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Click here to subscribeAN EARLY VICTORIAN CAST SILVER-GILT 'HARLEQUIN' SHORT-CANDLESTICK OR TAPER STICK the harlequin holding aloft a fluted drip pan and spool-shaped capital and standing on a naturalistic domed mound on a shaped-round foot pierced and chased with flowers, leaves and scrolls, mark of Sebastian Crespell II, London 1838, 16.5cm high (6 ½ in), 240g (a little under 7 ¾ oz)
Sun Jusheng (Chinese, B. 1913) "Cats #1" Watercolor on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Domestic cats have been a part of civilization for nearly five thousand years. In the days of Ancient Egypt, as slaves toiled about the pyramids, cats held a place of honor. The Greeks used cats to combat rodents and began to steal them from the Egyptians, and it soon became a capital crime to steal a cat. As Romans overran the Kingdom of Egypt, the cats of a dying civilization became the spoils of war. By ships, by land, carried by wagon or cart, the cat made its way into the heart of nearly every civilization on earth. In America, cats made their appearance in the 1700s, wending their way into the hearts and homes of our founding fathers. Today, cats are among America's favorite pets and are lavished with affection in many an American home. Image Diameter: 13.75 in. Overall Size: 20 x 20 in. Unframed. (B08233)
Sun Jusheng (Chinese, B. 1913) "Cats #6" Watercolor on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Domestic cats have been a part of civilization for nearly five thousand years. In the days of Ancient Egypt, as slaves toiled about the pyramids, cats held a place of honor. The Greeks used cats to combat rodents and began to steal them from the Egyptians, and it soon became a capital crime to steal a cat. As Romans overran the Kingdom of Egypt, the cats of a dying civilization became the spoils of war. By ships, by land, carried by wagon or cart, the cat made its way into the heart of nearly every civilization on earth. In America, cats made their appearance in the 1700s, wending their way into the hearts and homes of our founding fathers. Today, cats are among America's favorite pets and are lavished with affection in many an American home. Image Diameter: 13.75 in. Overall Size: 20 x 20 in. Unframed. (B08238)
Shannon Stirnweis (B. 1931) "New York Stock Exchange" Signed lower right. Oil on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day of Issue Maximum Card for the U.S. 29c New York Stock Exchange Bicentennial stamp issued May 17, 1992. In 1792 a group of 24 men convened under a buttonwood tree in New York to discuss their mutual interest in finances and investments. From this encounter, which took place on what is now Wall Street, evolved the world's largest marketplace for securities -- the New York Stock Exchange (NYSE). Formally instituted in 1817 as the New York Stock and Exchange Board, the organization flourished during the early 19th century, when America's emphasis on mercantilism and expansion of the railroads stimulated growth in the securities marketplace. But many investors lost heavily in the Panic of 1837, and the exchange subsequently required all listed companies to provide public disclosures of financial records before offering stock. Adopting its present name in 1863, the exchange furnished much of the capital needed to move America into the post-Civil War industrial era. After 1868, seats on the exchange -- limited to 1,366 since 1868 -- were obtained only by purchase from an existing member. A corporation seeking to list on the NYSE must meet rigorous conditions. It must earn a minimum of $2.5 million before taxes, possess at least one million shares of outstanding stock, grant voting rights to common stockholders and publish regular financial statements. Since the Great Depression of 1929, the NYSE has been regulated by the Securities and Exchange Commission. Image Size: 17.5 x 15 in. Overall Size: 21.75 x 18.75 in. Unframed. (B13724)
Zhan Jianjun (Chinese, B. 1931) "A Lake in the Stone Forest" Oil on Canvas painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting is an original unsigned oil on canvas by Zhan Jianjun that was commissioned directly by Unicover. Helmuth Stone Gallery and Wind River Studios both guarantee the authenticity of this piece.This painting commissioned by James A. Helzer, originally appeared on the Fleetwood First Day Cover for the China 8fen Lake in the Stone Forest stamp issue of September 18, 1981.Only 120 kilometers southeast of the city of Kunming in China's remote Yunnan Province, the Stone Forest is surrounded by one of the most enchanting landscapes in all of China. Here in Yunnan, where the winter is never bitterly cold, nor the summer unbearably hot, a patchwork of sub-tropical valleys and basins spreads across the high plateau. Home to the rare golden monkey and the delicately beautiful camellia tree, Yunnan is a paradise of magnificent flora and fauna. Botanical gardens, zoos, primeval forests, and rare birds and animals cover the province like an ornate painted screen. Bordered on the south by the treacherous Indo-China border and on the west by the mighty mountains of Burma, this intoxicating, picturesque province is almost entirely mountainous. For centuries, far-away Yunnan served as a penal colony where enemies of political despots and war lords were easily banished. Distant and inaccessible, Yunnan's capital city of Kunming was the unofficial capital of Free China during wartime. Here Marco Polo was awed by the 2000 year-old "City of Spring," abundant with flowers and sprinkled with scores of ornate temples and lavishly decorated pagodas. The medley of sights and sounds in Kunming, along with the enchanting landscape of Yunnan Province, are a fitting prelude to the strange and breathtaking sights of the Stone Forest. This beauty and wonder are reflected in a serene, limpid pool in the Stone Forest, portrayed in this artwork.Image Size: 27.5 x 23.5 in. Overall Size: 28.25 x 24 in. (B07310)
Ren Yu (Chinese, B. 1945) "Lion Head Camellias" Signed upper left. Watercolor. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This artwork originally appeared on the Fleetwood First Day of Issue Proofcard of the China 8fen Lion Head Camellia stamp issued November 10, 1979. Brilliant red flowers characterize the Lion Head Camellia. Among the thickly twisted petals, stamens bunch in small groups, providing golden blotches of color within the deep red blossoms. To the Chinese, the stamens represents hearts, and they call the Lion Head "Nine Hearts and Eighteen Petals." The lovely Lion Head blossoms grow from one of the taller Camellia trees. Like all the Camellia trees, they grow slowly, especially when young. However, when planted in moist, acid, peaty soil, and protected from the wind, a well-grown Camellia reaches approximately ten feet in twenty years. Perhaps these leisurely growing habits add to their longevity, because many Camellias live hundreds of years. In a temple garden, near Kunming, Yunnan's capital, one Camellia tree is reputed to be over three hundred years old and five hundred feet tall. At one time, western gardeners knew nothing of these Chinese beauties. In 1704, Georg Kamel, a Jesuit priest serving in China, discovered the Camellia. There is some doubt that Kamel, whom the flowers were named after, ever brought a Camellia back to Eurpe, but as the trading routes expanded, the treasured flowers found their way to other countries. Today, Camellias similar to the Lion Head, thrive as well in New York greenhouses as they do in California's sun-filled gardens. Image Size: 10.5 x 11.5 in. Overall Size: 14 x 20.25 in. Unframed. (B05682)
Sun Jusheng (China, B. 1913) "Cats #5" Watercolor on Rice Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. Domestic cats have been a part of civilization for nearly five thousand years. In the days of Ancient Egypt, as slaves toiled about the pyramids, cats held a place of honor. The Greeks used cats to combat rodents and began to steal them from the Egyptians, and it soon became a capital crime to steal a cat. As Romans overran the Kingdom of Egypt, the cats of a dying civilization became the spoils of war. By ships, by land, carried by wagon or cart, the cat made its way into the heart of nearly every civilization on earth. In America, cats made their appearance in the 1700s, wending their way into the hearts and homes of our founding fathers. Today, cats are among America's favorite pets and are lavished with affection in many an American home. Image Diameter: 13.75 in. Overall Size: 20 x 20 in. Unframed. (B08237)
Li Qingfa (Chinese, B. 1954) and Jiang Weijie (Chinese, 20th C.) "Terra Cotta Warriors - General Figure" Signed lower right. Mixed Media on Silk. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.N. S6 Terracotta Warriors stamp issued November 19, 1997. Although Qin Shi Huang's rule over a unified China lasted just over a decade, he nevertheless implemented sweeping changes that distinguished his dynasty and made China a unified nation. By eliminating the centuries-old feudal system and establishing a centralized empire, he essentially altered the political and social structure of the state. Qin Shi Huang codified the laws, standardized not only the nation's weights and measures, but the system for writing Chinese characters, so that written language could be understood throughout China. To make sure that food and other essential items were dispersed to all parts of his empire, the emperor developed a remarkable network of roads radiating from the capital. He standardized the axle lengths of wagons and chariots so vehicles could travel in the same ruts, and he ordered the creation of a series of canals that would become the greatest inland water-communications system the world had ever seen. Some of these canals are being used to this day, and one can still travel from north to south by water. In addition, Qin Shi Huang restored wastelands, allowing for the cultivation of crops, and introduced irrigation systems, many of which are still in use today. But perhaps his most famous and enduring accomplishment was the building of the Great Wall, a winding, 1,500-mile long fortification designed to protect China from northern nomads. Image Size: 11.25 x 10 in. Overall Size: 14 x 12 in. Unframed. (B15784)
Selection (3) of London Transport wartime fold-out LISTS of Bus, Trolleybus & Tram Routes. Issues No 1 1944, No 1 1945 and No 2 1945. With production of pocket maps suspended for security reasons, pressure grew to provide some public information about services, particularly for the huge numbers of service personnel in the capital, and these lists, in similar format to the usual pocket maps, were produced in strictly limited quantities. Other than pencilled annotations on the covers of two, in very good to excellent condition. [3]
Marino Marini was an Italian sculptor signed art magazine page in usual Capital letters. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
IRAQ - MESOPOTAMIA, ASHUR AND GERTRUDE BELLAlbum of 125 photographs (mostly gelatin silver prints on photo cards) relating to the German archaeological survey at Ashur, and Mesopotamia including a visit by Gertrude Bell, probably compiled by a member of the team, approximately 25 with pencil annotations written in German on the verso (a few identifying the photographer as either Walter Bachmann, or Walter Bachmann), 3 inscribed in ink probably by the compiler of the collection (see footnote); and 7 others of Venice, all loose mounted in album, images approximately 90 x 140mm., [c.1909-1911]Footnotes:Rare series of photographs taken by members of the Deutsche Orient-Gesellschaft, during the German archaeological survey carried out at Ashur, the ancient capital of Assyria on the Tigris River, under the leadership of Walter Andrae. Images include identifiable members of the archaeological team (including Andrae, Conrad Preusser, Paul Maresch, Walter Hinrichs, and Walter Bachmann, the last two identified as photographers of some of the images), in formal and informal groups, on site, on horseback, wading through a river and with local dignitaries. These include Gertrude Bell, shown in four images (2 half-length seated outside; 2 with German colleagues), who visited Ashur in 1909 and 1911 witnessing the 'cutting-edge excavations... [and] systems of archaeological recording... which would inform her own seminal work' (Paul Collins, Gertrude Bell and Iraq: A Life and Legacy, 2013). Other images includes views of archaeological sites, surrounding landscapes, and local inhabitants. It is probable that the collection was formed by a member of the German team (Deutsche Orient-Gesellschaft), the as yet unidentified sitter in one portrait. This is inscribed 'Der asketische Forscher' [the ascetic researcher]... Assur, 20. IV 1909' with a note to his sister, Anne Paul, in Cassel.For further information on this lot please visit Bonhams.com
Canadian engravings. James Charles Armytage (1802-1897) after W.H Barlett entitled 'The Green at Fredericton' approx 21 w x 17 h cms together with another Thomas Dixon after W.M Craig entitled 'View of Quebec, capital of British America publ. Nuttall, Fisher & Dixon Liverpool, Oct 1817 approx 21.5 w x 18 h cms, both framed and glazed. (2)
2nd-3rd century AD. A carved schist frieze section comprising a standing robed bodhisattva with hands pressed together at the chest, beside a rectangular structure with architectural column of Ionic style with lateral scrolls to the capital, tiered base; mounted on a custom-made stand. See Jongeward, D. Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018. 15.6 kg, 51.5cm including stand (20 1/4"). From a South West London collection; formed 1990-2000. Fine condition, repaired.
An interesting 1796 pattern light cavalry sword for mounted constabulary, curved fullered blade 32”, etched in capital letters in panels on one side “Horse Patrol (No 16” and on the other with maker “W. Parker. Warranted”, regulation steel strung hilt with langets, and “ears” to ribbed leather grip, plain pommel and backstrap, in its steel scabbard with 2 rings (throat mount missing). Generally GC (hilt pitted, dark pitting patina to scabbard). Plate 10
A rare pair of Elizabeth I/James I carved oak and polychrome-decorated figural pilasters, circa 1600Modelled as a man and a woman beneath an Ionic capital, he with pointed beard, and both with scrolls for arms and with pronounced waists beneath a frill, above tapering stippled pilasters carved with swags atop riband-tied tassels, approximately 13.5cm wide x 4cm deep x 72cm high, (2)
An impressive Elizabeth I joined walnut, oak and parquetry-inlaid canted court cupboard, Dorset, circa 1590With rare pierced 'lantern' feet, the front frieze with two fully parquetry-inlaid reserves, leafy-carved corbels and lunette-carved sides, on open cup-and-cover end-supports, each with a variety of reeding and palmette carving and Ionic capital, the central door and sides of the canted cupboard framed by navette-carved rails and centred with parquetry-inlay, the long drawer below lunette-carved with fleur-de-lys terminals, on similar turned and carved front supports, joined by an open undertier, 120.5cm wide x 42cm deep x 127.5cm high, (47in wide x 16 1/2in deep x 50in high)Footnotes:Provenance:Collection of William Randolph Hearst (1863-1951).Probably Los Angeles County Museum from which, presumably, de-accessioned and sold.Inventory numbers 'A.5141-65' to door and 'A.5141.45.289' to drawer. The number beginning A.5141 was used by the Los Angeles County Museum of Art. Other items with this mark came from the collection of William Randolph Hearst. See, for instance, The Stowe Marble Vase, a gift from Hearst to the Museum, which bears the number A.5141.51-943.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.
Esposizione Universale Di Roma 1942, colour illustration depicting Mussolini's proposed Exhibition for a new Italian capital city, which was abandoned and never completed, vellum-bound in original card outer case Outer case is complete but discoloured, with repaired tear on one edge, vellum binding has slight staining around the edges but no dents, pages are complete with minor discolouration on the edges, several pages have very faint foxing, images all perfect and book is complete
Anne, Queen of England, Scotland & Ireland (from 1707 Queen of Great Britain and Ireland) Written in a secretarial hand, addressed to Silvestro Valier (the former Doge of Venice who had in fact died in 1700), in Latin, announcing the appointment of Richard Hill as Envoy Extraordinary to Venice, dated 29th September 1704, 2ff., 28 x 18.5cm, sub-signed 'Anna R', a little browning and dust-soilingFootnote: Note: By the beginning of the 18th century, Venice had become Europe's leisure capital. However, it would appear that Queen Anne's government was rather out-of-touch with Venetian politics, and have addressed the letter to the late Doge, who had died four years previously.Condition report: Purchased from The Autograph Alcove, Wisconsin, for $2475 in December 1989
Pembroke, Sir William Herbert, first Earl of, (1501 ? - 70), Soldier and Courtier Indenture with Sir Giles Poole, of Sapperton, Gloucestershire, of the Manor of Rendell (Gloucestershire) l for the Manor of Bullridge, document signed "Penbroke" in capital letters, manuscript on vellum, 2 holes along folds (with slight loss of text), part of lower margin cut away not affecting text, folds, a few splash marks, 400 x 640mm., 31st July 1557Footnote: Note: Pembroke became brother-in-law to King Henry VIII through his marriage to Anne Parr, younger sister of Catherine. In 1542 he acquired the former Benedictine abbey at Wilton, in later years a venue for some of Shakespeare's plays. According to John Aubrey's very colourful "Brief Life" Pembroke could neither read nor write, but "had a stamp for his name." However documents with his signature in capital letters are extant. Herbert was a Guardian of the young King Edward VI after the death of Henry VIII in 1547.
David de Coninck (Flemish, 1644-1701)A Still Life of Fruit on a Silver Dish with Figure, Rabbits, Parrot, and Monkey Beneath a Broken Capital and an Ornamental UrnOil on canvas48 5/8 x 69 1/8 in. (123.5 x 175.6cm)PROVENANCE:Christie's, London, sale of July 15, 1949, lot 38 (as Frans Snyders, Flemish, 1579-1657).Acquired directly from the above sale.Mallet & Son, London, United Kingdom.Collection of William Randolph Hearst, California.Sotheby's, Los Angeles, sale of November 7, 1977, lot 132 (as Flemish School, late 17th Century).Private Collection.Sotheby's, London, sale of December 12, 1990, lot 70 (as by David de Coninck).Private Collection, Florida.EXHIBITED:Los Angeles County Museum of Art, Los Angeles, California, no. 49.33.2 (on loan from the Collection of William Randolph Hearst).NOTE:The present work was painted during de Coninck’s time in Rome, circa 1671-1694, probably in the 1680s. De Coninck very rarely signed his works, which is why many of his paintings have been wrongly attributed to other artists, such as Joannes Fijt, Frans Snijders, Abraham Brueghel, and his teacher, Peeter Boel.We wish to thank Dr. Fred Meijer of the Rijksbureau voor Kunsthistorische Documentatie, also known as the R.K.D., for confirming the authenticity of the present lot and for his kind assistance in cataloguing it.
Édouard Léon Cortès (French, 1882–1969)Le Moulin Rouge, Place BlancheSigned 'EDOUARD [sic] CORTÈS.' bottom right; also with 'copyright' stamp verso, oil on canvas13 x 18 in. (33 x 45.7cm)Executed in 1956.PROVENANCE:Galerie F. Clair, Paris (1956).Acquired directly from the above on January 2, 1957.Herbert Arnot Inc., New York, New York.Acquired directly from the above on January 18, 1957.The Haussner's Restaurant Collection, Baltimore, Maryland.Sotheby's, New York, sale of November 2, 1999, lot 132 (B).Acquired directly from the above sale.Hammer Galleries, New York, New York.Acquired directly from the above in 2000.Private Collection, Bronxville, New York.EXHIBITED:Hammer Galleries, New York, New York, 2000.LITERATURE:Hammer Galleries, An Exhibition Catalogue, 2000, no. 26869-002, p. 28.Nicole Verdier, "Paris 1940-1969," in Édouard Cortès, Catalogue Raisonné de l'Oeuvre Peint, Vol. II, Contexte, Paris, 2002, no. 865, p. 204, (illustrated).NOTE:Édouard Cortès was born in the small village of Lagny-sur-Marne in 1882. The son of famous Spanish court painter Antonio Cortès, he trained in his father's studio from the age of thirteen. Although his hometown was sparsely populated, its proximity to Paris attracted many Parisian artists associated with the Barbizon school, who came to paint its adjoining forests. It also enabled the Cortès family to travel to the capital and keep up with the latest artistic trends.By 1900 Cortès had executed his first series of Paris street scenes, all marked by a dark, dramatic lighting. At the time, Paris was the center of the art world, a bustling international city that attracted artists, dealers, and collectors from around the globe. City scenes were particularly in demand, and Cortès, alongside painters like Jean Béraud and Eugène Galien-Laloue, wisely decided to make this genre his niche. Through his bold brushstrokes and colorful palette, Cortès was able to render the City of Lights with an Impressionistic delicacy, at the same time respecting the fundamental rules of perspective and composition he had learned from his father.He became the most famous poetic recorder of the city's ever-changing beauty, and in a career spanning more than sixty years captured its fashionable inhabitants, busy market stalls, and iconic monuments. Biographer David Klein writes: "Paris changed during the years that Cortès painted it; and the changes appear in his paintings. Horses and carriages disappear in favor of cars and trams; women's hourglass silhouettes and picture hats give way to boyish figures in short skirts and little furs, gas streetlights turn into neon signs and glaring headlights. But despite two world wars and the introduction of the machine age, the Paris of Cortès remains primarily the city of the Belle Époque. His paintings are often filled with nostalgia for the period." (David Klein, Édouard Cortès: Le Poète Parisien de la Peinture, Detroit, 1999 quoted in Mary Manion, "Esteem is Rising for Édouard Léon Cortès" in Antique Trader, September 14, 2018).After a lifelong dedication to capturing the magic of Paris during its transition from the Belle Époque to the modern era, Cortès ultimately retired to his hometown, where he continued to paint more picturesque scenes until his death in 1969.Since the Moulin Rouge opened its doors to the public in 1889, the famous cabaret in Montmartre has drawn large crowds of fashionable Parisians in search of guilty pleasures nowhere else accessible. Of the many Parisian views that Édouard Cortès completed, often depicting Notre Dame, Opéra Garnier or Boulevard de la Madeleine, only a handful of paintings and studies feature the Moulin Rouge. This excitingly rare work is one of the finest and earliest examples of Cortès’ bold, painterly style. Executed some ten years before the artist’s death, the painting skillfully captures the glowing red exterior of the cabaret juxtaposed against a dark sky, offering a glimpse of the temptations to be found within. The windmill’s striking silhouette, surrounding street lamps, and nearby facades inundate the passersby in the foreground with a warm, golden light that compels them to enter the Moulin Rouge, perhaps also tempting the viewer to leap into the picture plane and join them.
Old Testament - Engravings on paper from Dr Wright's Bible, including Portraits of the dresses of the inspired writers of the Holy Scriptures, showing Moses, Joshua, Samuel and Nathan and The Priests with the Ark of the Covenant Compassing the city of Jericho, the capital of Canaan; and other engravings similar, late 18th Century, 38 x 23 cm approx (32)
A pair of Victorian silver mounted antler knife rests, Henry Holland, Sheffield 1895, on four ball feet, 10cm wide, an ornate American floral enamelled fork, detailed sterling, an American Queens pattern spoon, detailed sterling and a cast silver spoon with dancing figure capital, 17cm, 3ozs combined weight of weighable silver (5).
A part painted plaster pilaster capital in Neoclassical style, by J.D. Crace, circa 1910, the cyma recta with stylised acanthus leaves above beading and a blank fascia, an egg-and-dart moulded cyma reserva above an anthemia band, the frieze with a central twin handled urn within an octagonal reserve, flanked to each side by tendrilous scrolling foliage, 54cm high, 66cm wide, 21.5cm protuberance Provenance: Crichel House, Dorset; after which LASSCO London; from whence purchased in 2002 by the vendor The Great Drawing Room of Crichel, one of Dorset's most magnificent houses was probably designed by James Wyatt in the 1770s with plaster work by Joseph Rose. Between 1908 and 1914 the highly renowned John Dibblee Crace was commissioned to carry out updating work and added the pilasters, the capitals of which being inspired by Wyatt's original cornice design. The greater part of Wyatt's work was left perfectly intact though, and at the beginning of the 21st century the Cracian pilasters were removed and the cornice frieze restored to Wyatt's original concept Cf Christie's South Kensington, Aynhoe Park - A Modern Grand Tour, 9th October 2012, lot 339
Anacreon. [Greek title:] Teiou Mele. Praefixo commentario quo poetae genus traditur et bibliotheca Anacreonteia adum bratur, Parma: In Aetibus Palatinis [typis bodonianis], 1791, engraved medallion portrait on title and dedication leaf, printed in capitals throughout, ownership inscription of 'Harlech' to front free endpaper and a loosely inserted card indicating that the book was lent by Lord Harlech for the italian Book Exhibition of the National Book League [1953?], a ll edges gilt, contemporary straight-grained dark blue morocco gilt, partly faded, slightly rubbed and a little wear to joints and corners, 8vo (157 x 105 mm) (Qty: 1)NOTESBodoni also published a smaller 16mo edition of the same text in the same year, but only this edition was printed entirely in capital letters.
Avicenna [i.e. Abu 'Ali al-Husayn ibn 'Abdallah Ibn Sina]. [Bifolium from the Canon medicinae, Strasbourg: Adolf Rusch, c.1473], single bifolium, text in double column, 56 lines, gothic type, illuminated initial 'C' with elaborate floral flourish, 19 further Lombard initials in red and blue ink with penwork flourishes, decorative line-fillers in red and blue, paragraph marks in red, capital strokes in yellow, contemporary foliation (228 and 231), recent pencil annotation to foot of first leaf recto, 40.6 x 28.5 cm (Qty: 1)NOTESProvenance: 'From the library of Coventry School' (pencil annotation). Goff A-1417; GW 03114; ISTC ia01417700. This bifolium is from Liber III, Fen (i.e. section) III, which is titled ‘De anathomia oculi et de dispositionibus et egritudinibus eius' and concerns the anatomy of the eye. Goff believed this edition of Avicenna's great medical treatise to be the first, but according to ISTC it may post-date the Milan edition completed on 12 February 1473.
U2 - LP/12" COLLECTION. Excellent collection of 27 x LPs/12" with promos. Titles include Achtung Baby (U28, 510347-1 - VG/VG+ with printed inner and insert, uncensored), Remixes From The '90s (2 x 12" promo sampler), Melon - Remixes For Propaganda (promo only, 12 MELON 1 - Ex+/VG+), 3D Dance Mixes (promo 12 ISX 411 - Ex+/VG+), The Joshua Tree (U26, 2 copies, also with separate Capital Radio 194 plastic sleeve), October (2 copies, one with 'Library Copy' in pen on the sleeve), All I Want Is You, Live Under A Blood Red Sky, War (inc. US purple label copy, promo stamped and promo Island stickered front and UK copy), Rattle And Hum and Desire (stock and gatefold sleeves). Condition is generally VG to Ex+.
MICHAEL CHAPMAN - LPs. Expert collection of 11x LPs featuring the wonderful Michael Chapman. Titles are Fully Qualified Survivor (original unboxed Harvest SHVL 764 - Ex, factory sample stickered side 1/Ex+ lovely sleeve, also with C5-527 RE), Wrecked Again (UK original SHVL 798 - Ex+, factory sample stickered side 1 - Ex+/Ex), Millstone Grit (SML 1105 - Ex+/Ex+), Window (1st UK unboxed Harvest SHVL 786 - Ex+ or archive record, fantastic copy with promo 'Capital Radio Music Library' stamp side 2/Ex some residue perhaps from sticker removal, 'Factory Sample Not For Sale' stamp on the front), Savage Amusement (SKL-R 5242), Lescud Jack (D SWAG 1), Deal Gone Down (SML 1114), Lived Here 1968-1972, Pleasures Of The Street and The Man Who Hated Mornings. Condition elsewhere is typically very neat Ex to Ex+ or 'NM'.
Original vintage travel poster published by Nigeria Airways to promote its flights between London, the capital of the United Kingdom, and Port Harcourt (also called Pitakwa), the capital and largest city of Rivers State in Nigeria. Poster with the text in red and black lettering in the centre, with small image on the right side showing the rear of an airplane with the Nigeria Airways logo on the rear tail. Nigeria Airways Ltd., more commonly known as Nigeria Airways, was a Nigerian airline. The company was founded in 1958 after the dissolution of West African Airways Corporation (WAAC). It held the name WAAC Nigeria until 1971, when it was rebranded to the name it had until it ceased operations in 2003. The government of Nigeria owned a majority of the airline (51%) until 1961, when it boosted its participation in the company to 100% and made it the country's flag carrier. At the time of dissolution, the airline's headquarters were at Airways House in Abuja. Operations were concentrated at Murtala Muhammed International Airport and served both domestic and international destinations mainly concentrated in West Africa; the network also had points in Europe, North America and Saudi Arabia. The airline was managed by a number of foreign companies, including British Airways, the Dutch company KLM and South African Airways. Good condition, folded as issued, creases. Country: Nigeria, year of printing: 1970s, designer: Unknown, size (cm): 30x60.5 (Horizontal)
Original vintage World War Two pictorial map for India In War And Peace featuring colourful illustrations of people, animals, factories, cattle, products and points of interest including silk, petroleum, wheat, tobacco, cotton, rice, silver, farming, ship building and tea with a traditional style image of an Indian man on an elephant in the lower left corner next to the description box - Before the war India was already one of the eight leading industrial countries of the world. Indian capital and Indian technical skill have helped to develop still further the country's industries since war began... - surrounded by a decorative flower border. Very good condition, light folds, restored small tears on folds, backed on linen. Country: UK, year of printing: 1940s, designer: Unknown, size (cm): 74x49.5
Fitzgerald (F. Scott) The Great Gatsby, first edition, first issue with 'northern' to p.119, 'it's' to p.165, 'chatter' to p.60, 'sick in tired' to p.205, and 'Union Street station' to p.211, original cloth, spine ends and corners a little bumped, otherwise near-fine, first state dust-jacket with capital 'J' printed over small 'j', repairs and restorations to spine ends, joints, hinges and corners, including 1" piece to the foot of spine, affecting publisher's imprint, lightly rubbed, still in effect a very good copy, preserved in custom drop-back box, 8vo, New York, 1925.⁂ A very good copy of Fitzgerald's masterpiece in the rare dust-jacket.'I think my novel is about the best American novel ever written.' F.Scott FitzgeraldThe rare dust-jacket, designed by Francis Cugat, played an important part in the composition of the novel itself; Fitzgerald wrote to his publisher 'For Christ's sake don't give anyone that jacket you're saving for me. I've written it into the book.' This is most evident in his description of Daisy Buchanan as the 'girl whose disembodied face floated along the dark cornices and blinding signs'.
Homer. Iliad [and Odyssey], 2 vol., collations: A-Z8, AA-MM8 and A8 b-z8 A-I8 aa-gg8, titles and woodcut printer's device within attractive woodcut borders depicting scenes from each work, capital spaces with guide-letters, title of Iliad closely trimmed at outer edge, water-stained, uniformly bound in contemporary blind-stamped calf, sympathetically rebacked, preserving original backstrips in compartments, corners repaired, rubbed, 8vo (161 x 91mm. and 161 x 95mm.), Strasbourg, Wolfgang Köpfel, 1525.⁂ An important edition (the first complete edition printed outside Italy), with an interesting provenance. Provenance: Étienne Desprez, president of the Besançon school and correspondent of Erasmus of Rotterdam between 1529 and 1534 (ownership inscription to tile of second volume 'Sum Stephanj a pratis'); De Valimbert family from Besançon (ownership inscription to title of first volume, 'Jo. Fred. de Valimbert'; 'Carolus Valimbertus Rhetore Bisuntinae'. Literature: Adams H-746; VD16 H-4652/4692.
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