Miscellaneous - Medicine, Culpeper (Nicholas), The English Physitian (sic) Enlarged: With Three Hundred, Sixty, and Nine Medicines, made of English Herbs that were not in any Impression until this: The Epistle will Inform you how to know This Impression from any other./Being an Astrologo-Physical (sic) Discourse of the Vulgar Herbs of this Nation: Containing a Compleat (sic) Method of Physick (sic), whereby a man preserve his [...] Health; or Cure himself, being Sick, for three pence Charge, with such things only as grow in England, they being most fit for English Bodies [...], rare and early posthumous edition, 'Gent. Student in Physick and Astrology' impression, [London: Printed by Peter Cole [...], 1656], title-page printed within a double fleur-de-lis border, pp: [3] (torn losses affecting title-page imprint and Cole's advert), [xvi], complete but incorrect pagination: 1-173, 284- 398, [16] Table of Diseases, [4] (blanks), page 396 illustrated with an astrological figure of heaven, rebacked and relayed contemporary calf boards, traces of blind tooling and fillets, refreshed endpapers, 12mo, (1); Hagiography, Cave (William, D.D., Chaplain in Ordinary to His Majesty), Apostolici [...], first edition, London: Printed by A.C. for Richard Chiswel, 1677, title-page printed in black and red within double-line borders, half-title/imprimatur leaf but lacking engraved title, some plates also lacking, elaborately blind-tooled Provincial Regency brown calf over marbled boards, indistinct ink MS ownership contemporary to rebinding, folio, (1); Theology, Owen (The Late Reverend John, D.D.), Meditations and Discourses on the Glory of Christ [...], London: Printed by A.M. and R.R. for Benjamin Alsop, 1684, engraved portrait frontispiece, contemporary calf, 18th century lettering piece and ink MS ownership inscriptions, 8vo, (1); [Patrick (The Right Reverend Simon, Lord Bishop of Ely)], A Commentary upon the First Book of Moses, Called Genesis, third edition, London: Richard Chiswel, 1704, title-page supplied in facsimile, some repairs and marginal loss, rebacked contemporary blind-tooled reverse calf, 4to, (1); [Ovid] and Burman (Pieter the Elder, editor), P. Ovidii Nasonis Operum Tomus III [...], Trajecti Batavorum [Utrecht]: Apud Guilielmum Vande Water, 1713, contemporary calf gilt boards, marbled edges, rebacked to style, early 19th century crested bookplate to verso of title-page, probably Charles Cameron (1745-1812), 12mo, (1), [5]
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The Holy Bible, the first quarto edition of the King James' version printed in roman type, London: Robert Barker, 1612, printed in double-columns throughout, incomplete: lacking all before A2 including general title-page, wood engraved New Testament title-page dated 1612, finishes on [M 2], the contents in-between unexamined, some decorative ornaments, foliated and historiated initials, contemporary blind-tooled calf over boards (fragmentary, worn), 4to (22.5cm x 19cm), [1]
De Animalibus libri vigintisex Novissime Impressi. Emendatus fuit Liber iste per ... Marcum Antonium Zimaram. Venice: O. Scoti ac sociorum 1519, folio, title, 5 leaves of Tables, 205ff., double column text, black letter, decorative capitals, collates without loss, old calf ruled in blind, spine chipped with later label
Illustrations of Himalayan Plants, London: Lovell Reeve 1855, folio, hand-coloured additional lithographed title with elaborate floral border, 24 hand-coloured lithographed fine plates by W. H. Fitch, title and last leaf linen backed, ex. Liverpool Public Library with unobtrusive blind stamps to plates and bookplate to first pastedown, some leaves a little dust and use stained, but plates generally bright with slight toning to some outer margins, rebound in recent green half morocco
![The Rhododendrons of Sikkim-Himalaya. London: Reeve & Co 1849[-51?], folio, (49.5 x 35.5cm), general title only without v](https://cdn.globalauctionplatform.com/3183bdc5-fcf2-47e5-a3d1-ac540121db0c/b932a22f-67f2-4c78-955a-ac560110efeb/468x382.jpg)
The Rhododendrons of Sikkim-Himalaya. London: Reeve & Co 1849[-51?], folio, (49.5 x 35.5cm), general title only without vignette, hand coloured lithographic frontispiece (plate I) and 29 other plates, a few descriptive text leaves with small nicks and slight marginal tears, some typical use staining and toning, ex. Liverpool Public Library with their stamp to verso of title, unobtrusive blind stamps to plates and bookplate to both pastedowns, recent green half moroccoFootnote: Note: other copies of this work show the publisher as Reeve Benham and Reeve, with vignette title and 2 part titles as well as subscribers list, none of which are included in this copy.
THACKERAY (W M) The Kickleburys on the Rhine, 1850, square 12mo, illustrated, full red morocco gilt ;KIPING (R) Rewards and Fairies, 1923, 8vo, full red morocco gilt; JOHNSTON (J) The Chemisrt of Common Life, 2 vols 1856, small 8vo; BONOMI (J) Nineveh and its Palaces, no date, 8vo, blind tooled black calf; 2 others, poetry, by Tennyson and Byron (7)
A Description of the Principal Picturesque Beauties, Antiquities, and Geological Phoenomena, of the Isle of Wight. First edition, London: for Payne and Foss 1816, 4to, 3 folding engraved maps (one hand-coloured) and 47 engraved plates (one hand-coloured aquatint), several folding or double-page, title and half title slightly foxed, original blind-stamped cloth, rebacked preserving spine strip; BRANNON (George) Scenery.. Views ... in the Isle of Wight, 1833, oblong folio, 28 (of 30) plates, lacks final 2 plates, boards (2)
An account of the Empire of Marocco, and the district of Suse... to which is added an accurate and interesting account of Timbuctoo. London: for the author, 1809, 4to, 2 folding engraved maps, 11 plates (including 2 hand-coloured), with Addendum/errata leaf at end, occasional light foxing, some offsetting on to title from first map, tree calf with blind-stamped Garter arms to boards, rebacked
Craigie Aitchison (1926 - 2009), 'Wayney Going to Heaven', limited edition screenprint in colours, signed, dated and numbered in red ink 1989, 55/75, blind stamp for Advanced Graphics London, image 21cm x 15.5cm, overall 63cm x 47cmCondition report: Not framed nor mounted. Item appears to be in good overall condition with no visible damage or foxing.
Craigie Aitchison (1926 - 2009), 'Yellow bird', limited edition screenprint in colours, signed, dated and numbered in red ink, 1989, 3/160, blind stamps for Advanced graphics London and CCA Galleries London, image 25cm x 20.5cm, overall 59.5cm x 45cmCondition report: Not framed nor mounted. No visible damage, creases or discolouration.
A George III mahogany chest on chest, the dentil moulded and blind fret cornice over an arrangement of three short and six long graduated drawers, a full width slide, with period gilt-brass fittings, the upper part with reeded canted uprights, on shaped bracket feet. 110 cm w x 56 cm x 190 cm h
THREE VICTORIAN & LATER 18CT GOLD RINGS to include a three stone diamond ring stamped '18ct plat' size L, a three stone diamond in a decorative swirl setting, date stamped '1907' mid M-N and a blind pierced wide band example with enamelled initials to the top, marks very worn, believed 18ct, late 19th century, 6.5grms gross
Obey (Shepard Fairey, American, born 1970)/Blind Acceptance Can Be Hazardess/limited edition print 264/300, signed in pencil l.r. and dated 2006, 61cm x 45.5cm CONDITION REPORT: Crease and scuff mark to the top left corner. Crease to lower right margin. Image slightly scuffed, otherwise condition fair.
Franz Xavier Kosler (Austrian, 1864-1905)Portrait of a man signed 'F. Kosler' (lower right)oil on panel32 x 18.5cm (12 5/8 x 7 5/16in).Footnotes:Franz Kosler is probably best known for his sensitive portraits which capture the real character of the sitter. He was born in Vienna in 1864, and became one of the most celebrated Orientalist painters of his generation. Kosler began his artistic studies at the Akademie der Bildenden Künste (The Academy of Fine Arts) in Vienna, studying under the renowned Austrian Orientalist artist Leopold Carl Müller. Highly influenced by Müller's work, Kosler followed in his tutor's footsteps, travelling abroad to paint the Near East first-hand, depicting richly coloured genre scenes and tender close-up portraits of young sitters, dressed in traditional clothing. Setting off in 1886, Kosler travelled extensively, visiting Dalmatia, Montenegro, Albania and Egypt.Kosler opened a one-man exhibition in Cairo in 1894. The show was a great success and secured him many wealthy Egyptian clients, including Prince Said Halim Pasha, the grandson of Mehemet Ali Pasha (the future Grand Vizier of the Ottoman Empire) who commissioned a series of portraits from the artist. Kosler's portrait commissions were not limited to Egyptian society; whilst in Egypt, Kosler made acquaintances with a number of influential European art collectors, and was commissioned to paint Archduke Ferdinand Karl in Vienna, as well as other wealthy individuals such as Countess Palfy-Schilippenback, who sat for the artist in 1896. Kosler exhibited at the Glass Palace in Munich in 1899 and at the Royal Academy in London, where he showed The Blind Beggar and Vegetable Sellers, Cairo in 1903. He also found fame in his home country, regularly exhibiting in the Viennese salons from 1895, becoming a member of the Society of Artist Painters a few years later, in 1901.For further information on this lot please visit Bonhams.com
A Georgian mahogany secretaire bookcase, the base fitted with an arrangement of three drawers, disguised as five, the secretaire fitted with drawers and pigeons holes, the bookcase enclosed by well matched veneered drawers, set beneath a blind cut frieze and broken architectural cornice, set on bracket supports, 110cm wide
Anglo-Saxon Key.Circa 8th-10th century AD. Copper-alloy, 30.17 grams. 55.24 mm. A very unusual key formed of large oval bulb with various circular holes, inside is a pea. At one end is a collared terminal with a hole for suspension and the other has a similar collar that joins the round shaft of the key. The purpose of this pierced hollow body has not been confirmed but it certainly suggests its purpose was to ring like a bell. Maybe a key for a blind person?. Ref: for similar shape key; British Artefacts. p. 98. fig. 1.13-j. Found Cambridgeshire. From the collection of a retired detectorist.
Stanley Anderson C.B.E., R.A. (1884-1966), Etching on paper, Boaters by a riverside ruin, Signed in pencil lower right margin, FATG blind stamp lower left margin, 30cm x 38.54cm, Framed, With after Mose Bianchi (Italian 1840-1904), Etching on paper, 'Pifferaio', Unsigned, titled and numbered '9/80' to lower margin, 17cm x 12.5cm, Framed and glazed (2)
A Chippendale style mahogany grandmother clock, mid 20th century, with a blind fretwork frieze above a pair of freestanding reeded pilasters flanking the 18cm wide gilt metal break arch dial, enclosing the three train movement striking on graduated rods, quarter (Westminster) chime, above an arcaded dentil frieze and slender case with shaped flame mahogany door flanked by quarter reeded pilasters, on columns with moulded brick detail, upon a conforming lower board with ogee bracket feet, 150cm high, with brass bob pendulum For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
A Regency and later mahogany bureau bookcase, with a blind fret work swan neck pediment above a pair of astragal glazed doors enclosing three adjustable shelves, the bureau fall front inlaid with a satinwood Adams type urn, opening to a satinwood interior with central inlaid door, over the four graduated and cock beaded drawers applied with lions mask back plates and swing handles, raised upon bracket feet, 245cm H x 106cm W x 52cm D
THREE DECORATIVE FRAMES comprising a gilded wood sunburst frame, with `Madonna della Stella` after Fra Angelico, Arundel Society (or similar) chromolithograph, arched top, to fit 33.5 x 25cm; a pierced and scrolled `Florentine` frame, with a late 19th Century drawing of a cherub with keys in the manner of Orazio Sammachini, arched top, to fit 27.5 x 22.5cm.; and a Georgian circular gilt frame with ribbon moulded border, with a print of `Blind Man's Buff` after Angelica Kauffmann, to fit 20cm. (3) ++ Each in generally good condition
James Campbell (British, 1828-1893)A Pastoral Rehearsal oil on canvas63.5 x 115.2cm (25 x 45 3/8in).Footnotes:ExhibitedLiverpool Academy, 1860, no. 95.Literature Marillier, H.C., The Liverpool School of Painters, London, 1904, p. 84.This recently re-discovered work by the Liverpool artist James Campbell has been identified as his 1860 Liverpool Academy exhibit, A Pastoral Rehearsal. A group of men, women and children are gathered among a grove of trees on the edge of a village to sing and play. Led by the standing figure of a man who raises his right arm and bow to conduct, while holding his fiddle to his grey-bearded chin, and accompanied by a seated 'cellist and a third musician who plays a clarinet, six villagers sit side-by-side to form the choir. On the right, a man seems to gaze as if transfixed by the rhythm of the music and to which he beats time on a tambourine. At the centre, a flaxen-haired child wearing a pale coloured smock and with a school-satchel across his shoulder, holds the score for the violinist and 'cellist. On the left side of the composition, a youth with white shirtsleeves and a black cap rests in a wheelbarrow and holds a younger child – perhaps his sister – on his lap. One further spectator – a dark-haired woman – stands on the left side before a moss-covered drystone wall, holding a piece of embroidery or knitting. As the painting's exhibited title indicates, the folk seen together are preparing for a musical performance, perhaps as part of a wedding or May Day celebration. The various participants seem to be wearing workaday clothes, with the possible exception of the violinist/conductor who wears a shabby frockcoat and check trousers, so it may be assumed that the rehearsal is taking place at the end of the working day and when the children present have been released from school.James Campbell specialised in subjects showing the life of working-class men and women in his native city of Liverpool and surrounding countryside. For biographical information on the artist we depend on a short chapter in H.C. Marillier's The Liverpool School of Painters (1904). According to this source, Campbell studied at the Royal Academy schools in London (although, if this is the case, the academic training received there seems to have left no mark upon him). In 1851, having returned to Liverpool, he entered the Liverpool Academy as a probationer, exhibiting there for the first time the following year. Campbell was elected as an associate of the Liverpool Academy in 1854 and a full member in 1856. In 1857 he contributed to the Russell Place exhibition of Pre-Raphaelite art in London, being represented by works lent from the collection of the Liverpool collector and art entrepreneur John Miller and for which Ford Madox Brown had negotiated. In 1858 Campbell was invited to send works to the exhibition of contemporary British art shown that year in New York, Philadelphia and Boston. That Campbell was regarded in a friendly way by members of the progressive circle of painters is demonstrated by his having subsequently been admitted to membership of the Hogarth Club. Among Campbell's most loyal patrons, in addition to Miller himself, were George Rae, of Birkenhead, and James Leathart, of Gateshead.In the 1850s Campbell sent works to the Liverpool Academy from an address in Brunswick Square, Kirkdale (now part of Liverpool itself and lying to the north of the city centre). Particular works in urban settings by Campbell, such as Twilight – Trudging Homewards (private collection), in which two itinerant musicians, each of them blind, lead one another home at the end of the day, or Dinner in View (Christie's, 6 November 1995, lot 127), also of 1858 and showing gaunt figures dazed by hunger, are amongst the most extraordinary images of deprivation to come down to us from the mid 19th century. On other occasions, Campbell made painting expeditions into the Cheshire countryside, taking lodgings at Eastham Woods on the Mersey western shore, and on other occasions working at Bidston on the Wirral. These were both places favoured by the Liverpool artists in the middle years of the 19th century, and it is likely that the present rustic subject was made in one or other of them. Campbell's career as an artist was cut short by failing eyesight and from which he suffered even while he was still in his thirties. He exhibited at the Liverpool Academy only until 1864, while the following year he showed for the last time at the Liverpool Institution of Fine Arts. He was eventually awarded a pension and the offer of accommodation by the Royal Academy, and for which support his patrons Rae and Leathart had petitioned. The fact that Campbell had such a short working career – hardly longer than a decade and a half – and because he painted in such an exacting and meticulous way, explains why his works are rare.The loving attention to detail that Campbell paid in his figurative subjects owed much to the example of the Pre-Raphaelites. In addition, it seems likely that he studied Dutch genre paintings (and perhaps also French art of the 17th century – on occasions his works seems curiously akin to that of the Le Nain brothers). The way in which Campbell documented the lives of the folk he observed – describing as he did the privations they endured with such humanity – gives his works an idiosyncratic quality that makes them compelling.We are grateful to Christopher Newall for compiling this catalogue entry.For further information on this lot please visit Bonhams.com
![England.- [Parsons (Robert), and others], A Conference about the Next Succession to the Crown of England, 2 parts bound in 1](https://cdn.globalauctionplatform.com/3cc98721-b8ce-4047-a914-ac4700a5a9f3/c108eb6e-50b8-4354-95c1-ac4700b65b37/468x382.jpg)
England.- [Parsons (Robert), and others], A Conference about the Next Succession to the Crown of England, 2 parts bound in 1 vol., small tear to title, occasional faint spotting, small marginal hole (T1), small rust hole (2A2) affecting one or two letters, large folding table at end, 2 short marginal tears, contemporary calf, blind-stamped coat of arms, 8vo, [Wing P568], by R. Doleman, re-printed at N., 1681.
Binding.- Snoy (Raynerius, Goudanus) Psalterium paraphrasibus illustratum, servata ubique ad verbum Hieronymi translatione. Opusculum in psalmos, title with woodcut printer's device, woodcut initials, early ink renumbering to pages and index and notes to endpapers, stained, occasional spotting, lightly browned, contemporary ornately blind-stamped morocco, spine in compartments, lacking claps, spine ends and lower corners worn, rubbed, 8vo (binding 167 x 111mm.), Lyon, Jean Barbou in the house of Jean Frellon & François Frellon, 1540.
Beatus Rhenanus, Sigismundus Gelenius and others. In Titum Livium annotationes, title with woodcut printer's device, occasional spotting, mostly light browning, contemporary panelled blind-stamped and gilt calf, spine in compartments, joints split, but holding, spine with head little chipped and remains of paper label, corners and 1 lower edge worn, rubbed, [Adams G768], 8vo, Lyon, Sébastien Gryphe, 1555.
Binding.- Dictionary.- Estienne (Robert) Dictionarium nominum propriorum, virorum, mulierum, populorum, idolorum, urbium, fluuiorum, montium..., title with woodcut printer's device, woodcut decorative initials, some marginal water-staining, occasional spotting, lightly browned throughout, contemporary ornately blind-stamped pigskin over wooden boards, covers with centre-pieces depicting the seven virtues, upper cover with initials 'L.P.C' and date 1567, lacking clasps, small remains of paper label to foot of spine, rubbed, 8vo (binding 174 x 120mm.), Cologne, [Gottfried Cervicornus for] the heirs of Arnold Birckmann, 1563.
Binding.- Medicine.- Methodus curandorum omnium morborum corporis humani. De dignoscendis morbis. De febribus. De morbo Italico. De internis et externis. De pharmacopolarum officina. De fucis, woodcut head-pieces and decorative initials, lacking title and following f., worm trace to upper corners towards end, affecting some page numbers, some staining and spotting, lightly browned throughout, attractive contemporary panelled calf, central panels with gilt head of a warrior, clam shells and foliage corner-pieces, all within wide blind-stamped border with a repeat of the warrior's head and various floral and foliage tools, spine in four compartments, each with central gilt clam shell, head of spine and corners worn, some chips, rubbed, 8vo (binding 180 x 126mm.), [Lyon], [Guillaume Rouillé], 1586. sold as a binding and not subject to return.
NO RESERVE Food & drink.- Boulenger (Jules-César) De Conviviis Libri Quatuor, first edition, title with woodcut printer's device, woodcut head-pieces and decorative initials, [Cagle 93; Simon BG 231; Vicaire 131], Lyon, Heirs of Rouillé for Ludovic Prost, 1627; bound with his De Ludis Privatis, 1627 and De Pictura, plastice, Statuaria Libri Duo, 1627, together 3 works in 1 vol., occasional spotting, some foxing, lightly browned, 18th century calf, gilt spine in compartments, upper cover detached, spine ends and corners worn, rubbed, Earls of Macclesfield copy with bookplate and blind-stamps, 8vo
NO RESERVE Catullus (Gaius Valerius) Catullus et in eum Isaaci Vossii observationes, edited by Isaac Vossius, title in red and black and with woodcut ornament, woodcut decorative initials, errata f. at end, some spotting, lightly browned, 19th century blind-stamped panelled calf, upper cover all but detached, rubbed at extremities, [Wing C1526], small 4to, [Leiden], Isaac Littlebury, 1684.⁂ The Leiden printed first edition edited by Issac Vossius, this being the issue intended for sale in London with a new title-page. Scarce in commerce.
Terentius Afer (Publius) Terence in English. Fabulae comici facetissimi et elegantissimi, second edition of this translation, woodcut decorations, last leaf stained and laid down, head of title trimmed and browned, lacking translator's dedication (π2-4), later straight-grain morocco, stamped in blind, rebacked, spine and corners worn, [STC 23890], 4to, Cambridge, John Legat, 1607.⁂ Second edition of Richard Bernard's translation, originally published in 1598.
Eliot (T.S.) The Waste Land, first American edition, contained in The Dial, vol. 73, July to September 1922, 3 tipped-in colour plates, black and white plates, ex-library with bookplate and blind-stamps, later cloth, rubbed, slight bumping to corners and extremities, 8vo, Chicago, 1922.⁂ The American edition of the Waste Land was published a month after the English edition first appeared in 'The Criterion'. With colour plates are by Franz marc, Marc Chagall and Robert Delaunay.
Wells (H.G.) The Stolen Bacillus and Other Incidents, 32pp. publisher's catalogue dated September 1895, contemporary ink owner's inscription to head of title, light spotting to front endpapers, original decorated blue cloth, gilt, slightly rubbed at joints and spine ends, a good copy, [Wells 6], 1895; The War in the Air, plates by A.C.Michael, advertisement leaf at end, ink ownership stamps, W.H.Smith & Son Library label and discount label to front pastedown, original blue cloth, gilt, rubbed, spine sunned, small ink stain to lower edge of upper cover, 1908; The Secret Places of the Heart, original green cloth with borders in blind, spotting to fore-edge, dust-jacket, spine lightly browned but an excellent copy, 1922, first editions; and 6 others by the same, 8vo (9)⁂ The first is Wells's second science fiction work and his first collection of short stories.
Italy.- Lear (Edward) Journals of a Landscape Painter in Southern Calabria, first edition, half-title, 2 lithographed maps and 20 tinted lithographed plates, 4pp. advertisements at end, paper guards, one or two frayed at edges, some foxing, map opposite title with light marginal water-staining, original blind-stamped blue cloth, rubbed, corners bumped, rebacked preserving original gilt spine, [Abbey, Travel, 175], large 8vo, 1852.
λ Laurence Stephen Lowry (British 1887-1976)The ContraptionColour print, 1975 Signed in pencil, from the edition of 750, with the Fine Art Trade Guild blind stamp31.5 x 30cm (12¼ x 11¾ in.)Condition Report: There is some minor discolouration to the sheet at mounted edges, otherwise in good original condition. Under glass and unexamined out of frame.Condition Report Disclaimer
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