Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Country Café I signé et daté 'GHIKA 39' (en bas à droite)huile sur toile50.5 x 47cm (19 7/8 x 18 1/2in).Peint en 1939 signed and dated (lower right)oil on canvasFootnotes:ProvenanceThe collection of Maurice Cardiff, 1947 (gift of the artist).Thence by descent. Private collection, London. ExposéLondon, Greek House, British Council, Six Contemporary Greek Painters, March 21-31, 1946, no. 31. LittératureO Aionas Mas magazine, no. 3 (15), May 1948, p. 84, under the title The end (illustrated).Filologiki Protochronia annual edition, vol. XIII, 1951, p. 117 (mentioned).T. Spiteris, Peintres, Sculpteurs, Graveurs de Grèce, Athens 1952, p. 32 (illustrated). N. Petsalis-Diomidis, Ghika Catalogue Raisonné 1921-1940, Athens 1979, no. 219, p. 98 (discussed), p. 230 (illustrated).N.G. Pentzikis, Mrs Ersi's Novel [1966], Agra editions, Athens 1992, pp. 47-48 (discussed).N. Chadjikyriakos-Ghika, in Memoriam, The Academy of Athens, Athens 1995, p. 15 (mentioned). C. Christou, 'Nikolis Hadjikyriakos-Ghika', Minutes of the Athens Academy, 1995, vol. 70, no. 2, Athens 1995, p. 305 (mentioned).Nikolis Hadjikyriakos-Ghika, exhibition catalogue, Municipal Art Gallery of Rhodes, Rhodes 1996, p. 15 (mentioned).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books editions, vol. 1, Athens 2000, p. 171 (mentioned).The Annual Journal of the Benaki Museum, no. 3, 2003, p. 147, f.n. 1 (discussed).J.P. de Rycke, N.P. Paissios, Ghika and the Avant-Garde in Interwar Europe, Benaki Museum - N.H. Ghika Gallery, Ephesos editions, Athens 2004, no. 146 (219), p. 240 (catalogued).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, doctoral dissertation, Athens, 2006, pp. 136-137 (discussed), fig. 246 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum edition, Athens 2011, fig. 57, p. 120 (discussed and illustrated).Recalling The farm (1922), Juan Miro's modernist masterpiece, Country Café I is energized by both the achievements of the early 20th c. European avant-garde and the detailed documentation of contemporary Greek folk reality—the initialled chair in the extreme foreground, the crosswise fence, the arched lintels bedecked with garlands of electric lights, as perceptively described by writer-painter Nikos-Gabriel Pentzikis in his groundbreaking Mrs. Ersis's Novel.1 When we look at the painting we immediately sense the harmoniously coexisting oppositions of the artist's vision: modernist and classicist, Athenian and Parisian, deeply rooted in Greek tradition, yet cosmopolitan. A charming and accomplished painting from Ghika's 1938-1940 period, during which the defining characteristics of his work were formulated, Country Café I draws from the fragmented planes and spatial distortions of cubism to reinterpret indigenous cultural forms and explore a fresh approach to the complex issue of Greekness. As noted by N. Petsalis-Diomidis, who researched the artist's 1921-1940 output, 'at the age of 32, Ghika already had the skill and vision to offer Greek art a new perspective that rejected academic norms and attuned with contemporary art trends expressed mainly by the Ecole de Paris and the Bauhaus.'2 The painting adorned the collection of British Council officer and writer Maurice Cardiff (1915-2006). Educated at Eton and Oxford, Cardiff was summoned to postwar Athens and given the running of the British Council. The 1946 exhibition in London, which included Country Café I and served to launch in Britain the work of Ghika, was organized by the British Council to project Greek culture overseas and strengthen Anglo-Greek cultural collaboration. The Council acted as a magnet to British writers who, attracted by the mythical qualities of Greece, sought a place in the Council's teaching operations. Among those involved were Lawrence Durrell, Rex Warner, Patrick Leigh Fermor, Maurice Cardiff and, on the Greek side, George Seferis, George Katsimbalis and Ghika.31 See N.G. Pentzikis, Mrs Ersi's Novel [1966], Agra editions, Athens 1992, pp. 47-48.2 N. Petsalis-Diomidis, N. Hadjikyriakos-Ghika, catalogue raisonné, Athens 1979, p. 98.3 See Ghika - Craxton- Leigh Fermor, Charmed Lives in Greece, exhibition catalogue, Benaki Museum, Athens 2017, p. 32.Rappelant La Ferme (1922), le chef-d'oeuvre moderniste de Juan Miro, Country Café I est dynamisé à la fois par les Å“uvres de l'avant-garde européenne du début du 20ème siècle et par la documentation détaillée de la réalité populaire grecque contemporaine —la chaise initialisée au tout premier plan, la barrière en croisillons, les linteaux en arche décorés de guirlandes électriques, tel que l'ensemble était décrit par l'écrivain et peintre Nikos-Gabriel Pentzikis dans son livre révolutionnaire intitulé Le roman de Mme Ersi. Un simple regard sur la toile nous fait immédiatement sentir les oppositions entre les différentes visions de l'artiste, qui coexistent harmonieusement : modernisme et classicisme, Athénien et Parisien, profondément ancré dans la tradition grecque et simultanément cosmopolite.Å’uvre charmante et accomplie de la période 1939-1940 de Ghika, pendant laquelle les caractéristiques définissant son travail ont été formulées, Country Café I part des lignes planes fragmentées et des distorsions spatiales du cubisme pour réinterpréter des formes culturelles indigènes et explorer une approche nouvelle de la question complexe de la « Grecité ». Comme l'a noté N. Petsalis-Diomidis, qui a étudié la production de l'artiste entre 1921 et 1940, « à 32 ans, Ghika avait déjà le talent et la vision nécessaires pour donner à l'art grec une nouvelle perspective qui a rejeté les normes académiques et l'a mis au diapason des tendances artistiques contemporaines exprimées essentiellement par l'École de Paris et le Bauhaus. »Cette Å“uvre est venue enrichir la collection de Maurice Cardiff (1915-2006), écrivain et directeur du British Council. Après ses études à Eton et Oxford, Cardiff a été envoyé en poste à Athènes après la guerre et chargé de la direction du British Council en Grèce. L'exposition de 1946 à Londres, qui incluait Country Café I et a servi à lancer l'Å“uvre de Ghika en Grande-Bretagne, a été organisée par le British Council pour faire connaître la culture grecque à l'étranger et renforcer la collaboration culturelle anglo-grecque. Le British Council a agi comme un aimant pour les écrivains britanniques qui, attirés par les qualités mythiques de la Grèce, ont cherché à jouer un rôle dans les activités d'enseignement du Council. On citera notamment Lawrence Durrell, Rex Warner, Patrick Leigh Fermor et Maurice Cardiff et, du côté grec, George Seferis, George Katsimbalis et Ghika.... This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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Mario Prassinos (Greek, 1916-1985)Théodora et sa Cour signé 'Prassinos' (au centre)huile sur toile59 x 60cm (23 1/4 x 23 5/8in).Peint en 1971signed (centre) oil on canvasFootnotes:ExposéAthens, Arhens Art Gallery - Galerie de France, Prassinos, Paintings-Drawings 71-73, 1973 (illustrated in the exhibition catalogue). LittératureGynaika magazine, October 1973, p. 136 (illustrated).S. Lydakis, Dictionary of Greek Painters and Engravers - The Greek Painters, vol. IV, Melissa editions, Athens 1976, p. 363 (illustrated).N. Loizidi, ed., Greek Artists Abroad, Greek Ministry of Foreign Affairs edition, Athens 1983, p. 109 (illustrated). C. Christou, ed., Greek Artists Abroad, Greek Ministry of Foreign Affairs edition, Athens 1988, p. 142 (illustrated). Lexi magazine, no. 110, July-August 1992, p. 473 (illustrated).A. Kotidis, Modernism and 'Tradition' in Greek Postwar and Contemporary Art, Painting-Sculpture-Architecture 1940-2010, vol. II, University Studio Press, Thessaloniki 2011, no. 166, pp. 184, 189 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
George Nikolaidis (Greek, born 1924)Le vent froid du Nord dirigea les navires, III 2 editioninox, base de plexiglas61 x 38 x 17 cm (24 x 14 15/16 x 6 11/16in).Réalisée en 1975inox on plexiglass baseFootnotes:The work is accompanied by a certificate of authenticity from DESMOS gallery.ProvenanceDesmos gallery, Athens, 1975.Private collection, Athens.ExposéHakone, Japan, Art Hall of the Hakone Open-Air Museum, Contemporary Greek Art, Greek Ministry of Culture and Sciences - Greek Ministry of Foreign Affairs, March 13 - May 31, 1976, no. 11 (illustrated in the exhibition catalogue).Edinburgh, Lux Europae, a European Sculpture Exhibition for 1992, Giorgos Nikolaidis, December 1992, no.17-18 (discussed, p. 14, and illustrated in the exhibition catalogue, pp. 40-41). This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Sotiris Sorogas (Greek, born 1936)La sculpture signé indistinctement (au centre)acrylique et fusain sur toile160 x 130cm (63 x 51 3/16in).Peint en 1973indistinctly signed (centre) acrylic and charcoal on canvasFootnotes:ProvenancePrivate collection, Athens.ExposéHakone, Japan, Art Hall of the Hakone Open-Air Museum, Contemporary Greek Art, Greek Ministry of Culture and Sciences - Greek Ministry of Foreign Affairs, March 13 - May 31, 1976, no. 27 (illustrated in the exhibition catalogue). Istanbul, Atatürk Kültür Merkezi, Classical Memories in Modern Greek Art, Hellenic Ministry of Culture - National Gallery and Alexandros Soutzos Museum, May 22 - June 27, 2003 (illustrated in the exhibition catalogue, p. 131). Beijing, Capital Museum of China, Classical Memories in Modern Greek Art, Hellenic Ministry of Culture - National Gallery and Alexandros Soutzos Museum, October 18 - November 16, 2007 (illustrated in the exhibition catalogue, p. 137). LittératureZygos magazine, no. 12, January-February 1975, p. 41 (discussed), p. 40 (illustrated).A. Schina, Sotiris Sorogas, an Interactive Reading, Tethrippon editions, Athens 1987, pp. 12, 21 (mentioned), p. 91 (listed), p. 69 (illustrated).T. Niarchos, ed., Sotiris Sorogas, Approaches to his Painting, Kastaniotis editions, Athens 2007, pp. 32, 47, 128, 130 (mentioned). And the poet lingers, looking at the stones, and asks himself does there really existamong these ruined lines, edges,points, hollows, and curvesdoes there really existhere where one meets the path of rain, wind,and ruindoes there really exist the movement of the face, shape of the tendernessof those who've shrunk so strangely in our lives,those who remained the shadow of waves and thoughts withthe sea's boundlessness- George SeferisThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
James (M.R.) & Bernard Berenson. Speculum humanae salvationis being a reproduction of an Italian Manuscript of the Fourteenth Century, contemporary half morocco, t.e.g., others uncut, spine rubbed and faded, Oxford, privately printed, 1926 § Ragusa (Ida, editor & translator) Meditations on the Life of Christ: An Illustrated Manuscript of the Fourteenth Century, Paris, Bibliothèque Nationale MS. Ital.115, second printing, Princeton, NJ, 1977 § Barstow (Kurt) The Gualenghi-d'Este Hours: Art and Devotion in Renaissance Ferrara, Los Angeles, 2000 § Meiss (M.) & Edith W.Kirsch. The Visconti Hours, Bibliotheca Nazionale, Florence, 1972, illustrations, some colour, all but the first original cloth, the last two with slip-cases; and 5 others on Italian illuminated manuscripts, v.s. (9)
NO RESERVE British Art.- Lucie-Smith (Edward) Alexander, with 2 mounted holograms (as frontispiece and on cover), 1992 § Morphet (R.) R.B.Kitaj, New York, 1994 § Morley (Sheridan) Out in the Midday Sun: The Paintings of Noel Coward, New York, 1988 § Barker (Ian) & others. English Art Today 1960-76, 2 vol., Milan, 1976 § Hare (Bill) Contemporary Painting in Scotland, 1992, illustrations, some colour, original cloth or boards with dust-jackets; and c.85 others on British art, mostly 20th century, v.s. (c.90)
NO RESERVE Illustration & Graphics.- Tassi (Roberto) Graham Sutherland: Tout l'Oeuvre Gravé, Paris, 1980 § Hahnloser (M.) Matisse; The Graphic Work, New York, 1987 § Burne-Jones (Dan) The Prints of Rockwell Kent: A Catalogue Raisonné, Chicago & London, 1975 § Knigin (M.) & Murray Zimiles. The Contemporary Lithographic Workshop around the World, New York, 1974 § Lucie-Smith (E.) The Waking Dream: Fantasy and the Surreal in Graphic Art 1450-1900, 1973 § Hogben (c.) & Rowan Watson. From Manet to Hockney: Modern Artists Illustrated Books, 1985 § Reid (A.) A Check-list of the Book Illustrations of John Buckland Wright, Pinner, 1968, illustrations, some colour, original cloth or boards, the first five with dust-jackets, some a little rubbed; and c.40 others on illustration, graphics etc., 4to & 8vo (c.45)
NO RESERVE Lacroix (Paul) Les Arts au Moyen Age et..de la Renaissance, fifth edition, chromolithographed plates, some heightened with gold, contemporary red morocco, gilt, g.e., rubbed, Paris, 1874 § Wilson-Bareau (J.) Goya: Truth and Fantasy. The Small Paintings, original wrappers, slightly warped, New Haven & London, 1994 § Wilson (D.M.) Anglo-Saxon Art..., 1986 § Burlington House. Commemorative Catalogue of the Exhibition of Dutch Art..., 1930 § Kluckhohn (C.) & others. Navaho Material Culture, Cambridge, Mass., 1971, plates and illustrations, all but the first two original cloth with dust-jackets, the last two frayed; and a quantity of others, miscellaneous art, including some volumes of Penrose Annual, v.s. (c.200)
NO RESERVE Brown (John) Marjorie Fleming, plates, light spotting, bound in Arts & Crafts style russet morocco ruled in gilt with square floral corner-pieces and small circles in gilt, g.e., a little rubbed, upper cover slightly faded, Edinburgh, 1885 § Thornbury (W.) Two Centuries of Song, wood-engraved plates, text with decorative borders in brown, contemporary red morocco with elaborate border and central ornament in gilt, spine gilt, g.e., 1867 § Stowe (Harriet Beecher) Uncle Tom's Cabin, hinges weak, original grey-brown cloth stamped in blind, wear to spine ends, Thomas Bosworth, 1852 § Jerome (Jerome K.) Three Men in a Boat, original turquoise cloth, Bristol, 1889 § Harris (Frank) Undream'd of Shores, signed presentation copy from the author inscribed on front free endpaper, original cloth, stab-holes to upper cover, New York, 1924 § Gill (Eric) Art-Nonsense and other essays, ex-library copy, original blue buckram, uncut, 1929, rubbed; and a quantity of others, mostly literature, v.s. (c.100)
◆ JOHN WILLIAM GODWARD (BRITISH 1861-1922) POPPIES Signed and dated '98, oil on canvas(76cm x 61cm (30in x 24in))Footnote: Provenance: The Late Dr Helen E C Cargill Thompson Note: The model is Miss Ethel Warwick who was sixteen when she posed for this picture We are grateful to Dr Vern G Swanson for his assistance in cataloguing this entry. It is no.7 in his catalogue raisonne which he has updated. The details of Godward’s personal life are relatively vague. His choice to pursue a career as a painter went against his family wishes and this disapproval was compounded when he left England for Italy with one of his models. It is believed that at this point he became estranged from his relations to such an extent that they removed his likeness from family pictures. He remained in Italy for almost a decade, only returning home in 1921. In 1922 he died by suicide, with notes left by him indicating that he was struggling with his place in an artistic world that was now largely interested in the modern and contemporary. The circumstances of his death were considered a source of great shame to his family and so they destroyed much of his archive and papers; it is believed there remains only one photograph of the artist. There was drama and sadness in his personal life but this never spilled over into Godward’s painting. A loyal follower of Sir Lawrence Alma-Tadema and similarly inspired by classical civilization, particularly Ancient Rome, his works depict elegant women in classical dress, lounging against architectural features. His paintings are characterised by exquisite and meticulous detail. There had been a widespread taste for this style of painting and subject matter in-line with a wider cultural interest in classical study and so to be successful in this style of painting required a high level of accuracy and precision; Godward carefully researched architecture and dress to make sure every detail in his painting was right. He often exhibited at the Royal Academy and as the eminent scholar on Godward’s work, Dr Vern G. Swanson, indicates; he ‘quickly established a reputation for his paintings of young women in a classical setting and his ability to convey with sensitivity and technical mastery the feel of contrasting textures, flesh, marble, fur and fabrics.’ This is evident in the offered work, where Godward beautifully renders the cool, smooth marble framing the figure in marked contrast to the soft fabric folds of her gown while behind her a verdant expanse of overlapping lavender and red poppies unfold before further architectural columns and sculpture appear. The scene is a vision of sumptuousness and beauty, meticulous depicted by a talented hand. Godward’s approach has been referred to as that of a ‘High Victorian Dreamer.’ Technically, he can be considered a Victorian Neo-Classicist, though at times his strong colour and posed subject have seen him be grouped with the Pre-Raphaelites, despite a differing inspiration source. Within his lifetime, this approach fell out of fashion and though Godward remained committed to the art he loved, he did struggle to find his place as taste moved away from his work. Fortunately, his mastery of his craft and the enduring human interest in the beautiful and sumptuous means favour has returned to his work since his death. Fashions evolve but quality and harmony endure and this exquisite work is rich in both.
Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901 (7168 Gnr: T. Ross, 1st Nthld: Vol: Art:) good very fine £200-£260 --- Thomas Ross was a Gunner in the ‘Elswick Battery’ being the South African service battery of the 1st Northumberland Volunteer Artillery. Sold with copied medal roll extracts and a copy of a contemporary souvenir roll of the entire battery ‘that served through the Boer War 1900. Major Harvey Scott in Command’. The Elswick Battery, manned by the 1st Northumberland Volunteer Artillery, did most excellent work throughout a great part of the campaign. They were furnished with six 12-pounder naval quick-firing guns manufactured by the Elswick firm. These guns and carriages were a present from Lady Meux to Lord Roberts. The battery landed at Cape Town about the end of April 1900. The battery was for a time in the Orange River Colony with Colonel Hickman's column, and was then taken to the Transvaal. In July 1900 this battery and the Canadian Battery were the field artillery of Ian Hamilton's force, which was on the north or left flank in the eastern advance towards Balmoral, and then was taken north-west of Pretoria towards Rustenburg, and thereafter eastwards again to Belfast. They accompanied General Pole-Carew to Koomati Poort in September 1900 and a portion operated about Rustenburg during October. Six officers and five non-commissioned officers and men were mentioned in Lord Roberts' final despatch. Two officers afterwards got the D.S.O. and two men the D.C.M. In Lord Kitchener's despatch of 8 July 1901 it was noted that one gun was with Major General Babington, one with Colonel Williams, both in the Western Transvaal; one with Brigadier General Bullock between the Delagoa and Natal lines, and one with Colonel E. C. Knox in the north-east of the Orange River Colony and in the Transvaal. A section was also for a time with Sir Henry Rawlinson in the Western Transvaal in 1901. The weapons of the battery were admittedly very superior in range and otherwise to the ordinary field-gun, and their shooting was often most highly praised. One sergeant was mentioned in the despatch of 8 July 1901 for good service in General French's sweep through the Eastern Transvaal. The personnel of the battery sailed for home on 28 June 1901.
A collection of contemporary Christie?s auction catalogues, comprising: ?Fine British Drawings and Watercolours? (10 July 1990), ?Scottish Art Including The Hunter Blair Colourist Collection? (25 May 2007), ?Dumfries House vol I? (12 July 2007), ?Old Master & 19th Century Paintings? (11 December 2009), ?Drawings & Watercolours? (11 December 2009), ?The Artist?s Muse? (9 November 2015), and ?Old Masters? (8 December 2016), with a Keys ?Three Day Fine Sale? catalogue (7)Provenance: Ruyton Hall, Shropshire
Architectural: John Cheere: A rare lead figure of a fruit seller, mid 18th century, on later stone base and on stoneware pedestal, the figure 130cm high, the pedestal 63cm high; 193cm high overallJohn Cheere was first in partnership with his brother Sir Henry Cheere, but took over John Nost’s yard and his moulds for lead figures in about 1739.Until his death in 1787 he was the leading producer of lead statuary as well as working in plaster. Contemporary accounts of his yard, which was situated on Hyde Park Corner indicate that his oeuvre was very varied and included rustic figures as well as classical statues and busts from antiquity., During the 18th century, masked balls or fete champetres set in Arcadian settings of country houses or in London’s Ranelagh and Vauxhall pleasure gardens, were immensely popular. These were attended by fashionable society dressed as milkmaids, fruit and flower girls or in the costume of the commedia dell’arte.This fascination with Arcadia was reflected in many art forms - for instance porcelain figures, but also in lead statuary in which numerous models were produced. Unlike porcelain however, the depredations of the weather and the intrinsic value of the material have resulted in very few period lead figures from the 18th century surviving.
James Dixon, Irish (1887 - 1970) " The HMS Wasp perched back of the Lighthouse, Tory Island, where 82 Noble Men had sunk in the raging Seas," Signed James Dixon and inscribed lower right, O.O.B, approx. 57cms x 76cms (22 1/2" x 30"), mounted on sack cloth, gilt frame. (1)Provenance: A gift from the Artist to Professor Robert F.V. Heuston, Trinity College, Dublin, and subsequently gifted to Professor W.N. Osborough, Professor of Law at UCD and Trinity, and by direct family descent.* HMS Wasp was a composite screw gunboat of the Royal Navy built in 1880 and used to transport officials to and from the Islands off the north-west coast of Ireland. In 1883 she brought badly needed supplies of seed potatoes to the starving islanders of Inishtrahull, off Malin Head. However, life on the islands was always harsh: in the following year the landlord ordered the eviction of three tenant farmers who could no longer pay their rent, and the Wasp was dispatched to the island with police, bailiffs and court officials to enforce the evictions.Inexplicably, instead of heading directly to Inishtrahull, the lieutenant navigating the ship took her close to Tory Island. At 3.55 on the morning of 22 September, Wasp ran aground on a reef near the island?s lighthouse, filled with water, hit the reef a second time, and sank within fifteen minutes. Six crewmen survived by clinging to one of the masts and were later brought ashore; the remaining 52 people on board drowned.The cause of the shipwreck has remained a mystery to this day. Was it the result of negligence on the part of the commander and/or navigating officer (as was found by the subsequent court of enquiry)? Did the Tory islanders persuade the lighthouse keeper to turn off his light at the precise moment when the ship was passing? Or ? was it caused by the islanders letting loose a curse on the ship by revolving their ancient cursing stones?The artist, James Dixon, was born on Tory Island in 1887 and lived there all his life as a fisherman and small farmer. At the age of 72 he was inspired to take up painting by the artist Derek Hill, who had set up a painting hut on the island. Hill founded and ran the ?Tory School? of local artists, supplying them with oils and other materials and encouraging them to use their wild surroundings as subject matter. Through Hill, Dixon became known to the art world and became an important figure in contemporary Irish Art. He died in 1970.
A collection of contemporary glass paperweights to include a Royal Mint limited edition glass laser art George and the Dragon paperweight, Country Artists Crystal treasures goddess with cherubs paperweight, Queen Elizabeth II glass paperweight, a 1953 half penny coin set within a resin cube and more. Comes with a Garrett's Bijou silver plated Gold Changer.
A collection of six contemporary hardback erotic and pornographic books to include: The Complete Pirelli Calendar Book - David Niven, Burlesque and the Art of the Teese - Dita Von Teese, Aktfotografie 2 1965-2015 - Gred Rattei, Masterpieces of Erotic Photography, Lichfield: The Most Beautiful Women, Movie Posters Re-Imagined - Graffito.
•Jemma Derbyshire (Scottish, Contemporary), Field Study and Tree and Birds, a pair of oils, each monogrammed lower right, framed. Each 19.5cm square. Note: Jemma Derbyshire trained at the Edinburgh School of Art, taught at the Leith School of Art and has exhibited widely throughout the U.K. ARR may apply
Cardiff, Janet. The walk Book. Mit zahlreichen, meist farbigen Abbildungen, 4 beiliegenden Karten, 1 Discman, 1 CD sowie 1 Original-Photographie (verso signiert und nummeriert). Wien, Thyssen-Bornemisza Art Contemporary, 2005. 24,5 x 18 cm. Original-Halbleinwand mit eingelegter CD auf dem Vorderdeckel und Transparent-Umschlag, alle Objekte in Styropor-Box mit Transparenthülle gesteckt (26 x 34 x 19,5 cm).Eins von 100 nummerierten Exemplaren der Vorzugsausgabe mit dem Discman und der Original-Photographie. - Das Künstlerbuch ist gleichzeitig eine Monographie, die Cardiffs "Walks" in Montreal, London, New York dokumentiert. - Tadelloses Exemplar.
Christo. Museum of Contemporary Art, Chicago. 1968-69. Museum packed. Box mit 36 Foto-Postkarten. Chicago, 1968. 11,5 x 14,5 cm. Lose in illustrierter Karton-Schachtel.Auf dem Innendeckel mit kurzer Widmung von Christo: "For Jürgen, Christo." - Mit Photos von der Verhüllungsaktion von Shunk-Kender. - Sehr gut erhalten.
* France. Louis XIII (1610-43), Bronze Medal, dated 1631, In Honour Of Armand Jean Du Plessis De Richelieu. By J. Warin, a near contemporary restrike. Obv: Bust of Richelieu right. Rev: A winged Genius directs the revolution of the planets around the world, 51mm, 59.9g, an attractive light brown tone, some minor handling marks and cabinet wear to the highest points, a few small spotsQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
* Italy. Virginio Cesarini, 1595-1624, And Giovanni Pico Della Mirandola, 1463-94. AE Medal, probably 17th century or near contemporary casting. Obv: Conjoined busts of Virginio Cesarini and Giovanni Pico della Mirandola right, VIRGINIVS CAESARINVS IO PICVS MIRANDVLAN. Rev: Two phoenixes burning on flames, ALTERA ROMAE. 47mm, 42.3g, patches of green verdigris, some small contact marks, light wear to the medium-brown patinaQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Academie Royale des Medailles et des Inscriptions. Medailles sur les principaux evenements du regne de Louis le Grand, avec des explications historiques, Paris: Imprimerie Royale, 1702, engraved allegorical frontispiece by Charles Simonneau after Antoine Coypel, engraved armorial to title with outer decorative border (lower blank margin excised & repaired), numerous engraved medallions throughout, decorative borders engraved by Simonneau after Berain, typeface designed by Grandjean, occasional light scattered spotting, without marbled free endpapers, contemporary calf, gilt decorated spine with maroon morocco title label, old paper label at head & foot of spine, covers lightly marked, 4to, together with: Julian Emperor of Rome 331-363, Les Cesars de l'Empereur Julien, traduits du Grec. Par feu Mr. le baron de Spanheim, avec des remarques & des preuves, enrichies de plus de 300. medailles, & autres anciens monumens. Graves par Bernard Picart le romain, Amsterdam: F. L'Honoré, 1728, engraved frontispiece, title in red & black, numerous engraved illustrations of medallions, scattered spotting throughout and occasional light dust-soiling, bookplate of Patricia Milne-Henderson to upper pastedown, modern blind panelled dark brown calf, morocco title labels relaid, 4to, Velázquez (Luis José), Ensayo sobre los alphabetos de las letras desconocidas, que se encuentran en las mas antiguas medallas y monumentos de España. por don Luis Joseph Velazquez ... de la Academia Real de la Historia. Escrito, revisto y publicado de Orden de la misma Academia, Madrid: en la oficina de Antonio Sanz..., 1752, engraved vignette to title, twenty engraved plates at rear, few minor marks including occasional light dampstaining to for-edge margins of few leaves, 20th century cloth-backed marbled boards, rubbed green skiver title label to spine, 4toQty: (3)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESThe first work, a medallic history of Louis XIV, the Sun King, is a typographic tour-de-force, and a fine example of royal publicity. In 1692 the French Academy of Sciences set up a committee to establish standards for all crafts; as a result of which Jacques Jaugeon produced in 1695 a 'rational' design for letters, in which they all have a perfectly vertical axis and perfectly horizontal, symmetrical serifs, far removed from the more flowing forms of ancient or Renaissance lettering. Philippe Grandjean was commissioned to cut punches based on Jaugeon's designs, and modified them to form the 'roman du roi' first used here.
Accademia Etrusca. Museum Cortonense In Quo vetera monumenta complectuntur: Anaglypha, Thoreumata, Gemmæ Inscalptæ, Insculptæque Qu In Academia Etrusca ceterisque nobilium virorum domibus adservantur in plurimis tabulis reis distributum, atque a Francisco Valesio Romano, Antonio Francisco Gorio Florentino, et Rodulphino Venuti Cortonense, notis illustratum, Rome: J.G. Salomoni for Fausto Amideo, 1750, title printed in red and black with engraved device, 85 full-page engraved plates, some minor spotting to a few leaves (contents generally in clean condition), contemporary mottled full calf, gilt decorated spine with morocco title label, rubbed and joints partly cracked at head, folioQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESFirst catalogue of the Etruscan archaeological treasures in the Accademia Etrusca di Cortona, founded by the archaeologist and numismatist Ridolfino Venuti (1705-1763) and his brothers Niccolo Marcello and Filippo in 1726. Antiquities include engraved gems, bronze and marble statues and bas-reliefs, etc.
Accademia Etrusca. Museum Cortonense In Quo Vetera Monumenta Complectuntur: Anaglypha, Thoreumata, Gemmæ Inscalptæ, Insculptæque Qu In Academia Etrusca Ceterisque Nobilium Virorum Domibus Adservantur In Plurimis Tabulis reis Distributum, Atque A Francisco Valesio Romano, Antonio Francisco Gorio Florentino, Et Rodulphino Venuti Cortonense Notis Illustratum, Rome: J.G. Salomoni for Fausto Amideo, 1750, xviii, 126 pages, title printed in red and black with engraved device, 85 full-page engraved plates, occasional small worm track and holes to margins of a few leaves and plates, occasional minor spotting and soiling, bookplate, contemporary calf, joints cracking, a little rubbed and scuffed, folioQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESFirst catalogue of the Etruscan archaeological treasures in the Accademia Etrusca di Cortona, founded by the archaeologist and numismatist Ridolfino Venuti (1705-1763) and his brothers Niccolo Marcello and Filippo in 1726.
Agustin (Antonio). Dialoghi di Don Antonio Agostini Arcivescovo di Tarracona intorno alle medaglie inscrittoni et altre antichita, tradotti di lingua Spagnuola in Italiana da Dionigi Ottaviano Sada & dal medesimo accresciuti con diverse annotationi, & illustrati con disegni di molte medaglie & d'altre figure, Rome, Appresso gli Stampatori Camerali, [1592], woodcut title, some marks and minor loss to extreme lower outer corner, numerous woodcut illustrations throughout, waterstained to lower margins throughout, with associated light damp marking, contemporary or near-contemporary blind-panelled full calf, gilt decorated spine, rubbed and some wear with upper joint partly cracked, folio, together with other Italian numimatics interest, all 17th century, including F. Buonaroti, Osservazioni Istoriche sopra alcuni medaglioni antichi... di Cosimo III, Granduca di Toscana, Rome, 1698, Ottavio Ferrari, De Re Vestiaria libri septem, Padua, 1654, Jean Baptiste Le Menestrier, Medales Illustrées des anciens empereurs et imperatrices de Rome, Dijon, 1642, Lorenzo Pignori, De Servis, editio secunda, Padua, 1656 (Andrew Fletcher of Saltoun copy), and Charles Patin, Introduzione alla storia della pratica delle medaglie, Venice, 1673, plus an incomplete copy of Enea Vico, Reliqua liborum Aeneae Vici Parmensis, exantiquis imperatorum et Augustarum numis ad historiam pertinentium, Venice, 1612 (title supplied in manuscript, with Deene Library engraved bookplate to verso, and 116 plates only)Qty: (9)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Agostini (Leonardo). Le gemme antiche figurate, 2 volumes, 2nd edition, Rome: Gio. Battista Bussotti, 1686, additional engraved title to volume 1, 267 engraved plates (including portrait of author), two repaired horizontal closed tears to fore-margin of plate 9 & 49 in volume 1, lower outer blank corner to plate 125 in volume 2 repaired and manuscript corrections to plate list, occasional spotting and minor dust-soiling, few plates in volume 2 lightly stained, bookplate of Patricia Milne-Hendeson to upper pastedowns, hinges split, contemporary limp vellum, yapp fore-edges, 4to (26.6 x 18.3 cm)Qty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESThe second edition (1st 1657-1669) of the major work of the Italian antiquary Leonardo Agostini (1593-1669), devoted to antique engraved gems (vol. I) and cameos (vol. II) in the collection of Cardinal Francesco Barberini, which Agostini had assembled for the papal nephew. He was later appointed by Pope Alexander VII superintendent of antiquities in the Roman states.
Agustin (Antonio). I discorsi sopra le medaglie et altre anticaglie. Divisi in XI dialoghi tradotti dalla lingua spagnola nell italiana, [Rome: Ascanio and Girolamo Donangeli, 1592], engraved architectonic title-page (with portrait verso), 70 engraved plates (numbered 3-72 and printed either side of 35 leaves), bound without initial quire +2 (another engraved title, commencing 'I ritratti', and letterpress dedication leaf), title-page with section excised at foot and contemporary ownership inscription, a few text-gatherings browned, occasional early marginalia, bookplate of Patricia Milne Hendersonm edges dyed blue, later vellum (ties perished), 4to (22 x 16 cm)Qty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: 1) Basil Kennett (1674-1716), antiquary and translator, and author of The Antiquities of Rome (ownership inscription 'Basil Kennet, 1706'). 2) Basil G. Nevinson, cellist and the dedicatee of number XII of Elgar's Enigma Variations (ownership inscription 'Basil G. Nevinson, 1906'). 3) London Numismatic Club (bookplate). 4) Acquired by Patricia Milne Henderson as a duplicate from the Fitzwilliam Museum, Cambridge, in 1963 (laid-in typed letter signed on Fitzwilliam Museum letterhead). Adams A2236; Cicognara 2725; EDIT 16 CNCE 564; STC Italian p. 11. First quarto edition of the Italian translation, of which a folio edition appeared the same year, printed in Rome by Guglielmo Faciotto, priority unknown. The work was first published in Spanish in 1587 as Dialogos de medallas, inscriciones y otras antiquedades.
![[Antonini, Carlo]. Raccolta di Vasi Antichi, 3 parts bound in one volume, [Rome], 1837, 3 etched title pages, and 189 etched](https://cdn.globalauctionplatform.com/773a2f63-986c-4cc6-9db3-ad1200b50a92/7a5e14b6-fab7-4e35-83a5-ad130124f655/468x382.jpg)
[Antonini, Carlo]. Raccolta di Vasi Antichi, 3 parts bound in one volume, [Rome], 1837, 3 etched title pages, and 189 etched plates of antique vases, sheets watermarked PM Fabriano and dated 1836, the second and third printed part-titles dated 1837, contents generally in clean condition, two small oval ownership ink stamps of Henry Thomas Coghlan to head and foot of first title, top edge gilt, remainder rough-trimmed, contemporary dark green half morocco, rubbed and some wear to joints (partly cracked), folio (322 x 230 mm)Qty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: Henry Thomas Coghlan (1813-1892). Wealthy recluse Henry Thomas Coghlan was born in Armagh, Northern Ireland, and resided at 14 Hyde Park Gardens. He died intestate, leaving an estate worth £700,000. His library was sold by Sotheby, Wilkinson and Hodge in 1896. A re-issue of Carlo Antonini's Manuale di vari ornementi componenti la serie de vasi antichi si di marmo che di bronzo esistenti in Roma e fuori, published in 3 volumes in 1821, each part containing 71, 62 and 60 plates respectively (being a total of 193). See Berlin Katalog 594. Many of the engravings are either based on or strongly influenced by the work of Giovanni Battista Piranesi.
![Aurelius Victor (Sextus). Historiae Romanae breviarum. A Jano et Saturno, urbeq[ue] condita, usque ad Consulatum X. Constanti](https://cdn.globalauctionplatform.com/773a2f63-986c-4cc6-9db3-ad1200b50a92/c7c4d93e-dcfd-4d49-931b-ad130124f72d/468x382.jpg)
Aurelius Victor (Sextus). Historiae Romanae breviarum. A Jano et Saturno, urbeq[ue] condita, usque ad Consulatum X. Constantii Aug. et Juliani Caes. III. Numquam antehac editum ... Ex bibliotheca Andreae Schotti [part 2: De vita et moribus imperatorum Romanorum], 2 parts in 1 volume, Antwerp: ex officina Christophori Plantini, 1579, A-O8, A-H8 I3 (lacking final blank I4), both parts with woodcuts of Roman coinage in text, variable browning, occasional damp-staining, without rear free endpaper, bookplate of Patricia Milne Henderson, contemporary limp vellum, manuscript spine-title, ties perished, 8vo (16.6 x 10.8 cm)Qty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: From the library of the princes of Liechtenstein (housed in Vienna), with bookplate 'ex libris Liechtensteinianis'. Adams A2263 & A2260; Ruelens-de Backer 200/10. First collected edition of the Aurelius Victor corpus.
Baduri (Anselmo Maria). Numismata Imperatorum Romanorum a Trajano Decio ad Palaeologos Augustos. Accessit Bibliotheca Nummaria, sive auctorum qui de re nummaria scriptserunt, 2 volumes, 1st edition, Paris: Montalant, 1718, half titles, titles with engraved vignettes, double-page engraved map in volume II, engraved headpieces and initials, four sequences of numbered engraved plates of coins (I-XIV, I-II, I-III & II-III) in volume II, engraved illustrations of coins, lacking engraved frontispiece to volume I, a couple of leaves with small marginal tears and losses, small closed tear to volume I title, occasional light spotting and small marginal water stains, bookplates including Baron Northwick (created 1797 for Sir John Rushout), contemporary sprinkled calf, rebacked, gilt labels to spines, repairs to corners, folioQty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: John Rushout, 2nd Baron Northwick (1769-1859), collector and connoisseur, with his bookplate. The present volume formed part of the library at Northwick Park, Gloucestershire, and Thirlestaine House in Cheltenham. Cicognara 2742; Graesse I, 286.
Baier (Johann Jakob). Gemmarum Affabre Sculptarum Thesaurus quem suis sumptibus haud exiguis nec parvo studio collegit Io. Mart. ab Ebermayer Norimbergensis, Nuremberg: In aedibus Ebermayerianis, 1720, title-page printed in red and black, folding engraved portrait frontispiece (short tear in fore-margin repaired on reverse), with folding plate depicting a cabinet facing, 8 numbered plates, letterpress engravings, head and tail-pieces, and initial letters, a few leaves toned, bound with: Ebermayer (Johann Martin von), Imperatorum a Iulio Caesare ad Carolum VI P. F. AVG. in Gemmis antiqua partim, partim recenti manu affabre incisorum series, [Nuremberg], 1722, 7 engraved plates, and Effigies Regum Franciae a pharamundo usque ad Ludovicum XV, in gemmis ad optimorum monumentorum fidem incisae, [Nuremberg], 1722, 4 engraved plates, and Icones Ducum Venetorum ... in gemmis affabre caelatae, [Nuremberg], 1722, 5 engraved plates, and Capita Deorum et Illustrium Hominum pacis bellique artibus clarissimorum nec non hieroglyphica, abraxea et amuleta quaedam, in gemmis antiqua partim, partim recenti manu, affabre incisa, Frankfurt and Leipzig, 1721, title-page printed in red and black, 17 engraved plates, engraved head-piece and initial letter, endpapers browned, and pastedowns with paper residue to edges, early annotation in brown ink to front pastedown, red and blue sprinkled edges, contemporary blind-panelled mottled calf gilt, rubbed and worn, with slight loss to spine ends, and some small surface losses to covers, early oval library label lettered in ink to foot of spine, folioQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Bartoli (Pietro Santi). Museum Odescalchum, sive Thesaurus Antiquarum Gemmarum, 2 volumes in 1, Rome: Sumptibus Venantii Monaldini, 1751-52, half titles, titles printed in red and black with engraved vignettes, 104 engraved plates, engraved initials and illustrations, occasional light spotting and toning, contemporary calf, spine with morocco label and gilt decoration, corners repaired, folio (41 x 26 cm)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: Prince Augustus Frederick, Duke of Sussex (1773-1843), his armorial bookplate. Cicognara 2745; Graesse I, 303. The plates, engraved by Pietro Santo Bartoli illustrate the gemstones in the museum of the Duke Odescalchi.
Beger (Lorenz). Observationes et conjecturae in numismata quaedam antiqua, accedunt duae ill. Ez. Spanhemii ad authorem epistolae, Coloniae Brandenburgicae [Berlin], Ulrich Liebpert, 1691, title with engraved vignette (somewhat browned), fine engraved head-pieces, etc, numerous engraved illustrations of coins to text, Patricia Milne-Henderson bookplate to front pastedown, contemporary panelled full calf, modern reback, a little rubbed to edges, 4to, together with: Noris (Enrico). Duplex Dissertatio de Duobus nummis Diocletiani et Licinii ex cimeliis Sereniss. ac Reverendiss. Principis Leopoldi Cardinalis Medicei, Padua, 1676, title printed in red and black, with woodcut printer's device, large woodcut device to verso of final leaf, near-contemporary sprinkled full calf gilt, morocco title label to spine, with gilt coronet and D above, slim folio, plus others related: Andreas Morell, Specimen universae rei nummariae antiquae, quod litteratorum reipublicae proponit, Leipzig, 1695, Franz Anton Graf von Khevenhuller zu Aichelberg, Regum veterum numismata anecdota, aut perrara notis illustrata, Vienna [1752], Suetonius, Opera, ed. Charles Patin, Basel, 1675, and Burcard Gotthelff Struve, Bibliotheca numismatum antiquiorum, Jena, 1693, all bound in contemporary or near-contemporary calf, various sizesQty: (6)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Beger (Laurentius). Thesaurus ex Thesauro Palatino selectus; sive, Gemmarum et Numismatum, quæ in Electorali Cimeliarchio continentur, elegantiorum ære expressa, et convenienti commentario illustrata dispositio, Heidelburg: Philippi Delborn, 1685, vignette title-page, 5 engraved plates, including frontispiece and portrait, numerous letterpress engravings, head and tail-pieces, and initial letters, errata leaf at rear, single worm hole increasing to short trail to lower blank margin from Kk1 through remainder of page block and rear endpapers, endpapers stained by turn-ins, hinges split, bookplate of Patricia Milne-Henderson, red sprinkled edges, near contemporary blind-panelled mottled calf, sometime rebacked, rubbed, folio in 4s, together with: Liebe (Christian Sigismund), Gotha Numaria, sistens thesavri Fridericiani numismata antiqua aurea, argentea, ærea, ea ratione descripta ... Accedunt ex Andreæ Morellii Specimine uniuersæ rei numariæ antiquæ excerpta, & epistolæ tres Ez. Spanhemii, quibus rariores eiusdem thesauri numi illustrantur, Amsterdam: R. & J. Wetstenios & G. Smith, 1730, half-title present, vignette title-page printed in red and black, verso with engraved armorial bookplate of Sr. John Anstruther of Anstruther Bart., engraved frontispiece and portrait, letterpress engravings, head and tail-pieces, and initial letters, occasional light spotting and marks, a few leaves toned, Nnn3 with short tear in lower blank margin, marbled endpapers, red edges, contemporary calf, rubbed, gilt decorated spine worn, with loss at ends and joints cracked, corners showing, folio in 4s,Qty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Beger (Lorenz). Spicilegium Antiquitatis sive variarum ex antiquitate elegantiarum vel novis luminibus illustratarum vel recens etiam editarum fasciculi, Coloniae Brandenburgicae [Berlin], Ulrich Liebpert, 1692, [8]-167-[1] pp., half-title, title with engraved printer's device, engraved head-pieces and initials, numerous engraved illustrations to text, 4 full-page engraved plates (hors-texte), and one full-page engraved illustration within text, including Hercules, Apollo and Bacchus, errata to verso of X4 ends 'STEPH', contents generally clean, bookplate of Patricia Milne-Henderson to front pastedown, contemporary sprinkled full calf, gilt decorated spine, some wear to edges, folio (320 x 215 mm)Qty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESBL German (1601-1700), B624. First edition of a collection of descriptions and illustrations of classical archaeology and numismatics by Lorenz Beger (1653-1705), librarian and antiquary to the King of Prussia. The work is notable for its first description of a sarcophagus in the Pamphili collection in Rome, which Beger erroneously interprets as the mythical story of Cephalus and Procris (page 143).
Bertoli (Giandomenico). Le Antichita d'Aquileia profane e sacre, per la maggior parte finora inedite, raccolte, disegnate, ed illustrate, 1st edition, Venice, Giambatista Albrizzi, 1739, engraved frontispiece by Federico Zucchi after A.D. Bertoli, title printed in red and black with engraved vignette, numerous engraved illustrations to text of ancient Roman antiquities, and inscriptions, etc., contents in clean condition, bookplates of the Marchese di Salza, and 19th century bookplate (bearing the motto 'comme je fus'), near-contemporary full vellum, lightly rubbed and marked, folioQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: Giovanni Domenico Berio (Marchese di Salza, or Salsa), and his son Francesco Maria Berio (1765-1829), author and librettist. The library was sold to John William Ward, Earl of Dudley after Francesco Maria Berio's death in 1820 (armorial bookplate with motto 'Comme Je Fus'). Scarce illustrated study of the antiquities, including ceramics, architectural remains and inscriptions, at Aquileia, a Roman city at the head of the Adriatic.
De Bie (Jacques). Numismata Aurea Imperatorum Romanorum ex Recensione Sigeberti Haverkampi, 1st edition, Amsterdam, Martinum Schagen, 1738, engraved half-title, 3 'frontispiece' plates, 12 engraved portraits of Roman Emperors, Vitellius (number 9) with tear through the text, 76 engraved plates, minor loss to the bottom right corner of plate 64, bookplate of Phillip Carteret Webb to front pastedown, later endpapers, bookplate of Baron Northwick and minor loss to the upper right corner of the original front endpaper, some light marks & toning throughout, contemporary full mottled calf gilt, hinges cracked, spine slightly rubbed to head & foot, 4toQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: John Rushout, 2nd Baron Northwick (1769-1859), collector and connoisseur, with his bookplate. The present volume formed part of the library at Northwick Park, Gloucestershire, and Thirlestaine House in Cheltenham.
Bogaert (Abraham). De Roomsche Monarchy, vertoont in de Muntbeelden der Westersche en Oostersche Keizeren; beginnende van Cesar, en eindigende met Leopoldus, den tegen woordigen Roomschen Keizer: alle naer ae vermaarde Muntpenningen van haare Zweedsche Majesteit Christina to Rome getekent, en in't koper gesneden, Utrecht, Francois Halma & Willem van de Water, 1697, additional engraved title by J. Baptist after Jan Goeree, title printed in red and black with engraved vignette, full-page engraved portrait of the author by A. de Blois after D. Van der Plaes, several engraved plates, including a few folding of historical scenes, and 167 circular engraved portraits of Emperors of the Roman and Holy Roman empires, slight waterstain to fore-edges, contemporary vellum, 4to, together with other similar numismatic and Roman history interest, all Dutch editions, 17th century, including Gronovius, De Sestertiis, Leiden, 1691, Ammianus Marcellinus cum notis integris Henrici et Hadriani Valesiorum, Frider. Lindenbrogii, Jac. Gronovii, Leiden, 1693, Leonardo Agostino, Gemmae et Sculpturae Antiquae depictae, pars prima only, Frankfurt, 1694, Wilde, Selecta Numimasta Antiqua; ex musaeo Jacobi de Wilde, Amsterdam, 1692, Landi, Selectiorum Numismatum, praecipue Romanorum expositiones, Leiden, 1695, Patin, Thesaurus Numismatum, 1672, Gronovius, Dissertatio de origine Romuli, Leiden, 1684, Rosini, Antiquitatum Romanarum, Amsterdam, 1743, all vellum-bound, 4to/8voQty: (10)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Bracci (Domenico Augusto). Memorie degli antichi incisori che scolpirono i loro nomi in gemme e cammei con molti monumenti inediti di antichita statue bassorilievi gemme, Opera di Domenico Augusto Bracci della Societa Reale Antiquaria di Londra, 2 volumes, Florence, Gaetano Cambiagi, 1784-86, text in Latin and Italian, additional engraved title, dedication and 160 fine engraved plates, some with two or more scenes, by Colombini, Pazzi, Bartolozzi, Pomarede, Mogatti etc., after Casanova, Campiglia, Savorelli, Stradetti, and others, wide margins, generally in very clean condition, marbled endpapers, engraved armorial bookplate with motto Esperance en Dieu (engraved by Longmate), contemporary full calf, edged in gilt, by H. Walther (with his printed binder's label to verso of front endpaper of each volume), rubbed and some wear, later rebacks retaining original morocco labels, joints rubbed, with upper cover to first volume detached, folio (43 x 28.5 cm)Qty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESCicognara 2785; Brunet I, 1195. Domenico Augusto Bracci (1717-1795) came to Rome in 1748 on the recommendation of the famous collector Philipp von Stosch, where he acted as a cicerone or guide for English travellers on the Grand Tour, also accompanying them to Pompeii, Herculaneum and Naples. The sumptuously illustrated Memorie degli Antichi Incisori, largely based on the von Stosch collection, was eventually published in 2 volumes in 1784 and 1786, with illustrations by the best artist engravers of the day, including Pietro Antonio Pazzi and Francesco Bartolozzi, after drawings by Giovanni Battista Casanova and Gaetano Savarelli, amongst others. In an appendix, Bracci compiled for the first time a list of forged and suspicious artist's signatures on gems.
![[Bryant, Jacob & William Cole]. Gemmarum Antiquarum Delectus, ex Praestantioribus Desumptus, quae in Dactyliothecis Ducis Mar](https://cdn.globalauctionplatform.com/773a2f63-986c-4cc6-9db3-ad1200b50a92/f7fd663b-17d8-44e4-9435-ad130124ff95/468x382.jpg)
[Bryant, Jacob & William Cole]. Gemmarum Antiquarum Delectus, ex Praestantioribus Desumptus, quae in Dactyliothecis Ducis Marlburiensis Conservantur, 2 volumes, [privately printed, 1780-83], engraved frontispieces, parallel text in Latin and French, 100 stipple-engraved plates by Francesco Bartolozzi after Giovanni Cipriani, occasional light spotting, all edges gilt, contemporary calf, joints rubbed and splitting, some edge wear, folio (41.5 x 27 cm)Qty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESESTC T 147757. Provenance: Sir Robert Johnson Eden, 5th Baronet (1774-1844), his bookplate. Privately printed, one of 100 copies published. The 4th Duke of Marlborough's highlights of his invaluable collection of gems at Blenheim Palace, described by Jacob Bryant, the duke's former tutor and private secretary and William Cole, tutor to the duke's children. The work was intended for crowned heads of Europe and the duke's friends, John Murray republished the work in 1845.
![[Bryant, Jacob & William Cole]. Gemmarum Antiquarum Delectus, ex Praestantioribus Desumptus, quae in Dactyliothecis Ducis Mar](https://cdn.globalauctionplatform.com/773a2f63-986c-4cc6-9db3-ad1200b50a92/3539229e-ea6a-4885-afa6-ad1301250034/468x382.jpg)
[Bryant, Jacob & William Cole]. Gemmarum Antiquarum Delectus, ex Praestantioribus Desumptus, quae in Dactyliothecis Ducis Marlburiensis Conservantur, 2 volumes, 2nd edition, London: Jonathan Murray, 1845, engraved frontispieces, parallel text in Latin and French, 108 engraved plates by Francesco Bartolozzi after Giovanni Cipriani, occasional minor marks, volume I hinges broken, volume II upper hinge broken, top edge gilt, contemporary red half morocco, joints and edges rubbed and scuffed, some edge wear, folio, 43.5 x 30 cmQty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESOriginally privately printed in an edition of 100 copies in 1783, the work describes the celebrated collection of gems assembled by the fourth Duke of Marlborough.
Cartari (Vincenzo). Imagini delli dei de gl'antichi di Vicenzo Cartari ... Cavate da' marmi, bronzi, medaglie, gioie, & altre memorie antiche ... da Lorenzo Pignoria ... Con le allegorie sopra le imagini di Cesare Malfatti ... migliorate, & accresciute novamente..., Venice: Presso il Tomasini, 1647, title in red & black with printer's woodcut device (leaf torn & repaired to lower outer corner), two folding woodcut plates and numerous woodcut illustrations throughout, light dust-soiling, toning and few marks, occasional damp stains, later endpapers, contemporary limp vellum, short split to lower joint, 8vo (Sabin 11104), together with: Spanhemius (Ezechiel), Dissertatio de Praestantia et Usu Numismatum Antiquirum, Rome: Blasium Deuersin & Felicem Cesarettum, 1664, title in red & black, some early marginalia throughout, some heavy browning and scattered spotting, occasional damp stains, bookplate of Patricia Milne-Henderson to upper pastedown, contemporary vellum, morocco title label to spine, 4to, Torsellino (Orazio), Ristretto delle historie del mondo del P.H. Torsellino ... Volgarizzato dal Sig. Lodouico Aurelii Perugino..., Rome: Per il Mascardi ad Istanza di Pompilio Totti, 1637, engraved armorial to title, woodcut illustrations throughout and armorial to final leaf, bookplate of Patricia Milne-Henderson to upper pastedown, contemporary limp vellum, ties mostly lacking, 12mo, and five other 17th century titles, mostly bound in vellumQty: (8)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Casali (Giovanni Battista). De urbis ac Romani olim imperii splendore opus eruditionibus, historiis, ac animadversionibus, tam sacris quam profanis illustratum, Rome: ex typographia Francisci Alberti Tani, 1650, engraved frontispiece by Giovanni Baronius (ink marks & splashes mostly to margins), title in red and black with woodcut arms of Pope Innocent X and with the signature of Scottish writer & politician Andrew Fletcher of Saltoun (1655-1716) to upper blank margin, few woodcut illustrations to text, bound without and lacking six engraved plates, bookplate of Patricia Milne-Henderson to upper pastedown, contemporary vellum, spine torn at head with loss, stain to lower board, folioQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESCicognara 3656.
Casali (Jean-Baptiste). De Profanis et Sacris Veteribus Ritibus opus tripartitum, cujus prima pars agit de profanis Aegyptiorum ritibus, veluti deorum cultu, superstitione & idololatria... Secunda pars agit de profanis Romanorum ritibus, vario scil. deorum cultu... Tertia pars agit de sacris Christianorum ritibus, velut de imaginibus Ecclesiae... 3 parts in one, Frankfurt & Hanover: T. H. Hauenstein, 1681, half title, general title printed in red and black, 3 sectional titles with large woodcut device, 60 tipped-in engraved plates, various sizes, some folding, 7 small engravings pasted to margins, small burnhole to lower margin of Z4 of part 3, occasional light spotting and small marginal water stains, contemporary vellum, spine titled in manuscript, some light soiling, covers a little bowed, 4toQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESGraesse II, 59. First published in two parts in Rome in 1644, by Rome antiquary Giovanni Battista Casali (1578-1648) this expanded edition includes a third part on Christian rituals as well as ancient Egyptian and Roman idolatry and symbolism.
Castelli (Gabriele Lancillotto, principe di Torremuzza). Siciliae populorum et urbium regum quoque et tyrannorum veteres nummi Saracenorum epocham anticedantes, Panormi [Palermo], Typis Regiis, 1781-91, 3 parts in one, half-title, 3 printed titles, each with large engraved vignette, 125 full-page engraved plates by Melchior de Bella (107, 9 and 9 plates to each part respectively), several large engraved head-pieces, wide margins throughout, pale waterstain to upper and lower blank margins (generally in very good condition), small etched bookplate or ownership label pasted to foot of first title, engraved by di Bella, and with the motto 'Neti in Musaeo Astutiano', bookplates of Baron Northwick and Patricia Milne Henderson to front pastedown, contemporary half-calf over marbled boards, modern antique-style reback, rubbed and slight wear to board edges, large folio (40.5 x 26 cm), together with: [Danieli, Francesco]. Monete Antiche di Capua con alcune brievi osservazioni, si aggiunge un discorso del culto prestato da'Capuani a'numi lor tutelari, Naples, Stamperia Simoniana, 1802, with a printed funeral broadside for Andrea Maria Labini, signed Franciscus Daniel, and dated 11 January 1792, bound in at front, half-title present, engraved and woodcut illustrations to text, including illustrations of coins printed in brown, contents generally clean, bookplate of Baron Northwick to front pastedown, early 19th century half calf over marbled boards, lightly rubbed ,4toQty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance (for both works): John Rushout, 2nd Baron Northwick (1769-1859), collector and connoisseur, with his bookplate. The present volume formed part of the library at Northwick Park, Gloucestershire, and Thirlestaine House in Cheltenham. Brunet V, 889 'ouvrage peu commun et recherché'. First and only edition.
Caylus (Anne Claude Philippe, Comte de). Recueil d'Antiquités Egyptiennes, Estrusques, Grecques et Romaines, 7 volumes, including Supplement, Paris, 1756-67, volume I 2nd edition of 1761, the others 1st editions, half titles (except for volumes II & VII) engraved frontispieces, titles with engraved vignettes, 828 engraved plates, maps and plans, a few folding, occasional minor toning and spotting, small insect predation to lower corners of pp. 45-48 in volume I, bookplates of Baron Northwick, all edges gilt, contemporary mottled calf, spines with brown labels and gilt decoration, a few joints cracking, some light edge wear, 4toQty: (7)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: John Rushout, 2nd Baron Northwick (1769-1859), collector and connoisseur, with his bookplate. The present volume formed part of the library at Northwick Park, Gloucestershire, and Thirlestaine House in Cheltenham. Blackmer 303: "This work is remarkable for its range and for the number of pieces which have been illustrated. Even more remarkable is the fact that most of the objects have been engraved after the originals and have not been taken from other illustrations. Many of the objects came from Caylus's own collection and are now in the Cabinet des Medailles of the Bibliothèque Nationale. Volume VII, the supplement, was published posthumously and was edited by Bombarde from Caylus's manuscripts; it also contains a memoir of the author. Caylus travelled extensively in Italy and continued on to the Levant in the suite of the French ambassador to the Porte, c. 1715-20, but certainly well before 1731 when he was elected to the Academie Royale de Peinture. He was one of the most interesting figures of his time, an archaeologist, connoisseur, litterateur and a competent engraver."
Coin Auction Catalogues. A collection of over 30 catalogues, mostly early 19th century, some bound together, including: 1. Catalogue de la Bibliothéque et du Cabinet de Médailles, Antiques et Modernes, ainsi que de quelques pierres gravées, antiquités &c. délaissés par M. Pierre van Damme, Directeur de l'Académie littéraire de Zélande, Membre de celle de Gottingue, de la haute Lusace &c. Dont la vente publique se fera, le 21 Mars 1808 et jours suivants, au Schoolstraat, section W. No. 245 à La Haye. Par l'Auctionaire J. Koning, et les Libraires Thierry-Mensing et P. van Daalen Wetters, The Hague & Amsterdam, 1807, engraved portrait frontispiece, prices realised in manuscript to fore-margins, edges untrimmed, contemporary boards, torn at head & foot of spine, 8vo, 2. Catalogue of the First [& Second] Portion of the Valuable Cabinet of English Coins & Medals, The Property of George Marshall..., which will be sold at auction, by Messrs. S. Leigh Sotheby & John Wilkinson, 4th March 1852 & five following days [& 1st July & two following days], 1852, bound with 11 others similar, contemporary half calf, without title label, rubbed and extremities worn, 8vo, 3. Catalogue of the very select and valuable collection of Coins and Medals, in Gold, Silver, and Copper, of the late Mr. A. Edmonds ... which will be sold by auction, by Mr. Sotheby and Son ... Monday, March 24, 1834 and two following days, 1834, bound with Catalogue of a select collection of Anglo Saxon and English Coins, the property of a Gentleman ... which will be sold by auction, by Mr. S. Leigh Sotheby ... Wednesday, August 29th 1838, bound with eight others similar, ruled in red and with prices realised in manuscript throughout, bookplate of Charles Edward Fewster of Hull to upper pastedown, contemporary maroon morocco, rubbed and scuffed, 8vo, 4. A Catalogue of the very valuable and extensive collection of Ancient and Modern Coins and Medals, collected by, and the Property of John Trotter Brockett, Esq., F.S.A. ... which will be sold by auction by Mr. Sotheby ... Wednesday, June 4, 1823 and nine following days, 1823, red ruled title, interleaved with blanks with manuscript prices realised, contemporary half calf, upper board near detached, lower joint cracked, loss of spine at foot, wide paper label down spine, worn, 8vo, 5. A Catalogue, of Coins, Medals, Bronzes, Pictures, Prints, Drawings, Books, &c... Part I. Describing the coins and medals in cabinet A, ... Also the chief part of the extensive, valuable, and well selected cabinets of the late Nathaniel Roe, Esq. ... which are now selling by William Stevenson, Norwich: printed by Stevenson and Matchett. And may be had of Mr. Lunn, London, and the booksellers in Norfolk, Suffolk, Essex, and Cambridgeshire [1795?], [2], 58pp., first & last leaves dust-soiled, some blank corners torn, side stitched as issued, 8vo in 4s, 6. Catalogue of the choice and valuable collection of English, Greek, and Roman Coins and Medals, of the late Sir Robert Abdy, Bart. Deceased 1748 ... which will be sold by auction, by Mr. S. Leigh Sotheby ... Monday, 14th June 1841, and four following day, 1841, original printed wrappers, inscription to Sir Henry Rupell Bart. to upper margin, slim 8vo 7. Catalogue of the Marlborough Gems, being a collection of works in Cameo and Intaglio, formed by George, 3rd Duke of Marlborough, purchased by the late David Bromilow, Esq., of Bitteswell Hall, Lutterworth, the Property of Mrs. Jary, which will be sold by auction by Messrs. Christie, Manson & Woods ... Monday, June 26, 1899, and three following days, 1899, 14 photogravure plates, original printed boards, some discolouration, worn at head & foot of spine, 8vo, 8. Catalogue of the entire Pembroke Collection of Greek, Roman, English, Scotch, Irish, and Foreign Mediaeval Coins and Medals, as published in 1746 ... which will be sold by auction, by Messrs. S. Leigh Sotheby & Co ... Monday, 31st of July, 1848, and eleven following days, 1848, original printed wrappers, spine worn at head & foot, 8vo, and others similarQty: (small carton)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Cooke (William). The Medallic History of Imperial Rome; From the First Triumvirate, under Pompey, Crassus, and Caesar, to the Removal of the Imperial Seat, by Constantine the Great. With the Several Medals and Coins, Accurately Copies and Curiously Engraven. To which is prefixed, an introduction, containing a General History of Roman Medals, 2 volumes, 1st edition, London: J. Dodsley, 1781, 61 engraved plates of coins, some light offsetting, bookplates of William Ruddell Clarke of Trabolgan (County Cork), contemporary tree calf, spines with green and red labels and richly gilt, small areas of worming to covers, 4to, together with Nicola Francesco Haym's Del Tesoro Brittannico. Parte Prima. Overo Il Museo Nummario, 4 parts in 2 volumes [all published], 1st edition 1719-20 (with 28 engraved plates only of 30).Qty: (4)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESFirst work ESTC T144851.
![Cornelius Nepos. Vitae excellentium imperatorum, Leiden: ex officina Hackiana, 1675, [32], 439 [40] pp., engraved additional](https://cdn.globalauctionplatform.com/773a2f63-986c-4cc6-9db3-ad1200b50a92/b7c5b6ef-58bc-4922-9661-ad13012505e1/468x382.jpg)
Cornelius Nepos. Vitae excellentium imperatorum, Leiden: ex officina Hackiana, 1675, [32], 439 [40] pp., engraved additional title-page, engraved vignettes of Roman coins in the text (mainly as tailpieces), spotting towards rear, ownership inscription 'Ex libris Pat. Gordon Edin. Jan. 28 1755' to title-page (another inscription effaced), bookplate of Robert Gordon of Hallhead, marbled endpapers and edges, 18th-century red morocco gilt, spine sunned, joints cracked, 8vo (18.8 x 11 cm), together with: Suetonius Tranquillus (Gaius). L'histoire des empereurs romains ... fidelement traduite par M. Du Teil, 3rd edition, Paris: Estienne Loyson, 1670, [12] 495 pp., engraved additional title-page, 12 engraved portraits (counted in the register), slightly browned, early gift inscription 'Mrs Costeker, her book' to initial blank, contemporary red morocco gilt, 12mo in alternate 4s and 8s (15 x 8 cm), Rycke (Josse de). De capitolio romano commentarius, Leiden: ex officina Danielis, Abrahami et Adriani à Gaasbeeck, 1669, [32] 562 [29] pp., engraved additional title-page by Romeyn de Hooghe, 15 engraved plates (one folding), bookplates of Patricia Milne Henderson and classical scholar Thomas Gaisford (1779-1855), all edges gilt, contemporary red morocco gilt, 12mo (13 x 6.5 cm)Qty: (3)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Cuper (Gisbert). Apotheosis Vel Consecratio Homeri, sive, Lapis antiquissimus in quo Poe?tarum Principis Homeri Consecratio sculpta est ... Amsterdam: Henricum & Viduam Theodori Boom, 1683, vignette title-page printed in red and black, with contemporary ownership name of J. Sotheby in brown ink at head dated 1688, 9 engraved plates, 2 folding, letterpress engravings, some light toning and occasional minor spotting and marks, endpapers browned, hinges neatly repaired, bookplate of Patricia Milne-Henderson, red sprinkled edges, near contemporary mottled calf (light surface pitting), sometime rebacked and recornered, 4to, together with: Agostini (Leonardo), Gemmae et Sculpturae Antiquae Depictae ... Addita earum enarratione, In Latin versa ab Jacobo Gronovio ... 2 parts in one, Amsterdam: Abrahmum Blooteling, 1785, vignette letterpress title to each part (that to first part dusty), additional engraved title-page (toned and dusty), engraved portrait and 168 plates, occasional toning and light spotting, several plates with some early manuscript annotations below image, L2 with a few small ink blots, hinges split, red sprinkled edges, some small ink stains to lower edge, contemporary calf, gilt decorated spine, rubbed and extremities a little worn, with small losses to spine ends and corners showing, 4to, Stephanus of Byzantium, Fragmentum Stephani Byzantini Grammatici de Dodone, cum triplici nupera Latina versione et Academicis Exercitationibus Jacobi Gronovii, Leiden: Danielem à Gaesbeeck, 1681, vignette title-page (slightly dusty and with early manuscript initials), woodcut initial letter, paper fault to lower outer corner of E1, endpapers browned and soiled, hinges split, and rear free endpaper near-detached, contemporary sprinkled calf, rubbed and marked, joints cracked, 4toQty: (3)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
Devonshire Gems. Duke of Devonshire's Collection of Gems, privately printed, circa 1790, 100 copper engraved plates by Gosmont on laid paper, with partial Strasburg Lily watermark and initials of Lubertus van Gerrevinck below (similar to Heawood 1861), comprising portrait medallions and mythological scenes, first page dusty and spotted, remainder with occasional light spotting and marks, interleaved, marbled endpapers, bookplate of Patricia Milne-Henderson monogrammed PAMH, verso of front free endpaper with contemporary manuscript note laid down, all edges gilt, early 19th century green morocco by Charles Lewis, with his gilt monogrammed red morocco label on front pastedown, raised bands between gilt dotted lines and scallop rolls, gilt lettered direct in second compartment, remainder with onlaid red morocco flower surrounded by radiating volute and leaf tools on a semé dot ground, sides with scalloped double pelmet border between rope roll enclosed by single fillets, gilt foliate roll on edges and turn-ins, some faint marks to covers and light rubbing to corners, but otherwise in very good condition, 4toQty: (1)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESThe contemporary manuscript note on the verso of the front free endpaper reads: 'Duke of Devonshire's Collection of Gems, engraved by Gosmont. Privately printed. Exceptionally rare. The Plates are lost. "It is supposed that there are not more than eight copies in existence of this curious and valuable book. One copy is in the Library of the Duke of Devonshire, a second in that of Earl Spencer, a third in Lord Besborough's, a Fourth in the British Museum, a fifth in Hunter's Museum at Glasgow. The Artist ran away, and the plates were either lost or destroyed." Part of Evan's Note to Dent's Catalogue Part I. No 1112. This copy contains 100. The Duke of Devonshire's and Earl Spencer's contain only 99 Plates. It is said that Gosmont engraved 101. Besides the copies above mentioned, a sixth is in the possession of Sir John Harold, and a seventh in the Library of Beriah Botfield.' The Dent catalogue referred to is Catalogue of the Splendid, Curious, and Extensive Library of the late John Dent ... which will be sold by auction, by Mr. Evans ... on Thursday, March 29, and eight following days, Sunday excepted. 1827. An additional manuscript note in the hand of Patricia Milne-Henderson loosely inserted reads: 'This copy must originally have come from Chatsworth. It was bound by C. Lewis, binder to the VI Duke c.1840. It is as fine a copy as the best of three still in the Devonshire Colln. Recently it belonged to Waltr T. Longden of Edensor whose great uncle, Elias Morten, was Clerk of the Works at Chatsworth. The effects of Waltr Longden were sold in 1961 at Calton Lees. T.S. Wragg bid up to £30 for this copy (which he had previously borrowed to collate with the Devonshire ones) and believes that it finally sold for about £40. Bought from Walford, August 1963, £29.' Lauded as one of the best bookbinders of his day Charles Lewis (1786-1836) was patronized by some of the foremost collectors, including the 2nd Earl Spencer, owner of the magnificent library at Althorp, as well as the 6th Duke of Devonshire whose library at Chatsworth was one of the finest in the country.
Diogenes Laertius. De vitis, dogmatibus, et apophthegmatibus clarorum philosophorum libri V, priores graece et latine recensiti a Paullo Daniele Longolio, 2 volumes, Hof: Johannes Ernest Schultz [-Gotthard Johannes Püttner], 1739, pp. [10] 4-77 [3] [112] 558, [4] 561-1234, Greek and Latin text in double column, woodcut medallion portraits in the text (as chapter-headings), small tear in volume 2 signature Pp3, 3N1 repaired at foot obscuring signature-mark, marbled endpapers, all edges gilt, contemporary French red morocco, spines gilt in compartments, twin olivine morocco labels, triple fillet frames gilt to covers, 8vo (17.8 x 11.1 cm)Qty: (2)Provenance: Patricia Milne-Henderson (1935-2018), art historian.NOTESProvenance: Henry J. B. Clements (1869-1940), Irish landowner and collector (bookplates); an inscription 'B[ough]t at the Gennadius sale at Sotheby's, April 1st 1895' to the initial blank of volume one is probably his.
Du Choul (Guillaume). Discours de la Religion des Anciens Romains, de la castrametatio et discipline militaire d'iceux, des bains et antiques exercitations Grecques et Romaines, 2 parts in one, Lyon: Guillaume Rouille, 1581, 2 title-pages with engraved printer's device, first title with ownership name in early manuscript, numerous letterpress engravings, some full-page, occasional light toning and spotting, hinges neatly repaired, bookplate of Patricia Milne-Henderson, red sprinkled edges, 18th century calf (pitted), rebacked and recornered, 4to, together with: Rouillé (Guillaume of Lyons), Primera Parte del Promptuario de las Medallas de todos los mas insignes varones que ha auido desde el principio del mundo, con sus vidas contadas brevemente, traduzido agora nuouamente por Iuan Martin Cordero ... Lyon: Guillaume Rouille, 1561, letterpress title within decorative woodcut border (browned, with short tear and hole in blank fore-edge and with contemporary annotations, some obliterated), numerous letterpress engravings, some contemporary marginalia (trimmed in places) and underlining in brown ink, browned and spotted, lower margins stained, *5-c8 with worm trail at head of blank gutter margin, marbled endpapers, hinges splitting, front free endpaper detached, early 18th century cat's paw calf gilt, rubbed and extremities worn, with slight loss to spine ends, joints cracking, and corners showing, 4to in 8s, Giovio (Paolo Bishop of Nocera, the Elder), Le Sententiose Imprese di Monsignor Paulo Giovio, et del Signor Gabriel Symeoni, ridotte in rima per il detto Symeoni, Lyon: Guillaume Rouille, 1561, title-page with printer's woodcut device, trimmed and window-mounted, numerous wood-engravings on letterpress, some toning and soiling, b3-c1 and m2/3 stained (latter with a few consequent small holes), bound with Symeone (Gabriel), Dialogo Pio et Speculativo; con diverse sentenze Latine & volgari, Lyon: Guillaume Rouille, 1560, title-page with printer's woodcut device, letterpress wood-engravings, occasional contemporary marginalia in brown ink, scattered spotting and marks, final 2 gatherings with brown stain to upper margin, M1-S2 with worm trail in blank gutter margin, 19th century vellum, lightly dust-soiled, with leather spine label relaid from earlier binding, 4toQty: (3)Provenance: Patricia Milne-Henderson (1935-2018), art historian.
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