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Clement V (Pope). Clementinaru[m] materia cum capituloru[m] & titulorum numero : Clarissimus ex apostillis quisque titulus redditur. Labyrinthus glosarum per divisiones aperitur. Exponunt textum familiariter casus litterales. Medullas glosarum in harum margine spectare vales ... in prioribus deprauate conspiciebantur, [Paris]: Thielmann Kerver, [June 1519], cx, [6] leaves, title-page in red and black with text arranged as an acrostic giving 'Clementia' and with printer's device, large woodcut illustration to verso of title-page of a master and pupils, main text printed in double columns in red & black, woodcut crible? initials, index at rear with final blank (A6), imprint from colophon, occasional early underscoring and marginalia, light fraying to lower margins of initial leaves and few marks, bound with [Sexti libri materia cum capitulorum numero], two parts only of four (Extrauagantes .xx. Joha?nis .xxii. and Extrauagantes co?munes), [Paris]: Thielmann Kerver, [1513], woodcut printer's device to first leaf of each part, woodcut crible? initials, text in red & black, 18th century marbled endpapers with recent yellow cloth hinges, 18th century blind panelled sheep with gilt decorative motifs, rebacked, board corners worn, small 4to in 8sQTY: (1)NOTE:Clement V - Adams C 2130.

Budaeus (Gulielmus). Commentarii Linguae Graecae, Cologne, Johann Soter, 1530, [28], 595, [5] pages (AA-BB4,rr1-6,a-z6,A-Z6,Aa-Dd6), text in Greek and Latin throughout, title with large printed woodcut device (with Soter's pentagram device incorporating five individual letters in Latin, Greek, Hebrew and Ethiopic, encircled by the words 'Symbolum Sanitatis' within a decorative architectural outer border), near-contemporary ownership inscription at head 'Thos Weston: pre:- 14s 00d', minor soiling to title and first and last few leaves, woodcut initials, additional smaller printer's woodcut device to verso to final blank, additional ownership signatures to front blanks of 'Jo. Alexander' (late 16th or 17th century), and D. L. Cumming (20th century), early blind-panelled full calf, rubbed and a little wear to edges, joints partly cracked, folioQTY: (1)NOTE:Provenance: Thomas Weston (later 16th or early 17th century inscription to head of title); John Alexander (17th century); D. L. Cumming (20th century).Printing and the Mind of Man 60 (for the 1529 first edition). No copy of this edition by Soter located in the UK.French Renaissance humanist Guillaume Budé (1467-1540) was the most influential French scholar of the early 16th century. The Commentaries on the Greek Language first published in Paris a year earlier is 'a collection of lexicographical, philological, and historical notes, which formed the basis for the study of the Greek language in France. A monument of the New Learning, it was several times reprinted and gave Budé the reputation which is now commemorated in the Collection Budé series of modern reprints of Greek and Latin classics which now numbers more than 800 volumes. In his dedicatory preface to Francois I, the author reminds the King of his promise to establish a Royal College for the study of ancient languages, an appeal which led to the founding of the College Royal (also in 1530), today known as the Collége de France.

Lairesse (Gerard de). Groot Schilderboek, waar in de Schilderkonst in al haar deelen grondig werd onderweezen, ook door Redeneeringen en Printverbeeldingen verklaard; met voorbeelden uyt de beste konst-stukken der Oude en Nieuwe Puyk-Schilderen, bevestigd, 2 parts bound in one, Amsterdam: David Mortier, 1714, engraved frontispiece to first title. both titles printed in red and black with engraved vignette, and 66 engraved plates (including some folding), contemporary full calf, somewhat worn and discoloured, modern calf reback, 4toQTY: (1)NOTE:Gérard de Lairesse (1640-1711), painter and art theorist, moved away from his native Liège and settled in Amsterdam, following a scandal in connection with a broken marriage contract in 1664. According to Houbraken, he became blind in 1690 and began to give art lectures which were subsequently published by his sons in two books –Grondlegginge der teekenkonst (Principles of Drawing, 1701) and Het groot schilderboek (The Great Book of Painters, 1707). Reissued in 1712, 1714 and 1716, and translated into English in 1738, the Schilderboek remains a valuable source for seventeenth-century Dutch art.

Dugdale (William). A volume bound of 86 plates from Monasticon Anglicanum, [London: Printed by R. Harbin for D. Browne and J. Smith, 1718], 86 engraved plates of ecclesiastical buildings (10 mounted, 7 of which torn with some loss), occasional spotting, contemporary reversed calf, blind panel decoration to boards and centre of each with gilt-embossed crest of Edward Phelipps (1613-1679) of Montacute, Somerset (the stamp was used by later generations of the family - see footnote), spine very worn, joints split, edges of boards worn and showing, slim 4to (36.5 x 28.8 cm)QTY: (1)NOTE:Edward Phelipps (1613-1679) of Montacute in Somerset, was the elder son of Sir Robert Phelipps and Bridget, daughter of Sir Thomas Gorges. A supporter of Charles I, following the defeat near Chard, he retreated to Exeter, and was taken prisoner when the Castle surrendered to General Fairfax, and all his estates sequestered by Parliament. He married Anne, daughter of Sir Robert Pye, of Clifton Hall Staffordshire.The stamp was evidently used by generations of Phelipps, and they are found on books published as late as 1775. Possible candidates are:Sir Edward Phelipps (1631-1699), son of Edward Phelipps and Anne, daughter of Sir Robert Pye. Firstly he married Dorothy Cheeke, secondly Edith Blake, of Langport, Somerset, daughter of John Blake, ironmonger, and niece and coheir of Admiral Blake. Edward Phelipps (1725-1797) of Montacute, Member of Parliament for Somerset 1774. He married Maria Wright, daughter of William Wright.Edward Phelipps (1763-1792), Member of Parliament for Somerset. He married Elizabeth Lockyer.The modern spelling in the form of Phelips seems to have been adopted by Edward Phelips in the mid-eighteenth century. Before that date the variations and combinations of vowels and letters 'l' and 'p' are endless.

Modern oak 2 stage cabinet back dog kennel dresser together with a similar oak single glazed cabinet with blind panel drawer to the base together with a modern oak coffee table (3) (B.P. 21% + VAT)

Early 19th centruy Welsh oak two stage corner cupboard with glazed single door top having three fitted shelves to the interior and two blind panel cupboards to the base. 110cm wide approx.(B.P. 21% + VAT)

DEVENTER -- LETTER OF RECOGNITION, issued by burgomaster and aldermen of the city of Deventer, to Johan Willem Bakker, certifying that the latter is a citizen ('kleinburger') of Deventer. Dated August 6th 1860, signed by burgomaster Dumbar and town secretary Howe. Written on 1 sm-fol. leaf, r° and v°. W. blind stamp tax seal.

JONSTON, J. Naeukeurige Beschryving Van de Natuur der Vier-voetige dieren, Vissen en Bloedlooze Water-Dieren, Vogelen, Kronkel-Dieren, Slangen en Draken. (Uyt'et Latyn Vertaelt d. M. Grausius. Amst., J.J. Schipper, 1660). 6 parts in 1 vol. (8), 194; (6), 179; 56; 181, (3); (8), 152; 39, (1) pp. W. 4 engr. titles, and 249 (of 250) full-p. engr. plates, all in old handcolouring. Fol. Cont. blind tooled vellum with raised bands. (Upper joint reinforced, corners worn, plate 4 of last part ('snakes') is lacking, some wormholes to inner blank margin, a bit thumbed in places, a few (faint) stains). NOTE:Animal encyclopaedia for laymen. The book was presented as a gift to the Japanese ruler Shogun Yoshimune. It was the only source of knowledge of western natural history in Japan, until in 1750. This is the only Dutch translation of the 'Theatrum universale historiae naturalis'. The engraved plates, which - according to Anker, Bird Books, 234 - "(…) have evidently been executed by Kaspar Merian and Mattheus Merian" all contain several figures, among which several fable creatures, as for instance the Phoenix, Harpy, Griffon and Mermaids. - Nissen, ZBI, 213.

ARTIST'S MANUALS -- SMITH, J. The Art of Painting in Oyl. Wherin is included each particular Circumstance relating to that Art and Mystery. 2nd impression w. some Alterations, and many useful Additions. Lond., S. Crouch, 1687. (12), 100 pp. Sm-8°. Cont. speckled cf., sides ruled in blind. (Skilfull rep. to bind., else in fine condition). NOTE:Manual providing details on the creation of paint and paint colours to a wide variety of artisans, whose work needed to survive use and the elements.

MERRIFIELD, (M.P.). Original Treatises, dating from the XIIth to XVIIIth c., on the Art of Painting, in Oil, Miniature, Mosaic, and on Glass: of Gilding, Dyeing, and the Preparation of Colours and Artificial Gems; (…). Lond., J. Murray, 1849. 2 vols. cccxii, 321; v, -322-920 pp. Or. purple blind stamped cl. w. gilt vignettes on front sides. (Some minor wear to binds., but a splendid set).

BIBLES -- REMBRANDT BIJBEL. Bevattende de verhalen des O. & N. Verbonds, welke door Rembrandt met penseel, etsnaald en teekenstift zijn in beeld gebracht. Uitgez. en toegel. d. C. Hofstede de Groot. Amst., (1906-10). 2 vols. W. portr. & 281 facs. of Rembrandt's works. Lge-fol. Or. blind tooled & gilt dec. cf., t.e.g. NOTE:Sumptuous book production in very good condition. Published price, according to Brinkman, was Dfl. 325,-. - Braches, Bouwstoffen, 1607.

AMBO-KLASSIEK. Collection of 30 classical works in Dutch translation. Amst. & Baarn, 1987-2002. Ocl. w. dust-j. (28) & owrps. (Spines sl. faded, ti-p. blind stamped). NOTE:I.a.: FLAVIUS JOSEPHUS. De Oude Geschiedenis van de Joden. -- PRUDENTIUS. Getijden. -- HUGO DE GROOT. Het recht van oorlog en vrede.

GERSON, Johannes. Secunda pars operu[m]. (Strassbourg, J. Grüninger, 1488 (3 July)). 1 (of 4) vol. 286 lvs. W. 1 fine full-p. woodcut of Saint Christopher (Schreiber 4104), & rubricated in red. Fol. Late 15th/early 16th c. richly blind tooled (floral decoration) pigskin over wooden brds. (floral decoration on back cover surrounded by a border w. animals/flowers) w. raised bands, & w. brass catches. (Clasps gone, small defect to spine, chain hole visible in back cover, lower ticket removed from front side (colour difference), faintly waterstained/browned in places). NOTE:Volume two only of the extensive Strasbourg edition of the works of Johannes Gerson (1363-1429), edited by Peter Schott und Johann Geiler von Kaysersberg. Johannes Gerson, chancellor of the University of Paris, was one of the most influential theologians of the fifteenth century. He worked to resolve the Great Schism and played an important role at the Council of Constance, where he influenced the decisions concerning the fate of the Hussites. His extenisve writings on ecclesiology, reform, pastoral care and mysticism were very popular during the later Middle Ages and were frequently printed during the second half of the fifteenth century, both as individual treatises and in collected editions. Owner's initials 'O'(tto) 'H'(upp) on upper paste down. - Collation: A10 B8 C8 D6 E8 F6 G8 H6 I8 K6 L8 M6 N8 O6 P6 Q8 R6 S8 T6 V6 X8 Y6 Z6 AA8 BB6 CC8 DD6 EE8 FF6 GG8 HH6 II8 KK6 LL8 MM6 NN8 OO6 PP8 QQ6 RR6 SS6. - GW 10714; Hain 7622; Polain II, 1590; Goff G-186.

PAGNIET, Carel Lodewijk de. -- BOEK DER PSALMEN, HET, nevens de gezangen bij de Herv. Kerk van Nederland in gebruik. Amst., H. Putte, 1774. W. num. musical scores. 4°. Cont. blind tooled cf. w. raised bands and with gilt lettering on both sides: "C.L. de Pagniet Heer van Kermenstein A° 1774". (Edges/corners a bit worn/dam.). NOTE:Carel Lodewijk Baron de Pagniet (1715-89), lord of Kermestein and IJzendoorn, was a member of the States General for Gelderland, mayor of Tiel and director of the WIC IN Amsterdam.

BIBLES -- BIBLIA NEERLANDICA -- BIJBEL, dat is de gansche Heilige Schrift, vervattende al de kanonijke boeken des Ouden en Nieuwen Testaments. Amst., 1860. 3 in 1 vol. Sm-8. Cont. black mor. w. golden frame and solid golden clasps, all edges gilt. (Hinges broken: loose in binding). -- NIEUWE TESTAMENT, Het. - HET BOEK DER PSALMEN EN GEZANGEN. - EVANGELISCHE GEZANGEN. - CATECHISMUS. - Amst., (etc.), Brandt & Enschedé en Zn. for De Nederlandsche Bijbel-Compagnie, (1818-34). 4 in 1 vol. Sm-8°. Cont. blind tooled brown cf. w. solid golden clasp. (Bottom of spine dam, lower joint partly split, a bit foxed). -- And 1 o. N.T. in French. (3).

CICERO. Epistolarum ad Atticum, ad Brutum, ad Q. Fratre, Libri xx. nup recognita et maxima diligentiam pressi. Florence, Ph. Giunta, 1514. (12), 335 lvs. W. ti. printed within woodcut border. Cont. richly blind tooled pigskin w. raised bands. (Recased, w. new endpapers, a few tiny holes in bind., small hole in ti-p., old name entries on ti., a few marg. annot. in an old hand, a bit stained at the beginning). NOTE:Adams C-1908; Schweiger II, 165.

BYNKERSHOEK, C. v. Quaestionum juris publici ll. II, quorum primum est De rebus bellicis, secundus De rebus varii argumenti. Ed. 2a. Leyden, S. Luchtmans & Zn., 1752. 4°. Cont. blind tooled vellum w. raised bands. (Small stain on front side, a bit browned/foxed in places). -- U. HUBER. De jure civitatis ll. III. Ed. 3a, priore multo locupletior. Franeker, L. Strick, 1698. W. engr. front.-portr. 4°. Cont. blind tooled vellum w. raised bands. (Front side a bit stained. browned/foxed). -- CORPUS JURIS CIVILIS. Ed. nova. Amst., (P. & I. Blaeu), 1700. 2 parts in 1 vol. W. engr. ti. Cont. cf. w. raised bands & dec. gilt back, w. fingertabs. (Spine ends dam., a bit browned/foxed). -- (3).

CHEVREUL, The principles of harmony and contrast of colours and their applications to the arts. Transl. by Ch. Martel. 3rd ed. Lond., 1860. xlvi, 465, (1) pp. W. 15 cold. plates, 4 (large) fold. steel-engr. plates (incl. one movable) & 1 fold. letterpress table. Or. blind tooled cl. (Bind. partly dam./soiled, moveable plate loose and margins a bit frayed, some minor foxing). NOTE:From the library of "Ethel Pennewill Brown (Leach), New York Feb. 1922", an American female artist, illustrator (1878-1960).

BINDINGS -- BREDIUS, A. Jan Steen. Amst., Scheltema & Holkema, (1910). W. 100 photo-engr. plates. Lge-fol. Or. gilt blind tooled cf. des. by C.A. Lion Cachet, dec. w. gilt & 3 cold. coats of arms, uncut, gilt top. (Bind. only lightly scratched in places, a few minor foxing spots). NOTE:Sumptuous book production, in good condition. - Braches, Bouwstoffen, 1067.

DHANENS, E. Hugo van der Goes. 1998. -- M.W. AINSWORTH. Gerard David. Purity of Vision in an Age of Transition. 1998. -- N.M. ORENSTEIN, (a.o.). Pieter Bruegel the Elder. Drawings and Prints. 2001. -- M. SMEYERS, (e.a.). Dirk Bouts. Een Vlaams primitief te Leuven. 1998. -- 4 vols. 4°. Ocl. w. dust-j. (Some dust-j. sl. edgeworn, ti-pp. blind stamped). -- And 3 o. (7).

DIONYSIUS CARTHUSIENSIS. Insigne Commentariorum opus, in Psalmos omnes Davidicos. Cologne, P. Quentell, 1531. (4), cccx, xlv, (1) lvs. W. large woodcut printer's device on ti. & num. beautiful woodcut initials. Fol. Old blind tooled vellum over wooden brds, w. raised bands, & brass clasps & catches. (Some (faint) libr. stamps, a few marg. stains, else a fine copy). NOTE:First edition of the earliest work by Dionysius (1402-1471), the phenomenally productive Flemish theologian, Carthusian monk, ecstatic, and associate of Nicolas of Cusa, for whom he composed treatises refuting Muslim belief, superstition, and magical practices. His exegetical writings begin with the present commentary (1434) and go on to treat the entire New and Old Testaments. - Adams D-557; VD 16 1922. - Ex libris 'Ex Oblatorum S Caroli Bibliotheca".

ERASMUS -- SCALIGER, J.-C. Oratio pro. M. Tullio Cicerone contra Des. Erasmus (1531). (Éd.) p. M. Magnien. 1999. -- J. CHOMARAT, (e.a.). Actes du Colloque International Érasme. 1990. -- E.V. TELLE. L'Erasmianus sive Ciceronianus d'Etienne Dolet (1535). 1974. -- A. GODIN. Érasme Lecteur D'Origène. 1982. -- 4 vols. Ocl. (Ti-pp. blind stamped). -- And 8 o. (12).

PETRUS LOMBARDUS. Sententiarum libri I-II (of IV). (Comm. by Bonaventura). (Nürnberg, A. Koberger, 1500). 2 (of 5) parts in 1 vol. (146) lvs. (incl. 2 blanks); 192 lvs. W. first ti. printed in red, num. woodcut initials and large woodcut at the end. Fol. Fine cont. richly blind tooled pigskin over wooden brds. w. raised bands, w. brass clasps and catches. (A few small dam. to bind., faintly waterstained in places, a few tiny wormholes, annot. on ti. and on v° last leaf in an old hand, a bit thumbed at the beginning). NOTE:First two books of the commentaries of Bonaventura on the 'Sentences' of Petrus Lombardus. Without vol. 3 and 4 and the tables by J. Beckenhaub. - Hain 3543; Polain 797; Goff P488; GW M32561.

BERNARDUS CLARAVALLENSIS. Opera omnia. Nunc demum in V. tomos. Studio et labore J.M. Horstii. (&) Appendix. Cologne, J. Kinchius, 1641. 6 parts in 1 vol. (18), 120, 59, 143; (4), 272; (4), 139, (1); (12), 140; (8), 384; (4), 92, 16, (84) pp. W. engr. ti., 5 identical lge ti-woodcuts & 1 lge woodcut at the end. Fol. Cont. blind tooled vellum over wooden brds. w. raised bands, & new brass clasps & catches. (A few marg. rep., small stamp on first ti., some marg. stains, browned/foxed in places). NOTE:Saint Bernard (1090-1153), Abbot of Clairvaux, which under his direction soon became one of the chief centres of the Cistercian Order.

BIBLES -- BIBLIA GRAECA -- VETUS TESTAMENTUM ex versione Septuaginta interpretum. Accur. denuo rec. Summa cura ed. L. Bos. Franeker, F. Halma, 1709. 2 parts in 1 vol. (44), 724; (2), 725-1326 (2 cols.) pp. Ti. printed in red & black w. printer's device. W. engr. front. by G. v.d. Gouwen after G. Hoet, 4 fold. maps & 1 fold. engr. view. 4°. Cont. blind tooled vellum w. gilt coat of arms of Dordrecht on both sides. (Label rubbed, ties and prize fail, slightly browned). NOTE:The famous Septuagint edition of L. Bos, Professor of Greek at Franeker University, who for five years toiled on the preparation. The text is based on the Rome 1587 edition, and is conspicuous for its clear typographical presentation: printed in two columns in a well-leaded ligatured Greek, with the verse divisions clearly separated by a blank space, it is a pleasure to read. Footnotes of varying length (usually one fifth of the printed page) give the more important different readings. - Darlow-Moule 4726; Sandys II, 446; Spoelder, 544 (Dord. 1).

LEEUWEN, S. v. Batavia illustrata, ofte Verhandelinge van den Oorspronk, Voortgank, Zeden, Eere, Staat en Godtsdienst van Oud Batavien, mitsgaders van den Adel en Regeringe van Hollandt, ten dele uyt W. van Gouthoven, en andere schryvers, maar wel voornamentlijk uyt een menigte van oude schriften en authentijque stukken en bewijsen. The Hague, J. Veely, J. Tongerloo & J. Doll, 1685. (28), 1520 pp. W. engr. front., woodcut ti-vign. Fol. Cont. blind tooled vellum w. raised bands. (Spine skilfully rep., ties fail, else fine w. ample margins). NOTE:First & only edition, publ. posthumously. - Haitsma Mulier/v.d. Lem 291e.

CONVOYS & LICENSES -- LETTER OF APPOINTMENT written out to Hayo Tuinhout (1757-1811) as commissioner general of convoys and licenses, dated 25 September 1795. Ms. on vellum. 440 x 545 mm. W. 1 blind stamped 'clein segel' and 1 blind stamped seal of the States General. NOTE:Convoys and licenses were roughly payments for safe conduct of merchant ships, and tax on incoming and outgoing goods. - On Tuinhout see NNBW X, 1063-4.

DELFT -- (BOITET, R.). Beschryving der stadt Delft, behelzende een zeer naaukeurige en uitvoerige verhandeling van deszelfs eerste oorsprong, benaming, bevolking, aanwas, gelegenheid, prachtige en kunstige gedenkstukken en zeltzaamheden. Nevens derzelver voorregten, handvesten, previlegien en regeeringsvorm, (…). Delft, R. Boitet, 1729. (24), 804, (14) pp. W. engr. front., dedic. engr., 2 double-p./fold. plans of the city, 1 lge. harmonica fold. panoramic view (24 x 125 cm), 1 plate depicting seals & 17 fine double-p. engr. views by C. Decker after P. Smith. W. 34 extra engr. plates/portrs. (partly from 'Kaart Figuratief' and partly laid down), 1 drawing and 15 lvs./pieces of paper w. annot. in an old hand bound up. Fol. Early 19th c. blind tooled vellum w. raised bands. (Previous owner's entries on free endpaper). NOTE:With the fine panorama of Delft on two conjoined leaves engraved by C. Decker. This copy is enlarged with plates and annotations by Wilhelmus Greve (1762-1819) in 1804; Greve was a physician, who had a practice in Delft (Lindeboom 722). Among the extra plates i.a.: 'Haven der stadt Delft Genaemt Delfshaven' (margins cut short), 'Delfshaven', T' Stadt-huys op Delfts Haven', 'Den Eerw. Heer Cornelius Musius' (Muller 606b) and a drawing of 'Jacob Jansz: Graswinckel genaamt den Delftsche Israëlijt (…) geteekent door W: Graswinckel'. - Nijhoff/v. Hattum 34.

ASTRONOMY -- KEILL, J. An introduction to the True Astronomy: or, astronomical lectures, read in the astronomical school of the University of Oxford. Lond., B. Lintot, 1721. (8), xvi, 396, (12) pp. W. 28 fold. engr. plates incl. 2 of the lunar surface by Senex. Cont. blind tooled panelled cf. w. raised bands. (Joints split, spine ends dam., a bit browned/foxed). NOTE:First English edition. - Wellcome III, p. 381. - Name entry on title-page: M. Cowper 1721.

GHEESTELYCK MINNE-VONCKSKEN, HET, der godt-minnende zielen. Door I.(de)G(AVRE) (?). 2e dr. Antw., J Mesens, 1687. 330 pp. 12°-obl. Early 20th c. (dated 1909) brown blind tooled & gilt dec. cf. bound by J. Weckesser. (Last 2 blanks lack, ti. & last p. a bit soiled). NOTE:BCNI 14701; Scheurleer 68; Huybens, Thesaurus Canticorum Flandrensium, 42B. - Only 1 (incomplete copy) in NCC (KB) and 2 copies in STCV (Gent & Antwerp). - W. ex libris of V. De La Montagne.

BIBLES -- BIBLIA NEERLANDICA -- BIBLIA SACRA. Dat is: De Heylige Schriftuer, bedeylt in het Oude en Nieuwe Testament. Antw., P. Jouret, 1714. (18), 656; (2), 200, (4) pp. W. engr. ti. (Antw., Moerentorf, 1713) & engr. ti-vign. to NT. Fol. Cont. richly blind tooled cf. over wooden brds. w. raised bands, and brass clasps & catches. (Spine ends skilfully rep., outer margins first/last 2 lvs. rep., stained in places, a bit browned/foxed, a few lvs. severely browned). NOTE:Late edition of the Moerentorf Bible of 1599. - BCNI 17247. Not in Darlow & Moule.

GRETSERUS, I. Opera omnia de Sancta Cruce. Ingolstadt, Eder for widow E. Angermaria, 1616. 4 in 1 vol. iv, 2771, (83) pp. Fol. Cont. panelled blind tooled vellum over wooden brds. w. brass clasps and catches, spine painted grey. (Small defect to back panel, upper inner margin stained throughout, in very good condition). NOTE:Five books by the esteemed Jesuit writer Jacob Gretser (1562-1625) treating successively of the Cross on which Jesus Christ died, of images of the cross, of apparitions of the Holy Cross, of the sign of the cross, and of the spiritual cross.

TITELMANS, Fr. De(n) schat des kersten gheloofs. Een costelijck en deuoet hantboecxken, ghetogen wt die heylige scriftuere, wt den ouden en nieuwen testament, in hem besluytende en seer opelyc verclarende die principael articulen van onsen heyligen kersten ghelooue. Antw., S. Cock, (1559). (3), 157 lvs. (A-V8). W. ti. printed in red & black within woodcut border. Sm-8°. Late 19th/early 20th c. brown blind tooled & gilt dec. cf. bound by J. Weckesser. (Outer margin cut too short and affecting the woodcut border of the ti-p. and the printed marginalia in places, slightly browned). NOTE:Franciscus Titelmans (1502-37) was a Franciscan scholar from the Habsburg Netherlands, and an intellectual opponent of Erasmus. He was born in Hasselt, and graduated M.A. at the University of Leuven in 1521. He was a dialectician influenced by Rudolph Agricola, and himself an influence on Petrus Ramus. - Second edition of this rare work (first 1532). - Belg. Typ. 6883; De Troeyer 563; Machiels 254 & Nijhoff/Kronenberg 3964 (both ed. 1532).

ARTIST'S MANUALS -- LAMY, B. Traité de perspective, où sont contenus les fondemens de la peinture. Par., Anisson, 1701. xxi, (3), 227, (9) pp. W. 8 engr. plates (incl. 1 fold.) & num. text-ills. Cont. blind tooled vellum. (A few lvs. loose). NOTE:First edition of this extensively illustrated perspective handbook by the French Oratorian, mathematician and theologian B. Lamy (1640-1715). - Cicognara 843.

MOENS, Petronella (1762-1843), author. Letter of comfort to S. de Visser, book dealer at The Hague, dated 1843 (?), signed in pencil in a rather awkward way (Moens was practically blind). Written in ink on 3 sides of fold. 4° sheet of paper. -- Added: 2 letters by A.B. v. Meerten Schilperoort, writer, and F. Bremer. -- (3).

STALPAERT v.d. WIELE, J. Extractum katholicum tegen alle gebreken van verwarde harsenen. Louvain, B. Masius, 1631. (22), 647 [= 639], (5) pp. W. engr. ti. (depicting a pharmacy). W. num. musical scores. Mod. richly blind tooled cf. w. raised bands in antique style. In slipcase. NOTE:Rare. Scheurleer 44; Not in BCNI. - Ex libr. V. De La Montagne.

ZACHARAKIS, C.G. A catalogue of printed maps of Greece 1477-1800. 2nd ed. 1992. 4°. Owrps. -- POPULAIRE PROZASCHRIJVERS der XVIIe en XVIIIe eeuw. (Frederik Muller), 1893. Blind tooled hcf. -- C. GELLINEK, hrsg. Europas erster Baedeker Filip von Zesens Amsterdam 1664. (1988). Ocl. -- J. LANDWEHR. Het Nederlandse kookboek, 1510-1945. (1995). Ocl. -- D. BIERENS DE HAAN. Bibliographie néerlandaise historique - scientifique des ouvrages importants dont les auteurs sont nés aux 16e-18e s., sur les sciences mathématiques et physiques, (…). (Photomech. reprint of the ed. 1883). 1960. 4°. Ocl. -- And 4 o. (9).

PSALTER. France, 3rd quarter 15th c.? Ms. on vellum, littera textualis in brown ink, 18 rules to a page. 202 lvs. 180 x 135 mm. W. 6 gilt initials w. a height of 4 rules and with painted decorations in all margins, numerous gilt intials w. a height of 2 rules, lombards in red and blue alternately. Medieval blind stamped cf. over wooden brds., spine and corners on all sides replaced by modern cf., silver clasp and catch from a later period, the spine gilt lettered w. the word 'horarium'. NOTE:Content: (ff. 1r-184r) Psalms in numerical order, with hymns and references to antiphons and other texts of the choral prayer; incomplete. - (ff. 184r-201r) Cantica. - (ff.201r-202v) Litany of all Saints, incomplete. Of the eight leaves with painted decoration over four margins, six remain. They mark the beginning of matins on Tuesday through Saturday (Psalm 38, 52, 68, 80, 97) and of vespers on Sunday (Psalm 109). Five leaves with Psalm 1-6 are missing from the first quire, including the painted decoration for the start of Matins on Sunday (to cover up this lacuna, the decorated leaf with Psalm 52 and part of Psalm 53 has been cut loose and placed in front). Catchwords up to and including f. 98 surrounded by decorative drawings; at the catchword on f. 122 a name: "Symon de Morell". As may be concluded from the last 2 lvs. the manucript remained unfinished (lack of intitials and lombards). In very good condition.

ROLEVINCK, Werner. Fasciculus temporum (Dutch transl. with additions). Utrecht, Johann Veldener, 14 Febr. 1480. (8), cccxxx lvs. Printed in Gothic type, w. 38 lines & beautifully illustrated a large woodcut at beginning and end, first leaf of preface and first leaf of main work both within woodcut border, numerous woodcuts in the text (incl. views of towns, coats of arms, chronological and geographical schematic figures, Tower of Babel, Noah's Ark, the Destruction of Jerusalem by Nebuchadnezzar, etc.), in cont. handcolouring. Fol. Early 17th c. full calf binding over wooden brds., w. raised bands, richly blind tooled sides w. decorative roll borders, brass catches, bound in 1622 by Claes Gerretsz. (Bind. skilfully rep., 1 catch & all clasps lacking, ff. 277 & 330 in facsimile on old paper, title-p. cut out and laid down (some letters missing), holes in 1st 5 lvs. & in f. 189 w. loss of a few letters, margins cut short (affecting printed marginalia), (inner) margins strengthened/repaired in places, manuscript additions (text & coats of arms) on f. 216, some dampstaining/soiling, a bit thumbed in places). NOTE:First and only Dutch translation of the "Fasciculus" by the Cologne Carthusian Rolevinck (c. 1425-1502), one of the most important world chronicles of the 15th century. The first Latin edition appeared in Cologne in 1474. This version was adapted to the Low Countries and contains textual additions relating to the history of the dioceses of Utrecht, Brabant, Holland and Zeeland and was also augmented with an extensive Chronicle of the Kings of France and England. The work is illustrated with numerous woodcuts, from the blocks used in Veldener's 1475 Louvain editions, but with the addition of 12 new ones, and of a set of coat of arms used only in the supplementary chronicles. Binder's note on lower endpaper: "Al duys gebonden(n) in(t) jaar 1622 by my claes gerretsz". - Goff R-278; Polain 3379; GW M38760; Hain-Copinger 6946; Campbell 1479; Holtrop 51 (p. 20).

ROTGANS, L. Wilhem de Derde. In heldendicht beschreven. Utr., Halma & Vande Water, 1698-1700. 2 parts in 1 vol. (40), 174; (4), 184 pp. W. engr. front. by G. v.d. Gouwen, & 8 full-page section engr. to each chapter (4 by J. Baptist & 4 by R. de Hooghe). 4°. Cont. blind tooled vellum. NOTE:Fine copy of this first edition. Landwehr, R. de Hooghe, 92.

Mahogany longcase clock, swan-neck pediment with flame finials, blind fretwork frieze, half-turned columns, long arched door, flanked by quarter engaged columns, bracket feet, twelve inch arched brass dial with cast Rococo spandrels, the arch with strike silent, silvered chapter-ring, subsidiary seconds dial and date aperture, signed William Carter, London, eight-day movement, striking on a bell, height 230cm.Condition report:Case is generally good, one loose piece of moulding off the hood and some minor old repairs, chip to the moulded edge of the door near the lock, movement appears to be complete, perhaps matched to the case, has a pendulum, two weights and a door key.

A UNITED STATES MACHINE CORPS. BLIND-STITCH SEWING MACHINE model 108

COUNTRY/ DELTA/ ELECTRIC - BLUES LPs. Another quality pack of 20 blues LPs. Artists/ titles include Fred McDowell - Mississippi Delta Blues (688806 ZL, Record G+/ sleeve VG+), Freddie King - Is A Blues Master (588186, plum/ red Atlantic. VG/ VG+), Elmore James - Original Folk Blues (KLP 5022), Earl Hooker - 2 Blues And A Roach, John Littlejohn's - Chicago Blues Stars, Big Joe Williams And Sonny Boy Williamson, John Lee Hooker - Alone, Smokey Hogg - I'm So Lonely, Tommy McClennan - Cross Cut Saw Blues, Charley Musselwhite, Cannon's Jug Stompers, Little Walter - Quarter To Twelve, Blind Lemon Jefferson - 1926-29, Rhythm & Blues All Stars, Chicago/ The Blues/ Today Vol 1, Blues Obscurities Vols 4 & 6. Robert Cray, Snooks Eaglin. Condition is generally VG to Ex+.

Postcards, Cats, a good selection of 22 cards of dressed cats illustrated by Maurice Boulanger. Themes include mountaineering, dance, family, donkeys, at the Hotel, cycling, motor accident, Blind Man's Buff, marriage cutting the cake etc. A few duplicates, (mainly gd)

A large Tudor style terracotta chimney pot of octagonal form, the column with blind fret moulding, now a garden sun dial with 17th century style bronze dial, 114cm high overall**Please note that some of the lots in this auction are held offsite and others may require specialist lifting equipment therefore please ensure collection arrangements are made prior to making any journey to the saleroom. Many thanks**

Bernard McMullen signed print 462/850 signed in pencil with blind stamp 'Knocker up' 53 cm x 42 cm including frame

A GEORGIAN MAHOGANY CHEST ON CHEST, of two short and six long drawers, with a central brushing slide, blind fretwork decoration, cast metal handles, on bracket feet, width 112cm x depth 52cm x height (condition:- the item is dusty and in need of cleaning, some minor losses)

Sir William Russell Flint (1880-1969), colour collotype, 'Clarissa Fishing 1931', signed in pencil, blind stamped, from the edition of 310, 36 x 25cm

Jan Christian Poortenaar (1886-1958) coloured etching, backs of houses, signed and with blind stamp, image 29 x 44cm, glazed frame

DAVID HOCKNEY (1937 Bradford, lebt in Los Angeles) Still lifeRadierung und Aquatinta auf leichtem Velinkarton. 1969.54,3 x 68,8 cm (71 x 93 cm). Signiert „David Hockney“ und datiert. Auflage 75 num. Ex. Scottish Arts Council 111.Provenienz: Lempertz Köln, Auktion 6/89, Los 934Prachtvoller, klarer Erstdruck des großformatigen Blattes mit blind mitdruckender Facette, mit breitem, vollem Rand, an zwei Seiten mit dem Schöpfrand. Herausgegeben von Petersburg Press, London 1970.Stillleben – das Arrangieren scheinbar banaler Alltagsgegenstände, derer wir uns doch so unmittelbar bedienen, von Hockney umgesetzt im gleichnamigen Genre des kunsthistorischen Gattungskanons, wo es an der niedersten Stelle geführt wird. Subversiv, provozierend, bewusst rückt er die eingefahrene Hierarchie in den Mittelpunkt der Aufmerksamkeit, entspricht ganz der Natur der Pop Art, der er zugeschrieben wird. Es sind die Mittel des Künstlers, Stifte, Messer, Köcher, die er zentral vor sein Fenster positioniert. Eindeutiger kann das Sujet der künstlerischen Mittel wohl kaum vorgeführt werden; ein Ziel, das insbesondere von den Nachkriegsschaffenden verfolgt wurde im Sinne der Freiheit der Kunst. Hockney legt im inspirativen Moment des Suchens und Auswählens eines werkwürdigen Motivs Hand an, Hand an die ihn umgebende Welt. Es ist, als fühle man sein Greifen nach seinem Handwerk. Wie er auch meint: „Keep being driven. Man braucht nicht immer talentiert zu sein, man muss aber getrieben sein. Ich bin getrieben. Ich arbeite immer.“ (zit. nach David Hockney, in: Ich bin ein Anarchist, David Hockney im Interview mit Tobias Timm, zeit.de, 12.3.2022).Ein stilles, wenngleich sehr ausdrucksstarkes Blatt von einem der einflussreichsten Künstler unserer Zeit. Ihm widmeten zahlreiche Museen retrospektive Ausstellungen, darunter das Hamburger Bucerius Kunstforum (2020) oder im jetzigen Frühjahr das Bank Austria Forum Wien.

Wilhelm Kuhnert (Oppeln 1865 - Flims/CH 1926). Zebra und Gnus. 1923. Radierung mit Roulette, 10 x 15 cm, r. u. mit Bleistift sign. Wilh. Kuhnert, l. u. in der Platte datiert, sowie num. 4 - 100 mit Elefanten-Blindstempel, unter Passepartout und Glas gerahmt, ungeöffnet. - Deutscher Tiermaler. K. studierte als Stipendiat 1883-87 an der Berliner Akademie bei F. K. Bellermann und P. F. Meyerheim. Er unternahm zahlreiche Reisen nach Skandinavien, vor allem aber nach Afrika und Indien, wo er seine Motive fand und sich in Auseinandersetzung mit der tropischen Tierwelt zum bedeutendsten Vertreter seines Genres entwickelte. Seine Werke wurden nicht nur auf den wichtigsten europäischen Ausstellungen gezeigt, sondern auch in zahlreichen Reproduktionen verbreitet, u.a. schuf er Illustrationen zu Brehms Tierleben. Mus.: Hannover, Leiden, Enschede, Fort Worth. Lit.: Thieme-Becker, Bénézit, A. Grettmann-Werner: W. K., Tierdarstellung zwischen Wissenschaft und Kunst, 1981 u.a. Kuhnert, Wilhelm (Oppeln 1865 - Flims/CH 1926). Zebra and Gnus. 1923. Etching with roulette, 10 x 15 cm, lo. ri. autograhed Wilh. Kuhnert, lo. le. dated in the plate and num. 4 - 100 with blind stamp of an elephant, matted and framed under glass, uninspected out of frame. - German animal painter. K. studied as a scholarship holder 1883-87 at the Berlin Academy with F. K. Bellermann and P. F. Meyerheim. He made numerous trips to Scandinavia, but especially to Africa and India, where he found his motifs and developed into the most important representative of his genre by dealing with the tropical animal world. His works were not only shown at the most important European exhibitions, but also distributed in numerous reproductions, among others he created illustrations for 'Brehms Tierleben'. Mus.: Hannover, Leiden, Enschede, Fort Worth. Lit.: Thieme-Becker, Bénézit a. others.

Victor Vasarely (Pécz 1908 - Paris 1998). Cinétique. 1975. Farbsiebdruck, 71 x 70,5 cm, r. u. mit Bleistift sign. Vasarely, l. u. num. 194/250 sowie Blindstempel Editeur Denise René, min. angestoßen, ungerahmt. - Französischer Maler und Graphiker ungarischer Abstammung, seit 1930 in Paris. V. ist Begründer und berühmtester Vertreter der künstlerischen Richtung Op Art, in der geometrisch-abstrakte Formen ineinandergreifen und so optische Täuschungen hervorrufen. Mus.: Pécz (Vasarely-Museum), Budapest (Vasarely-Museum), Aix-en-Provence (Museum Foundation Vasarely). Lit.: Holzhey: Vasarely (2005) u.a. Vasarely, Victor (Pécz 1908 - Paris 1998). Cinétique. Silk screen in colours, 71 x 70,5 cm, lo. ri. autographed Vasarely, lo. le. num. 194/250 as well as blind stampl Editeur Denise René, min. bumped, unframed. - French painter and graphic artist, since 1930 in Paris. V. is founder of and most prominent exponent of op art. Mus.: Pécz (Vasarely Museum), Budapest (Vasarely Museum), Aix-en-Provence (Museum Foundation Vasarely). Lit.: Holzhey: Vasarely (2005) a. others.

Wilhelm Kuhnert (Oppeln 1865 - Flims/CH 1926). Löwin mit Jungen. 1921. Kaltnadel, 20,5 x 17,5 cm, r. u. in der Platte datiert sowie mit Bleistift sign. Wilh. Kuhnert, l. u. Elefanten-Blindstempel sowie bez. Probedruck, unter Passepartout und Glas gerahmt, ungeöffnet. - Deutscher Tiermaler. K. studierte als Stipendiat 1883-87 an der Berliner Akademie bei F. K. Bellermann und P. F. Meyerheim. Er unternahm zahlreiche Reisen nach Skandinavien, vor allem aber nach Afrika und Indien, wo er seine Motive fand und sich in Auseinandersetzung mit der tropischen Tierwelt zum bedeutendsten Vertreter seines Genres entwickelte. Seine Werke wurden nicht nur auf den wichtigsten europäischen Ausstellungen gezeigt, sondern auch in zahlreichen Reproduktionen verbreitet, u.a. schuf er Illustrationen zu Brehms Tierleben. Mus.: Hannover, Leiden, Enschede, Fort Worth. Lit.: Thieme-Becker, Bénézit, A. Grettmann-Werner: W. K., Tierdarstellung zwischen Wissenschaft und Kunst, 1981 u.a. Kuhnert, Wilhelm (Oppeln 1865 - Flims/CH 1926). Lioness with Cubs. 1921. Drypoint, 20,5 x 17,5 cm, lo. ri. dated in the plate as well as authographed Wilh. Kuhnert, lo. le. blind stamp of an elephant as well as inscribed 'Probedruck', matted and framed under glass, uninspected out of frame. - German animal painter. K. studied as a scholarship holder 1883-87 at the Berlin Academy with F. K. Bellermann and P. F. Meyerheim. He made numerous trips to Scandinavia, but especially to Africa and India, where he found his motifs and developed into the most important representative of his genre by dealing with the tropical animal world. His works were not only shown at the most important European exhibitions, but also distributed in numerous reproductions, among others he created illustrations for 'Brehms Tierleben'. Mus.: Hannover, Leiden, Enschede, Fort Worth. Lit.: Thieme-Becker, Bénézit a. others.

Bernard Aubertin (Fontenay-aux-Roses 1934 - Reutlingen 2015). Tableau Clous. 1970. Nägel und Brett, rot gefaßt, 50 x 50 cm, verso r. u. sign. und dat. Bernard Aubertin 1970. - Gutachten: Mit einer Fotobestätigung des Archivio Opere Bernard Aubertin mit Unterschrift des Künstlers und Blindstempel des Archivio. - Französischer Maler und Objektkünstler. A. studierte 1955-57 an einer Kunstgewerbeschule in Paris, bis eine Begegnung mit Yves Klein 1957 seiner Kunst einen entscheidenden Anstoß gab. Er begann mit monochrom roten Flächen, ab 1960 mit Nagelbildern, später wurde Feuer des beherrschende Element seiner Kunst. Dabei schuf er Werke aus Streichhölzern und Feuerwerkskörpern, später dehnte er die Brandereignisse in den Raum aus. Er stellte u.a. 1977 auf der Documenta aus. Mus.: Paris, Zürich, Düsseldorf, Mailand u.a. Lit.: AKL, Bénézit. Aubertin, Bernard (Fontenay-aux-Roses 1934 - Reutlingen 2015). Tableau Clous. 1970. Nails and panel, painted red, 50 x 50 cm, on the reverse sign. a. dat. Bernard Aubertin 1970. - Expertise: Accompanied by artist's photo confirmation issued by the Archivio Aubertin with artist's signature and blind stamp of the Archivio. - French painter and object artist. A. studied at a Paris arts and crafts school 1955-57 until an encounter with Yves Klein gave him a decisive momentum for his art. He began with monochrome red surfaces, since 1960 with nail objects, later fire became the most important medium. He created works from matches and fireworks, expanding the fire also in the exhibition space. He exhibited among others at the Documenta in 1977. Mus.: Paris, Zurich, Düsseldorf, Milan a. others. Lit.: AKL, Bénézit.

Thomas Bayrle (Berlin 1937). Hörzu. 1971. Farblithographie, 64,5 x 54 cm, r. u. mit Bleistift sign. und dat. Bayrle 71 sowie Blindstempel 'Hörzu', l. u. num. 1/150 und gewidmet an Wolfgang Brudermüller, unter Glas gerahmt, ungeöffnet. - Provenienz: Sammlung Wolfgang Brudermüller; seitdem durch Erbgang. - Deutscher Künstler. Nach einer Ausbildung zum Musterzeichner und Weber studierte B. 1958-61 an der Werkkunstschule Offenbach und gründete anschließend in Bad Homburg die Gulliver-Presse. 1972 nahm er eine Professur an der Städelschule in Frankfurt an. B. stellte in bedeutenden Museen und zweimal auf der Documenta aus. Bayrle, Thomas (Berlin 1937). Hörzu. 1971. Lithograph in colours, 64,5 x 54 cm, lo. ri. autographed and dat. Bayrle 71 as well as blind stamp 'Hörzu', lo. le. num. 1/150 and dedicated, framed under glass, uninspected out of frame. - German artist. After training as a pattern draftsman and weaver, B. studied at the Werkkunstschule Offenbach from 1958-61 and then founded the Gulliver Press in Bad Homburg. In 1972 he accepted a professorship at the Städelschule in Frankfurt. B. exhibited in major museums and twice at Documenta.

Günther Uecker (Wendorf/Meckl. 1930). Engadin II. 1982. Farblithographie, 40 x 40 cm, r. u. mit Bleistift sign. und dat. Uecker 82, l. u. num. e.a. sowie Blindstempel der Erker-Presse St. Gallen, unter Glas gerahmt, ungeöffnet. - Bedeutender deutscher Nachkriegskünstler, bekannt durch seine dreidimensionalen Nagelbilder. U. studierte in Wismar sowie an den Kunstakademien Berlin-Weißensee und Düsseldorf. 1961 wurde er Mitglied der Gruppe 'ZERO' und wandte sich vermehrt der kinetischen Lichtkunst zu. Daneben entwarf er mehrere Bühnenbilder und nahm an den Documenta III, IV und VII teil. Bis 1995 hatte U. eine Professur an der Düsseldorfer Akademie inne. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) u. a. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G. U. - Wasser Veneziana. Aquarelle von G. U.' (2005) u.a. Uecker, Günther (Wendorf/Meckl. 1930). Engadin II. 1982. Lithograph in colours, 40 x 40 cm, lo. ri. autographed and dat. Uecker 82, lo. le. num. e.a. as well as blind stamp of Erker-Presse St. Gallen, framed under glass, uninspected out of frame. - Important German post war artist, well-known for using nails in his art. U. studied in Wismar, Berlin-Weißensee and Düsseldorf. 1961 he became a member of the group 'ZERO' and increasingly turned to kinetic light art. Also he designed several stage decorations and took part in Documenta III, IV and VII. U. was appointed professor at the Düsseldorf Academy until 1995. Mus.: Düsseldorf (Museum Kunstpalast), London (Courtauld Institute of Art), New York (Museum of Modern Art), Paris (Centre Pompidou) et al. Lit.: Brockhaus 'G. U. - Graphein' (2002), Ortheil 'G.U. - Wasser Veneziana. Aquarelle von G. U.' (2005) et. al.

Erich Heckel (Döbeln 1883 - Radolfzell/Bodensee 1970). Badende am Strand. 1923. Holzschnitt, 41 x 26 cm, r. u. mit Bleistift sign. Erich Heckel sowie Prägestempel der Marées-Gesellschaft, Lichtrand, unter Passepartout und Glas gerahmt. - Literatur: WVZ: Dube I 336.III. - Provenienz: Erworben auf der 10. Westdeutschen Kunstmesse, Köln 1979; seitdem Privatsammlung Niedersachsen. - H. war einer der bedeutendsten Vertreter des Expressionismus. Er gehörte nach einem kurzen Architekturstudium 1905 neben Schmidt-Rottluff, Kirchner und F. Bleyl zu den Mitbegründern der 'Brücke' in Dresden. Nach zahlreichen Reisen und längerer Ateliergemeinschaft mit Kirchner zog er 1911 in das Kunstzentrum Berlin, wo er mit anderen dem Expressionismus zum internationalen Durchbruch verhalf. Den Ersten Weltkrieg durchlebte er als Sanitäter in Flandern, wo er M. Beckmann und J. Ensor traf. In der Zeit der Weimarer Republik erhielt er zahlreiche öffentliche und private Aufträge; bereits 1931 wurde sein Lebenswerk mit einer großen Ausstellung geehrt. Die Nationalsozialisten vernichteten eine große Anzahl seiner Werke; der Künstler zog sich an den Bodensee zurück. Nach dem Zweiten Weltkrieg würdigten zahlreiche Ausstellungen und Auszeichnungen seine Bedeutung, u.a. stellte er 1955 auf der Documenta I aus. 1949 bis 1955 unterrichtete H. an der Akademie Karlsruhe. Mus.: Berlin (Nat.-Gal., Brücke-Museum), New York (Neue Gal.), Madrid (Mus. Thyssen-Bornemisza), Hamburg (Kunsthalle, Altonaer Mus.), Essen (Folkwang-Mus.) u.a. Lit.: Thieme-Becker, Vollmer, Bénézit, P. Vogt: E. H., Werkverzeichnis der Gemälde, 1965 u.a. Heckel, Erich (Döbeln 1883 - Radolfzell/Bodensee 1970). Badende am Strand - Bathers on the Beach. 1923. Woodcut, 41 x 26 cm, lo. ri. autographed Erich Heckel as well as blind stamp of the Marées-Gesellschaft, mat burn, matted and framed under glass, uninspected out of frame. - Literature: Cat. rais.: Dube I 336.III. - Provenance: Bought at the 10. Westdeutsche Kunstmesse, Köln 1979; since then private collection Lower Saxony, North Germany. - One of the most eminent exponents of expressionism. H. was besides Kirchner, Schmidt-Rottluf and F. Bleyl among the founders of the ‘Brücke’ in Dresden in 1905. He shared a studio with Kirchner for a extended period, after travelling widely he moved to Berlin in 1911 where he contributed to establish expressionism internationally. During World War I he served as corpsman in Flanders where he met M. Beckmann and J. Ensor. After the war he received numerous private and public commissions, as early as 1931 he was honoured with a great retrospective. Outlawed by the Nazis he retired to Lake Constance, a large number of his works was seized and destroyed. After WW II many exhibitions and awards payed tribute to him, among others he exhibited at the Documenta I in 1955. From 1949 to 1955 he was lecturer at the Karlsruhe academy. Mus.: Berlin (Nat.-Gal., Brücke-Museum), New York (Neue Gal.), Madrid (Mus. Thyssen-Bornemisza), Hamburg (Kunsthalle, Altonaer Mus.), Essen (Folkwang-Mus.) a. others. Lit.: Thieme-Becker, Vollmer, Bénézit, P. Vogt: E. H., Werkverzeichnis der Gemälde, 1965 a. others.

Victor Vasarely (Pécz 1908 - Paris 1998). Cinétique. 1975. Farbsiebdruck, 70,5 x 63 cm, r. u. mit Bleistift sign. Vasarely, l. u. num. XVI/XX sowie Blindstempel Editeur Denise René, ungerahmt. - Französischer Maler und Graphiker ungarischer Abstammung, seit 1930 in Paris. V. ist Begründer und berühmtester Vertreter der künstlerischen Richtung Op Art, in der geometrisch-abstrakte Formen ineinandergreifen und so optische Täuschungen hervorrufen. Mus.: Pécz (Vasarely-Museum), Budapest (Vasarely-Museum), Aix-en-Provence (Museum Foundation Vasarely). Lit.: Holzhey: Vasarely (2005) u.a. Vasarely, Victor (Pécz 1908 - Paris 1998). Cinétique. Silk screen in colours, 70,5 x 63 cm, lo. ri. autographed Vasarely, lo. le. num. XVI/XX as well as blind stampl Editeur Denise René, unframed. - French painter and graphic artist, since 1930 in Paris. V. is founder of and most prominent exponent of op art. Mus.: Pécz (Vasarely Museum), Budapest (Vasarely Museum), Aix-en-Provence (Museum Foundation Vasarely). Lit.: Holzhey: Vasarely (2005) a. others.

Zoran Music (1909 Bukovica bei Gorizia - 2005 Venedig)"Motif végétal. Hommage à Caspar David Friedrich". OriginaltitelFarbradierung u. -aquatinta/BFK Rives, 1974. Sign., dat. u. nummeriert 10/100. Trockenstempel der Galerie Schmücking. Plattenmaß ca. 56,5 cm x 40 cm; Blatt ca. 75 cm x 56 cm. Rahmen.Etching and aquatint in colour on BFK rives paper, 1974. Hand-signed and numbered 10/100. Blind stamp of the Galerie Schmücking.

Victor Vasarely (1908 Pels - 1997 Paris)"Gestalt Blau". OriginaltitelFarbserigraphie/dünner Karton, 1970. Sign. u. nummeriert 36/120. Mit Blindstempel des Hrsg. Denise René Editeur, Paris. 72 cm x 72 cm.Screenprint (serigraph) on thin cardboard, 1970. Hand-signed and numbered 36/120. Blind stamp of the editor Denise René Editeur, Paris.