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Lot 62
Shakespeare, William. The Works, Knight's Cabinet Edition, in 12 volumes, Edinburgh: W. & R. Chambers, 1856. Octavo, contemporary half-calf with morocco title labels lettered in gilt, marbled boards and endpapers, each volume with a pictorial title depicting a portrait of Shakespeare, woodcut illustration & frontispiece to the beginning of each work. Contents very good, clean bright, bindings tight & square with some light wear. Together with five volumes [part-set] of John Bell's edition of Shakespeare's works, 1786, and a fifth impression of Rupert Brooke's Collected Poems, 1919, sold with all faults (18)
Lot 94
Chapbooks. Juvenalia & Exploration. Collection of 56 children's chapbooks, illustrated with charming woodcuts including frontispieces and vignette titles, uniformly bound in speckled calf lettered in gilt, comprising: Travels in North America, Dublin: Brett Smith, 1824; The History of Prince Lee Boo, Dublin: J. Jones, 1822; Discovery of America, by Christopher Columbus, Dublin: William Folds & Son, 1824; Travels in Africa, Dublin: A. O'Neil, 1824; Travels in South America, Dublin: John Jones, 1824; Travels in South-Eastern Asia, Dublin: J. Jones, 1823; A Voyage through the Islands of the Pacific Ocean, Dublin: Bentham & Gardiner, 1824; The Shipwreck of the Alceste & Medusa, Dublin: Thomas I. White, 1831; Wonderful Fishes, Dublin: C. Bentham, 1820; The Cottage-Fireside, Dublin: Napper & White, 1826; The Schoolmistress, Dublin: Bentham & Gardiner, 1824; Travels in the Interior of Africa, by Mungo Park, Dublin: W. Espy, 1821; The Voyage of Commodore Anson, Dublin: A. O'Neil, 1825; The History of Tim Higgins, Dublin: C. Bentham, 1823; The Brothers or Consequences, Dublin: W. Espy, 1820; The History of Isaac Jenkins, Dublin: J. J. Nolan, 1818; Views of the Creation, Dublin: John Jones, 1826; Travels in European Russia, Dublin: Bentham & Hardy, 1826; Siege & Destruction of Jerusalem, Dublin: Bentham & Hardy, 1825; Arctic Travels, Dublin: Thomas I. White, 1830; Moral Essays in Praise of Virtue, Dublin: J. Scott, 1824; Useful Arts & Manufactures, Dublin: A. O'Neil, 1822; The Wreath, Dublin: W. Espy, 1828; Travels in South-Western Asia, Dublin: Thomas I. White, 1832; Natural History of Animals, Dublin: Smith & Son, 1822; Miscellany, Youthful Peasantry of Ireland, Dublin: Thomas I. White, 1830; Seasons, Dublin: William Folds & Son, 1824; The Pedlars, Dublin: Bentham & Hardy, 1826; Arctic Voyages, Dublin: R. D. Webb, 1831; Mungo or the Little Traveller, Dublin: J. Jones, 1822; History of Richard Mac Ready, Dublin: R. D. Webb, 1830; Travels in Southern Italy, Dublin: Thomas I. White, 1830; Dangerous Voyage of Captain Bligh, Dublin: R. Napper, 1824; Travels in Sweden, Denmark and Norway, Dublin: Bentham & Hardy, 1826; Wonderful Escapes, Dublin: T. & S. Courtney, 1830; Natural History of Birds, Dublin: William Espy, 1821; The Cabinet, Dublin: W. Folds & Son, 1825; Nature Displayed, Dublin: Joseph Blundell, 1828; Remarkable Trees, Shrubs & Plants, Dublin: G. Bull, 1821; Domestic Animals, Dublin: J. Jones, 1821; Remarkable Beasts, Dublin: Joseph Blundell, 1830; Wonders of the World, Dublin: Brett Smith, 1825; Travels in Northern Asia, Dublin: C. Bentham, 1823; Entertaining Medley, Dublin: Thomas Courtney, 1826; Travels in Germany, Dublin: P. Hayes, 1828; Travels in England & Wales, Dublin: R. Napper, 1825; Poems, Dublin: W. Espy, 1825; Hints for the Small Farmers of Ireland, Dublin: J. Charles, 1830; The Life of Captain James Cook, Dublin: R. Napper, 1831; Elizabeth or the Exiles of Siberia, Dublin: R. Napper, 1831; Reflections on God, Dublin: John Jones, 1828; Scrap Book Anecdotes, Dublin: R. D. Webb, 1832; Key to the Shorter Catechism, Edinburgh: James Gall, n.d.; Practical Mechanics, Dublin: P. D. Hardy, 1830; Travels in Northern Italy, Dublin: Thomas I. White, 1831. Most volumes bearing the contemporaneous owner inscription of Charles R. Currie. Together with a smaller bound volume containing ten children's chapbooks with coloured paper covers, most by Mrs Sherwood. Condition generally appears good internally, varied, bindings worn, sold with all faults (56)
Lot 1275
Charles Barr Furniture Limited: A Dining Room Suite, comprising: A Cross-Banded Mahogany Sideboard, the moulded rectangular top above two drawers over four panelled doors, on a moulded plinth base, 189cm by 44cm by 90cm, A Matching Dining Table, the moulded and rounded top raised on massive tapering triform supports, over moulded waisted triform plinth bases, 217cm by 132cm by 77cm, A Set of Eight Dining Chairs, including two carvers, with fleur-de-lis embroidered cream damask upholstery and A Glazed Bookcase Cabinet, with pierced broken swan neck pediment, 191cm by 44cm by 238cm
Lot 12
From Freelance Designs 4.5" gauge spirit-fired model of a 4-4-0 locomotive and tender, named "Greater Britain", made from brass, gunmetal and copper components, easy access to back head controls with regulator lever, sight glass, whistle, and safety, water feed tender, well-made example, un-painted, sold with a professionally built oak and glazed display cabinet with track section and makers plaque
Lot 1754
Meccano, circa 1970s No.9 oak cabinet with blue/yellow nickel components, gears, wheels, plates etc, the components are all very good although the contents are not checked for completeness, the box is clean although the box lid needs repair, sold with a selection of instruction manuals and a copy of The Hornby Companion Series Volume 2 "The Meccano Super Models" by Geoff Wright
Lot 136
Frankreich - Paris - - Louis Albert Bacler d'Albe. Promenades pittoresques et lithographiques dans Paris et ses environs. Mit 48 lithographischen Tafeln von Engelmann und Villain. Paris, F. Villain, 1822. 1 Bl., 35 S., Tafeln. Folio. Dunkelgrünes HLdr. d. Zt. mit Lederecken, Marmorpapier und RVergoldung (minimal berieben). Thieme-Becker II, 327. Nicht bei Twyman. - Prachtvolles Zeugnis früher Lithographie. Vollständiges Exemplar, welches in 8 Lieferungen erschien. Die Tafeln zeigen verschiedene Stadtansichten mit Darstellung der lokalen Bevölkerung bei der Arbeit und in der Freizeit. Die Tafeln zeigen u.a. Le Pont Neuf, le Pavillon Ternaux (Auteuil), le Château de St Cloud, la Marchande de Coco du Pont de l'École Militaire, l'Entrée des Champs Elysées, le Jardin des Tuileries, le Carrefour de la Madeleine (rue St. Honoré), le Boulevard de la Madeleine (l'église en construction), le Boulevard des bains chinois. Der Maler und Kartograph General Bacler d'Albe (1762-1824) war der Leiter des kaiserlichen topographischen Kabinetts. - Durchgehend etwas braunfleckig, die Tafeln meist nur im Außenrand. - Schöne breitrandige Folge des seltenen Werkes. Splendid example of early lithography. Complete copy, which was published in 8 editions. The plates show various views of the city with depictions of the local population at work and at leisure. The plates show among others Le Pont Neuf, le Pavillon Ternaux (Auteuil), le Château de St Cloud, la Marchande de Coco du Pont de l'École Militaire, l'Entrée des Champs Elysées, le Jardin des Tuileries, le Carrefour de la Madeleine (rue St. Honoré), le Boulevard de la Madeleine (l'église en construction), le Boulevard des bains chinois. The painter and cartographer General Bacler d'Albe (1762-1824) was the head of the imperial topographical cabinet. - Throughout somewhat brownspotted, the plates mostly only in the outer margin. - Beautiful set with wide margins of the rare work.
Lot 14
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Stool.Wood.With marks of use.Measurements: 45 x 40 cm (diameter). Stool made of pine wood with a sober and robust finish. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Lot 15
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Stool.Wood.With marks of use.Measurements: 44 x 48 x 37,5 cm.Stool made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Lot 16
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Table.Wood.With marks of use.Measurements: 50,5 x 60 cm (diameter).Coffee table made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Lot 17
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Chair.Wood.With marks of use.Measurements: 93,5 x 48 x 48 cm.Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Lot 18
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Chair.Wood.With marks of use.Measurements: 93,5 x 48 x 48 cm.Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
Lot 168
AUTEL DE CHITIPATI EN BOIS PEINTMONGOLIE, XIXE SIÈCLE Himalayan Art Resources item no. 205067 89 x 66 x 26 cm (35 1/8 x 26 x 10 1/4 in.)Footnotes:A PAINTED WOOD CHITIPATI SHRINE MONGOLIA, 19TH CENTURY 蒙古 十九世紀 彩繪木雕屍陀林主神龕Depicted on this painted shrine is the tantric couple, Shri Shmashana Adhipati, dancing protectors in skeletal form. As emanations of Chakrasamvara, these divine figures embrace one another in yab-yum. Their sacred dance symbolizes both the unity of wisdom and compassion as well as the passing of time. Behind the couple's flaming aureole and charnel ground offerings is a skeleton pavilion located within a craggy, mountainous landscape. Another polychrome cabinet depicting chitapati are illustrated in Buckley, Tibetan Furniture, Warren, 2005, fig. 95.Provenance:Art market, 1980sFor further information on this lot please visit Bonhams.com
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