousers and baseball shoes standing with arms outstretched and pointing downwards beside a crouched and waiting catcher, ink stamp to verso, minor corner creasing, 18 x 25.5cm (1)
* Burri (Rene, b. 1933). Che Guevara smoking a cigar, 1963, copy gelatin silver print, somewhat creased and soiled, together with a head-shot portrait of Fidel Castro lighting a cigar, [possibly New York, 1959, photo by L.C. Rapoport], gelatin silver print, no markings to verso, approx. 17 x 23cm and the reverse (2)
* Castro (Fidel, b. 1926). Fidel and Raul Castro with Vilma Espin and Celia Sanchez, c. 1958, enlarged gelatin silver print of all four posing for the camera and smiling, left margin slightly bruised and creased in upper corner, tear with a little loss to lower right corner, no markings to verso (1)
* Cienfuegos (Camilo, 1932-59). Cienfuegos, Castro and other soldiers among crowds in Havana, 1959, vintage gelatin silver print, a few brown spots to the image and margins, wetstamp to verso with details completed in pencil, together with another gelatin silver print showing Cienfuegos smiling with right arm raised in a line with two other happy revolutionaries with smiling onlookers partly visible, a little spotted and soiled, small tear to blank margin upper left, old adhesion remains to verso, both approx. 19 x 23.5cm (2)
* Guevara (Ernesto Che, 1928-67). A crowd of smiling onlookers surround Che Guevara, Fidel Castro, Camilo Cienfuegos and Osvaldo Dortico, 1959, gelatin silver print, crease to right hand upper corner and two small pin holes to right border, 11.5 x 17cm, together with a copy photo of Che Guevara seated and reading with a cigar between his lips, original photo credit “Pergara”(?) indistinct to lower right corner, pencil note to verso identifying the location as Santa Clara, adhesion remains, 16 x 11.5cm (2)
* Guevara (Ernesto Che, 1928-67). Che Guevara seated informally with a lit cigar in one hand holding a tin on his knee with the other hand, early 1960s, vintage gelatin silver print, thin vertical crack in the emulsion near centre of photograph, short (1cm) splits to upper and left margins, adhesion marks to verso, 24 x 17.5cm (1)
* Oxley (Alan, 20th c.). Che Guevara no. 5, 1962, carbon pigment print by Jon Cone printed 2009, image size 38 x 56cm, signed and numbered (4/40) in ink to wide lower margin and additionally signed, titled and numbered in pencil to verso. “Che Guevara no. 5” is from the Alan Oxley Cuban Revolution Collection. It was originally shot for Life Magazine in Cuba in January 1962. The head and shoulders shot of Che was taken with him stripped to the waist and helping workers on a government housing project near Havana. At the time Guevara was industries minister and head of the Cuban National Bank. A much reproduced photograph from the Cuban Revolution which has been reproduced in books and magazines worldwide.. Alan Oxley (born 1934, Portsmouth, England) has been a photojournalist for more than 50 years and his images have been published in every major magazine in the world. He became renowned in the 1960s for his photographs of Fidel Castro and Che Guevara and he is now the sole surviving Life Magazine photographer of those who covered the Cuban Revolution. After the Revolution he joined Life Magazine as a contract photographer. In 1979, he joined Sipa Press in Paris and covered world news for them for ten years. He launched Compix Photo Agency in 1986. He retired from journalism in 2001 to work on a collection of photography. (1)
* Oxley (Alan, 20th c.). Che Guevara no. 7, 1962, carbon pigment print by Jon Cone printed 2009, image size 30.5 x 45.5cm, signed and numbered (3/40) in pencil to wide lower margin and additionally signed, titled and numbered to verso. “Che Guevara no. 7” was originally shot for Life Magazine in Cuba in January 1962. The photograph shows Che Guevara stripped to his waist and helping workers on a government housing project near Havana. (1)
* Oxley (Alan, 20th c.). Fidel Castro, 1962, carbon pigment print printed by Jon Cone in 2009, image size 38 x 56cm, signed and numbered (3/40) in ink to wide lower margin and additionally signed, titled and numbered in pencil to verso. From the Alan Oxley Cuban Revolution Collection. It was made for Life Magazine in Santa Clara, Cuba, in September 1962. (1)
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![* Fenton (Roger, 1819-1869). The Reed Deep, River Ribble, [1858-59], albumen print, some fading, 235 x 290 mm, mounted on car](http://lot-images.atgmedia.com/SR/10729/2795515/638-2010615113653_468x382.jpg)
![* [Uhlenhuth, Eduard]. A large royal party at Coburg on the occasion of the wedding of Princess Victoria Melita and Prince Er](http://lot-images.atgmedia.com/SR/10729/2795515/717-201065104419_468x382.jpg)
![* Ozon (Osvaldo). A jovial Fidel Castro with Che Guevara and his eldest daughter Aleida, [born 1960], 1st May 1964, vintage g](http://lot-images.atgmedia.com/SR/10729/2795515/780-201065104544_468x382.jpg)
