We found 16019 price guide item(s) matching your search

Tom Wesselmann (American, 1931 - 2004). "American Nude". Color lithograph. 1963. Signed in pencil, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Very good to fine condition; joined sheets as issued; conservation backing. Overall size: 16 1/8 x 22 3/4 in. (410 x 578 mm). Image size: 14 x 21 3/4 in. (356 x 552 mm). Our example is from the edition of 2,000, which was unsigned, hence the signature is a complimentary one. For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Image copyright © Licensed by VAGA, New York, NY. [26810-4-800]

Karima Muyaes (Mexican, b.1960). "My Family". Collage with acrylic on Mexican amate bark paper. 2018. Signed lower right. Fine condition. Provenance: Private collector, Nantucket, Massachusetts. Overall size: 16 1/8 x 20 in. (410 x 508 mm). A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2020. Muyaes’s work has sold at Sotheby's (New York City), Swann Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas). In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29986-0-700]

Karima Muyaes (Mexican, b.1960). "Dance to Life". Acrylic on canvas. 2018. Signed lower rght. Fine condition. Provenance: Private collector, Hong Kong. Overall size: 70 x 54 in. (1778 x 1372 mm). A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2020. Muyaes’s work has sold at Sotheby's (New York City), Swann Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas). In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29980-0-5000]

Karima Muyaes (Mexican, b.1960). "Energy Mandala". Gouache on paper. 2011. Signed and dated lower right. Light cream heavily-textured hand-made San Augustin (Oaxaca) paper. Fine condition. Provenance: Estate of a private collector, Brussels, Belgium. Overall size: 16 1/4 x 20 1/4 in. (413 x 514 mm). Image size: 16 1/4 x 20 1/4 in. (413 x 514 mm). A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2020. Muyaes’s work has sold at Sotheby's (New York City), Swann Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas). In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [25752-0-900]

Andy Warhol (American, 1928 - 1987). "Marilyn Monroe I Love Your Kiss Forever Forever". Color lithograph. 1964. Signed in pencil, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Very good to fine condition; two sheets as issued, joined; conservation backing. Literature/catalogue raisonne: Feldman/Schellmann II.5. Overall size: 16 1/8 x 22 1/2 in. (410 x 571 mm). Our example is from the edition of 2,000, which was unsigned, hence the signature is a complimentary one. For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Image copyright © 2001 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [26821-4-3000]

Karima Muyaes (Mexican, b.1960). "Voces y Cantos". Color etching with aquatint. 2005. Signed, titled, dated and numbered in pencil. Edition of 30. Pale cream wove paper. Full margins. Fine impression. Fine condition. Two zinc plates utilized. Printed by Emilio Payan in Mexico City. Literature/catalogue raisonne: James Orr's provisional catalogue number PR103. Provenance: Private collection, La Jolla, California, acquired directly from the artist. Included in the one woman exhibition “Karima Muyaes: Retrospectiva, 1985-2007,” at the Museo de Arte Regional (Azcapotzalco), Mexico City, March-May, 2007. Overall size: 25 1/4 x 19 1/2 in. (641 x 495 mm). Image size: 15 7/16 x 11 3/4 in. (392 x 298 mm). A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2020. Muyaes’s work has sold at Sotheby's (New York City), Swann Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas). In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [17707-0-500]

A Paul Bisson limited edition coloured Etching with aquatint of the National Trust property Shalford Mill, Surrey, no. 4/350, signed in pencil, with Christies Contemporary Art label.

A quantity of contemporary art works, largely being unframed oil on canvas

A quantity of assorted contemporary art works, all being unframed

Contemporary art works, to include North African oil on canvas, worshippers leaving the mosque

Contemporary bronzed Art Deco style table lamp in the form of a woman holding a globe

Karima Muyaes (Mexican, b.1960). "El Guitarrista". Color reduction linocut. 1992. Signed, dated, and titled, lower margin. An artist proof. Cream wove paper. Wide margins. Very fine impression with heavy ink application. Good to very good condition. Provenance: Private collection, Bordeaux, France, acquired directly from the artist. Overall size: 13 3/8 x 9 13/16 in. (340 x 249 mm). Image size: 11 3/16 x 7 7/8 in. (284 x 200 mm). A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2020. Muyaes’s work has sold at Sotheby's (New York City), Swann Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas). In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [27991-0-600]

Kiki Kogelnik [kiki o.k.] (Austrian, 1935-1997). "Rocket Ship". Color lithograph. 1963. Signed with the initial in the plate, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Joined sheets as issued; conservation backing. Overall size: 16 x 23 1/8 in. (406 x 587 mm). Image size: 15 3/4 x 22 in. (400 x 559 mm). For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MoMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). [26803-4-400]

Mel Ramos (American, b.1935). "Señorita Rio". Color lithograph. 1963. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition; centerfold as issued. Overall size: 16 1/8 x 22 1/8 in. (410 x 562 mm). Image size: 15 3/8 x 15 5/16 in. (391 x 389 mm). For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. Image copyright © Licensed by VAGA, New York, NY. [26838-4-300]

Karima Muyaes (Mexican, b.1960). "Angel". Gouache on paper. 2010. Signed and dated, lower right. Wove paper. Fine condition. Literature/catalogue raisonne: This work will be included in James Orr's forthcoming catalogue raisonne of Muyaes’s oeuvre. Provenance: Estate of a private collector, Rye, New York. Overall size: 11 x 8 in. (279 x 203 mm). A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2020. Muyaes’s work has sold at Sotheby's (New York City), Swann Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas). In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [29408-0-500]

Karima Muyaes (Mexican, b.1960). "Muñeca". Oil on paper. 1986. Signed and dated, lower right; titled verso. Cream wove paper. Very good condition. Overall size: 20 13/16 x 18 7/8 in. (529 x 479 mm). Image size: 20 13/16 x 18 7/8 in. (529 x 479 mm). A listed artist, Karima Muyaes is currently one of the most innovative and talented international painters/printmakers. A major monograph on her work authored by Avelina Lesper, the foremost contemporary Mexican art critic, will be published early in 2020. Muyaes’s work has sold at Sotheby's (New York City), Swann Galleries (New York City), Martin Gordon Auctions (Phoenix), Louis C. Morton (Mexico City), and Casa de Subastas Odalys (Madrid/Caracas). In April of 2013 and again in 2018 she was chosen by the prestigious Mexican newspaper "Milenio" as one of the top 34 currently active Mexican artists and featured in a series of newspaper articles and TV appearances. Muyaes has an extensive worldwide exhibition history which includes a show that travelled throughout Sweden for two years, 2010-2012. Image copyright © Karima Muyaes. [27988-0-600]

Martin Evans - Isle Of Wight - An early millennium contemporary studio art glass vase having an elliptical shaped body with flared and wide points. The vase being mostly transparent blue with yellow flecks with swirls and silver leaf to front. Similar to the seascape range. Signed and s#dated to base. Measures; 14cm.

George Bass English 20th Century - Norfolk Regatta -  An original 1960's retro vintage Cubist modern contemporary art oil on board painting depicting various boats / ships on seascape. Vibrant palette of colours with simple brushstrokes. Signed by artist ' See ' to corner. Notation to verso. Frame measures: 66cm x 75cm.

A large contemporary studio art pottery bison of stylised form with large horns and bulbous body having a green glaze. Measures; 30cm long.

Monica Dewey - An unusual contemporary studio art pottery clay sculpture figurine depicting a recumbent pig on plinth base decorated with various road signs. Measures: 15cm.

An original 1970's French retro vintage Art Deco style table desk side lamp light having a contemporary black lampshade with chrome inner. The central chrome tapering column supporting three bulbs raised on circular metal base with white plastic push button switch. Measures: 73cm.Pictures may show lights on and have all light bulbs present however some light bulbs may not be included and all lights are sold as untested.

Iestyn & Bev Davies - Blowzone - A contemporary studio art glass perfume bottle multi coloured bubbles on a gold flecked gold amber glass, with faceted slice to front, wide flared rim and ball finial transparent pink stopper. Engraved mark to base. Measures; 18cm.

Bernard Myers (1925-2007) - Still life of blue vase, playing cards, pears and a plate, signed, oil pastel, 20.75" x 28.5" - *The artist was a teacher of design at The Royal College of Art and one of his first pupils in 1966 was the inventor James Dyson. In his long career as a tutor, senior tutor and professor at The RCA between 1961-1980 Myers taught in most of the schools of the college, especially in industrial design engineering - which he taught simultaneously to civil engineering at Imperial College next door - interior design, film and television design (which he helped to set up) and general studies. The artist's fellow students at The Royal College of Art were John Bratby, Jack Smith, Frank Auerbeh and Leon Kossoff. He exhibited at The New Art Centre, The New Grafton Gallery in London and many other galleries, he had been collected by The Arts Council, The Contemporary Arts Society, The National Maritime Museum and The Tate Gallery - *Provenance: possibly with Dominic Nevill (Fine Old and Modern Paintings), 2A York Street, Bath, bearing the dealers business card, verso

Simon B. Hodges (20th/21st century contemporary) - 'Sketching the Landscape, Venice', signed also inscribed on the artist's original label, oil on board, 4.25" x 22" - **The artist has exhibited at The Royal West of England Academy Open Exhibition, The Mall Galleries, London, The New English Art Club, Annual Exhibition (The Mall Galleries, London), The Bath Society Open Exhibition at The Victoria Art Gallery Bath, The Le Corre Gallery Bradford on Avon, he has also held solo exhibitions of his work in both Bradford on Avon and at The Theatre Royal, Bath and his works can be found in many private collections in both the UK, USA, Australia, Denmark, France and many other countries

Kaws (b.1974) MOCAD The unique screenprint in colours, 2019, signed and dated in yellow crayon, on wove paper, published by the Museum of Contemporary Art Detroit, with the original certificate of purchase and printed envelope, the full sheet printed to the edges, 255 x 203mm (10 x 8in) (unframed)For this series of works donated by Kaws to MOCAD, the artist selected a number of his published screenprints and cut them into 10 x 8 inch sections, with no two sections being, the same the works are unique.

AN ART DECO BRONZED SPELTER FIGURAL TABLE LAMP, C1930 in the form of a semi naked kneeling woman with contemporary glass mosaic globe lampshade, black painted wood base, 30cm h++The ring that secures the shade to the lamp detached otherwise in good original condition, original patina. Requires rewiring.

A REGENCY GILT BRASS MOUNTED ROSEWOOD WRITING CABINET, C1810, TWO OF THE PIETRE DURE PANELS GRAND DUCAL WORKSHOPS, FLORENCE, C1700-35 with gilt brass mounts and marble slab, the fall front inset with three Italian pietre dure panels of a volcano or ruins in beaded gilt brass frames , the interior fitted with drawers and pigeon holes, contemporary straight grained navy morocco inset writing surface, flanked by plain pillars with milled capital and foot above panelled frieze drawer, on tapering turned legs with reeded knop and collar, 126cm h; 39 x 107cm, keyProvenance: In the same private family ownership since the early 20th c. Florentine pietre dure panels of landscapes with ruins of this type were a speciality of the Galleria degli Lavori later known as the Opificio delle Pietre Dure and reflects the taste of the Grand Duke of Tuscany, Cosimo II (r. 1609.20). Its founder, Cosimo's father Grand Duke Ferdinando I de Medici (1549-1609) sought to emulate landscape paintings by the newly perfected art of pietre dure. Similar examples of the use of pietre dure are found on 17th-19th c case furniture and caskets but also framed or unmounted panels such as in the Florentine room of the Schloss Favorite near Baden Baden and others still in the Museo dell'Opificio in Florence. The two on the present beautifully preserved Regency cabinet are identical to two of those on the magnificent Wingfield Castle Cabinet now in the Gilbert Collection, London. Of ebonised and giltwood, it was made in England, 1775-99 to display a series of eleven panels all similarly featuring classical ruins, the monumentality emphasised by the presence of peasants in the foreground. See Massinelli (A M), The Gilbert Collection, Hardstones, London 2000, Catalogue No 6, pp 44-46 and Minter (A), Pietre Dure-A Palette made of Hardstones, article in Furniture History Society Newsletter 215, August 2019, pp 1-7, fig 5.++In fine original condition

A CORAL, ENAMEL AND DIAMOND BLACKAMOOR BROOCH, BY CARTIER, CIRCA 1935The black enamelled bust wearing seed pearl earrings, on a reeded gold neck and wearing a cream enamel turban with coral corallium rubrum highlight and rose-cut diamond detail, mounted in 18K gold, signed Cartier Paris, numbered, French assay marks, with Cartier case (not original), length 3.2cm**Please note that this lot contains coral and is subject to CITES regulations when exporting outside of the EUThe house of Cartier was founded in Paris in 1847 by Louis-François Cartier. A family venture, soon saw the growth of Cartier and the expansion to London and New York, with subsequent generations taking the helm.Cartier has established itself as one of the world's preeminent crafters of high-end, modern, and vintage jewellery. Its watches have adorned the wrists of celebrities and royalty alike, with King Edward VII of England once referring to Cartier as the jeweller of kings and the king of jewellers. Cartier's extensive collections are known to embody revival, Art Deco, and more contemporary styles, making them a sought-after commodity for generations both past and present. Jeanne Toussaint was made Creative Director for jewellery in 1933 and she continued to work for Cartier until her retirement in 1970. The working relationship between Louis Cartier and Toussaint was very successful, with Cartier imparting his knowledge of gemstones, diamonds, settings and technique, and Toussaint bringing her joie de vivre, relentless creativity and eye for contemporary fashions. By the time she retired from Cartier in 1970, Toussaint had established her legacy as an artistic visionary; always experimenting, exploring and creating jewels for those with a worldly outlook and an eye on the future.Cartier is a notable creator of pieces depicting elaborate Blackamoor heads, which had been introduced by the Venetian form of Nardi. Blackamoor jewellery, also known as Moretti jewellery, was particularly popular during the 17th and 18th centuries and it is believed that it was originally created as amulets to ward off evil, or invasion by the Moors into Italy. Cartier first released their Blackamoor brooches in the early 1930’s. Blackamoor brooches depict black figures within the design, they are typically male with a head covering, usually a turban and covered in rich jewels and gold leaf. Early examples often have European racial features, apart from the colour. They are typically enamelled, carved from ebony or painted black to contrast with the bright colours of the embellishments. Depictions may only represent the head, or head and shoulders, facing the viewer in a symmetrical pose.The brooch on sale at Adams is a lovely example of a typical Blackamoor brooch, made of black enamel, detailing a white enamel turban and surrounded by precious gems, including coral, seed pearls and diamond. The head faces the viewer in a symmetrical pose and sits on a yellow gold reeded neck.

Miscellaneous Books - Illustrators: A Journal Kept by Richard Doyle in the Year 1840, Illustrated with Several Hundred Sketches by the Author [...], second edition, London: Smith, Elder, & Co., 1886, stipple engraved portrait frontispiece, lithograph printed manuscript pages with caricature cartoons accompanying narrative throughout, contemporary pictorial cloth, top edge gilt, 8vo; Modern Masters of Etching: Arthur Briscoe, Introduction by Malcolm C. Salaman, Number 23, London: The Studio Ltd., 1930, illustrated with mounted etchings, blue boards, oblong 4to; art and architectural history, various, mainly large h/b; Television Magazine 1947-1950, bound as one; erotica and sex, various; Dennis Wheatley; qty

A Collection of Four Reference Books Relating to Glass to Include The Art of Rene Lalique by Patricia Bayer & Mark Waller, Sotherby Parke Bernet 1979 Catalogue of The Constable-Maxwell Collection of Ancient Glass Complete with Price List, Bristol Glass and Engraved Glass International Contemporary Artists by Tom & Marilyn Goodearl

BRONZE STATUE, 'Hand of Peace', oriental contemporary art design, patinated finish, 45cm H x 22cm.

David Leapman (b.1959) - The Obsessive Journey No.1 1986, acrylic on canvas, signed, dated and titled with inscription verso, with further Contemporary Art Society Market label, 31 x 41cm

David Malangi Daymirringu (Australian 1927-1999): Catfish, painted with natural earth pigments on eucalyptus bark, 103cm x 21cm within glazed hardwood case Notes: Malangi began painting in the early 1960's, playing a vital role in the development of the contemporary Aboriginal art movement and became, during his lifetime, one of the great inspirational figures of Arnhem Land art. While he is probably best known for the image that featured on the now defunct one-dollar note, a design initially used without his knowledge or consent, he was also a travelling ambassador for his country and his people and achieved worldwide recognition for his innovative yet deeply tradition-based bark paintingsDDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

Alchemy.Using found tools rather than conventional brushes, Nicola’s contemporary abstract art is frequently highly textured and many pieces feature her signature gold leaf in amongst the mixed media. Nicola saw that the body shape of our sheep was very similar to a Shetland Ram which is a  brown/black base so she decided to decorate it using a black base layer and added real gold leaf flecks on the wool and all gold leaf horns which makes a dramatic effect.The sheep's main bodies measure approximately 90cm long x 72cm high x 30cm wide. Artist:Nicola Warner.Nicola Warner has lived in rural Suffolk since the 1970s and has also spent much time in Cornwall over the last 2 decades. Having sketched and painted since her childhood, her love of art led her to a 3 year period of running her own gallery in Framlingham, Suffolk. Drawing her inspiration from the vastly different shorelines of both Suffolk and Cornwall, she also benefits from the natural forms and botanical shapes she encounters in the rambling garden outside her studio. Using found tools rather than conventional brushes, Nicola’s contemporary abstract art is frequently highly textured and many pieces feature her signature gold leaf in amongst the mixed media to which she is drawn. Intuitive and using a varied colour palette, her work appeals to both corporate and private collectors. Sponsor:Coes.We are a privately owned, independent family of stores specialising in menswear, womenswear, sportswear and school uniforms across East Anglia, this makes us the destination of choice for style conscious individuals. Our independent culture runs throughout every aspect of our business as we aspire to recognise the individuality and personal style in ourselves and every one of our customers. Since 1928, we have been focused on giving our customers the best possible shopping experience with our truly personal approach to style. We are proud to be East Anglia’s leading independent clothing shop.https://www.coes.co.uk/

2 modern design amber rings. Both marked 925.A green oval amber ring with small Art Nouveau design to shoulders and a contemporary design oval brown amber ring.Sizes P and Q.

Rita Smith (contemporary artist based in Plymouth) two signed etchings, 'Measures' and 'Leopard', each from a limited edition of 25, framed and glazed, 22cm x 23cm. Rita Smith studied painting at Camberwell School of Art 1974 to '78) and the Slade School of Fine Art 1978 to '80. She was a visiting lecturer at Camberwell School of Art 1982 to '92, and Falmouth School of Art 1992 to '99. She moved to the West Country in 1989. Several exhibitions including Artmill Gallery, Plymouth.

William Powell Frith, RA (British, 1819-1909) 'Flowers' signed and dated lower left "W P Frith 1874" oil on canvas 111 x 102cm (43 x 40in) Provenance: Christie's, London, sale, 24 October 1975, lot 91, where purchased by the vendor Exhibited: London, Royal Academy, 1875, no. 893, entitled 'Flowers' Other Notes: William Powell Frith was a Victorian phenomenon. Six of his paintings at the Royal Academy required a guard and a rail to protect them from the clamorous and enthusiastic crowds including his "Derby Day". Sacheverell Sitwell described his work as "fascinating ... studies of contemporary life". "William Powell Frith: The People's Painter" is at the Mercer Art Gallery, Swan Road, Harrogate, North Yorkshire, until 29 September 2019. Oil on canvas which is unlined and has a supplier stamp for Charles Roberson on the reverse. The canvas tension is good, there are slight stretcher bar marks forming. There is a small tear in the lower right hand corner with associated paint loss. The paint layer is in a very good condition overall. The varnish is yellowed but even and glossy. There is a layer of surface dust with fly spots and brown stains. The frame is in a good condition with a few localised losses to the gilding.

Russel (James). Letters from a Young Painter abroad to his Friends in England, 1st edition, for W. Russel, 1748, 5 engraved plates (most folding), small worm-track in first 2 quires affecting a few letters, closed tear in plate 4 just touching image, contemporary mottled calf, scuffed and rubbed, spine worn, 8vo (20 x 11.8 cm), together with: Nicholson (Peter), The Principles of Architecture, 3 volumes, 2nd edition ('with additions, revised and corrected by the author'), for J. Barfield and T. Gardiner, 1809, 218 engraved plates numbered 1-216 (numbers 85 and 86 used twice), several folding, variable spotting, many plates closely trimmed with numbering or imprint cropped, contemporary tan half calf, joints scuffed and rubbed, front joints cracked but holding, 8vo (21.2 x 12.5 cm), Quintilian, Institutionum oratoriarum libri duodecim ... brevibus notis illustrati, a Carolo Rollin, 2nd edition, William Thurlbourn [and others], 1758, bookplate of Michael Jaffé, 18th-century ownership and gift inscriptions to front free endpaper, initial blank and title-page verso, contemporary mottled calf, front joint cracked, label perished, 8vo (20.8 x 12 cm) (Qty: 6)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. ESTC T122509 for Russel, an uncommon Grand Tour narrative. The plates including depictions of mountain landscapes. A second edition appeared in 1750.

Filhol (Antoine Michel, editor). Galerie du Musée Napoleon, 10 volumes, Paris, 1804-15, half*titles, numerous engraved plates, some mainly light spotting, all edges gilt, contemporary green straight-grained morocco, covers and spines stamped with the imperial eagle arms in gilt, spines faded to brown, a little rubbed with a few stains, large 8vo (Qty: 10)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Brunet II, 1256. First of this important illustrated catalogue of the Louvre in the Napoleonic era, during which time it was known as the Musée Napoléon. The great savant Vivant Denon was appointed director-general in 1802 and the museum, enriched by war booty, became the finest in the world, but its new holdings were repatriated after the Treaty of Vienna in 1815, leaving the present work as a record of its brief heyday.

Rubens (Peter Paul). Theorie de la Figure Humaine, consideree dans ses principes, soit en repos ou en mouvement, ouvrage traduit du la tin de Pierre-Paul Rubens , avec XLIV p la nches gravées par Pierre Aveline, d'après les de sseins de ce célèbre artiste, Paris, Charles Antoine Jombert, 1773, half title bound after engraved portrait frontispiece (with water stain), 44 engraved plates by Pierre Aveline after Rubens, some light soiling, previous owner inscription, contemporary half sheep, spine and edges rubbed, 4to (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Brunet, IV 144 ; Cicognara 353; Cohen-De Ricci 915-16. First edition of this translation of Rubens' unpublished manuscript Super Figura Humana Discursus Cabbalisticus, left in the artist's studio following his death in 1640. Jombert's version, long thought to be misleading due to its inaccurate editing and incorporation of images taken from Leonardo, has recently been re-examined and vindicated as an important and unjustly overlooked source for the aesthetic and philosophical opinions of the artist. See Nadeije Laneyrie-Dagen, editor , Theorie de la Figure Humaine, Pierre Paul Rubens, Planches gravees par Pierre Aveline d'apres Rubens, Paris, Editions Rue d'Ulm, 2003.

Rosaspina (Francesco). La Pinacoteca della Pontificia Accademia delle Belle Arti in Bologna, Bologna, The Author,1830, 72 engraved plates, each with leaf of explanatory letterpress, occasional light mainly marginal spotting, contemporary calf-backed boards gilt, spine rubbed, some fading to covers, folio (48 x 13 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. The engravings illustrate paintings in the Academy of Fine Arts in Bologna , including works by Guido Reni, Lodovico and Annibale Carracci, Giacomo Francia, Giorgio Vasari, Perugino, Francesco Cossa, Pietro Faccini and Il Guercino.

Mudzaert ( Dionysius ). De Kerckelycke Historie van de Gheboorte onses Heeren Iesu Christi tot het Tegenwoordich Jaer M.DC.XX. ... Alles getrocken uyt de Kerckelycke Jaer-boecken Caes. Baronii end andere treffelycke Schryvers, 1st edition, Antwerp: Hieronymus Verdussen, 1622, 2 parts in 1 volume, signatures a4 pi2 A-Z4 2A-3P6 3Q4, A-3Q6 b-f4 , a1=half-title, a2=engraved allegorical title-page after Peter Paul Rubens by Jan Collaert, depicting a personification of the Catholic Church seated on a pedestal, with a figure representing Religious History to the left below, and two prisoners in chains at the foot illustrating Error and Heresy, text mainly in in black letter, double column, browning, part 1 with small spill-burn in I3 affecting a letter either side, mild paper-disruption in 2U5 affecting a couple of letters, part 2 with closed tear in 2I5, a couple of small worm-hole in gutter and text, briefly expanding in quires 2D-2H mainly affecting side-notes, lacking front free endpaper, contemporary blind-tooled calf over thick reverse-bevelled wooden boards, brass catches (lacking clasps), worn, folio (34.5 x 21 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge (bookplate). Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI), 49. No copies traced in UK libraries. The work is a compendium in Dutch of Baronio's Annales Ecclesiastici , a book Rubens had himself acquired in 1620 (see Bertram, Rubens as a Designer of Title-Pages, p. 223). A second edition of Mudzaert's version appeared in 1624.

Mascardi (Agostino). Silvarum libri IV, 1st edition, Antwerp: ex officina Plantiniana, 1622, engraved allegorical title-page after Peter Paul Rubens by Theodoor Galle, browning, a few stains, final blank (2C4) discarded, a little worming to inner hinges, bookplate of Michael Jaffé, contemporary vellum, manuscript spine-title, 4to (20.5 x 16 cm), together with another copy (title-page stained along edges and with shaved contemporary ownership inscription to lower margin, spill-burns in H3 and I4, retaining final blank 2C4, bookplate of John Sparrow, 20th-century half vellum) (Qty: 2)NOTESProvenance: Both copies: Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Second copy (in 20th-century half vellum): John Sparrow (1906-1992), English barrister, warden of All Souls College, Oxford, and influential book-collector. Judson & Van de Velde, Book Illustrations and Title-Pages (Corpus Rubenianum Ludwig Burchard XXI), 48. The 'first book [of] contemporary poetry illustrated with a title-page by Rubens', of which 1,000 copies were printed (Bertram, Rubens as a Designer of Title-Pages, pp. 184 & 60). Ex-Jesuit Mascardi (1590-1640) was a prominent intellectual at the court of Pope Urban VIII.

Descamps (Jean-Baptiste). La Vie des Peintres Flamands, Allemands et Hollandois, avec des portraits, 4 volumes, Paris, 1753-63, half titles for volumes I-III, titles printed in red and black, engraved frontispiece to volume I, numerous engraved illustrations, a little light soiling, previous owner inscription, bookplates, contemporary half calf, spines and edges rubbed, 8vo (Qty: 4)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Cioranescu 23117; Cohen-De Ricci 287: 'Ce sont les remarquables portraits de Ficquet qui font la valeur de cet ouvrage. Quelques-uns sont de petites merveilles de finesse'.

Aldrich (Henry). Elementa architecturae civilis ad Vitruvii veterumque disciplinam, et recentiorum praesertim a Palladii exempla probatiora concinnata, 2 parts in 1 volume, Oxford: D. Prince [and others], 1789, engraved portrait frontispiece, 55 engraved plates, list of subscribers and advertisement leaf bound after part 2 title-page (listed at front of volume in ESTC), title-page slightly spotted, heavier spotting to text in part 2, bookplate of Michael Jaffé, contemporary diced russia, covers with gilt device of griffin's head erased below earl's coronet (see note), joints partially cracked but firm, 4to (26.6 x 17.4 cm) (Qty: 1)NOTESProvenance: 1) John Bligh, 4th Earl of Darnley (1767-1831; armorial binding). Bligh was a noted amateur cricketer for Kent, and his descendant Ivo Bligh, the eighth earl, was England captain during the inaugural Ashes series (1882/3). 2) Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge (bookplate). Berlin Katalog 2033; Fowler 18; Harris 17. First edition in English and second edition of the original Latin, which was first published c.1708, with twelve plates only. A tall copy.

Sarbiewski (Maciej Kazimierz). Lyricorum libri IV. Epodon lib[er] unus alterq[ue] epigrammatum, Antwerp: ex officina Plantiniana, 1632, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder (closely trimmed along bottom edge shaving most of imprint), occasional underlining and marginal strokes in red pencil, 17th-century ownership inscription 'Phi. Woodhouse' in brown ink to front free endpaper, repeated on initial blank and rear free endpaper, engraved bookplate of the barons Wodehouse inscribed 'Wodehouse, Kimberley 1838', book-label of John Sparrow, contemporary English speckled calf, front joint slightly abraded, 4to (19 x 13.9 cm) (Qty: 1)NOTESProvenance: 1) 'Phi. Woodehouse' (contemporary ownership inscriptions), probably Sir Philip Wodehouse, 3rd Baronet (1608-1681), member of parliament for Norfolk and subsequently Thetford during the Commonwealth. 2) John Wodehouse, 2nd Baron Wodehouse (1771-1846; engraved bookplate with inscription). 3) John Sparrow (1906-1992), English barrister, warden of All Souls College, Oxford, and influential book-collector (book-label). 4) Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 62. First Plantin and first quarto edition, and the fourth overall. Maciej Kazimierz Sarbiewski (1595-1640), a Polish Jesuit, 'was considered to be one of the greatest neo-Latin poets in his time and beyond' (Bertram, Rubens as a Designer of Title Pages , p. 197). Bertram writes at length on the rich symbolism of Rubens's title-page design, which depicts Apollo placing his lyre on an altar before the arms of Pope Urban VIII; facing Apollo are a woman and child commonly interpreted as a muse with the young Pindar (op. cit. pp. 202-12). Sarbiewski's poems were first printed at Cologne in 1625.

Bosio (Giacomo). Crux triumphans et gloriosa, libri sex, Antwerp: ex officina Plantiniana, 1617, half-title, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder, one engraved plate, approximately 75 woodcut illustrations to text, text-leaves with some browning, small interlinear burn-hole to leaf X5, final blank (3Q6) discarded, bookplate of Michael Jaffé, contemporary inscription 'Collegii Societatis Jesu Ruremunde 1619, MB' to margin of engraved title-page and effaced from half-title, contemporary blind-tooled calf over wooden boards, rebacked and relined, worn, retaining one metal cornerpiece, folio in 6s (35.3 x 22 cm) (Qty: 1)NOTESProvenance: 1) Jesuit college at Roermond, Netherlands (inscriptions dated 1619). 2) Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge (bookplate). Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Graesse I 500; Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 37. First edition in Latin of this iconographic treatise on the symbolism of the cross, originally printed in Italian in 1610 as La trionfante e gloriosa croce , without the engraved title by Rubens. Giacomo Bosio (1544-1627) was a knight of the Order of Saint John of Malta (Knights Hospitallers) and agent of the order at the papal court in Rome. He was involved in the murder of a fellow knight in Rome in 1581 but retained his position of influence, and later Grand Master Alof de Wignacourt, in securing papal approval in 1608 for a knighthood for Caravaggio, himself a fugitive from Rome following the murder of Ranuccio Tommasoni.

Stukeley (William). Itinerarium Curiosum. Or, an Account of the Antiquitys and Remarkable Curiositys in Nature or Art, Observ'd in Travels thro' Great Britain. Illustrated with Copper Prints. Centuria I., London: Printed for the Author, 1724, engraved frontispiece and 100 plates (including 2 folding & 2 double-page), verso of title with armorial bookplate of 'The Right Honble. Charles Viscount Bruce of Ampthill (Son and Heir Apparent of Thomas Earl of Ailesbury) and Baron Bruce of Whorleon 1712', frontispiece and some plates lightly toned and spotted, endpapers renewed, contemporary mottled calf with gilt embossed armorial of the author William Stukeley (1687-1765) to centre of each board, neatly rebacked with gilt decorative device to centre of each spine compartment, maroon morocco title label, board corners repaired, folio (Qty: 1)NOTESTwo other examples of William Stukeley's gilt armorial have been located, both on bindings for the same edition of Itinerarium Curiosum, one held at Parham House, Sussex and the other at Wadham College, Oxford. William Stukeley (1687-1765), born in Holbeach, Lincolnshire, was an antiquarian, physician, and Anglican clergyman, who pioneered the scholarly investigation of the prehistoric monuments of Stonehenge and Avebury in Wiltshire. During his lifetime he published over twenty books on archaeology and other subjects. He is sometimes referred to as the ‘father of British archaeology’, for having a more progressive and modern discipline towards archaeological fieldwork and recording. Charles Bruce, 3rd Earl of Ailesbury (later styled Aylesbury) and 4th Earl of Elgin (1682-1747), of Ampthill, Bedfordshire and Savernake Park, Wiltshire, styled Viscount Bruce of Ampthill from 1685-1741, was the son of Thomas Bruce, 2nd Earl of Ailesbury and his first wife Lady Elizabeth Seymour, daughter of Henry Seymour, Lord Beauchamp and Mary Capell. As a Tory politician he sat in the House of Commons from 1705-1711, representing Great Bedwyn at the 1705 general election, and returned again at the 1708 general election. At the 1710 general election, he was returned for both Great Bedwyn and Marlborough, where he chose to sit for the latter. In 1711 he was summoned to the House of Lords. In 1741 he succeeded his father in the earldoms of Elgin and Ailesbury.

Boonaerts (Olivier). In E cclesiasticum C ommentarium, cum indicibus locupletissimis, 1st edition, Antwerp: Jan van Meurs, 1634, half-title, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder depicting Solomon presenting the book to a personification of Wisdom, with an abyss containing souls awaiting salvation in the lower foreground and a view of Paradise in the distant background, terminal privilege leaf present, some browning, a few superficial spill-burns, very occasional light worming, mainly to margins (slightly affecting text in quires 4B-4G, index), old ink-stamps (Carmelitani scalzi di S. Maria della Scala) to half-title and page 1, contemporary vellum, some wear to spine-ends, pencil-marking to front board, folio (34.6 x 21.2 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 70. An uncommon example of one of Rubens's allegorical title-pages; the book is a commentary on Ecclesiastes by Flemish philosopher, theologian and Jesuit Olivier Boonaerts (1570-1654/55). No other copy traced in auction records.

Bartoli (Pietro Santi ). Colonna Traiana , eretta dal Senato, e Popolo Romano all'Imperatore Traiano Augusto nell suo Foro in Roma. Scolpita con l'Historie della Guerra Dacica la prima e la seconda espeditione, e vittoria contro il Re Decebalo. Nuovamente disegnata, et intagliata da Pietro Santi Bartoli. Con l'espositione latina d'Alfonso Ciaccone, compendiata nella vulgare lingua sotto ciascuna immagine, accresciuta di medaglie, inscrittioni, e trofei, da Gio. Pietro Bellori, 1st edition, Rome: Gio[vanni] Giacomo de Rossi, [ 1673], title-page, dedication leaf, 2 pp. text ('Al lettori'; verso blank), 126 etched plates (7 unnumbered, the remainder numbered 1-119), 14 + [2] pp. text, marginal spotting, first 4 leaves creased, brocade endpapers, bookplate of Michael Jaffé, all edges gilt, near-contemporary calf, spine gilt in compartments, top compartment with red morocco label containing gilt device of elephant statant with upturned trunk (see note), similar label to second compartment, elaborate gilt panels to sides incorporating drawer-handle motifs, joints cracked (held by cords), rubbed and worn, oblong folio (36.5 x 47.5 cm) (Qty: 1)NOTESProvenance: 1) Sir Andrew Fountaine (1676-1753), English art collector, grand tourist, and successor of Isaac Newton as warden of the Royal Mint (armorial binding). 2) Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge (bookplate). Berlin Katalog 3622; Cicognara 3603. A good, wide-margined copy of this striking depiction of 'the great column which is the sole intact monument of Trajan's Forum (ruined by earthquakes in the 9th century)' (Royal Academy, online).

[Chiffinch, William]. A Catalogue of the Collection of Pictures belonging to King James the Second; to which is added a Catalogue of the Pictures and Drawings in the close of the late Queen Caroline, with their exact measures; and also of the principal pictures in the Palace at Kensington, W. Bathoe, 1758, four folding engraved plates, bound with A Catalogue of the curious collection of pictures of George Villiers, Duke of Buckingham. In which is included the valuable collection of Sir Peter Paul Rubens..., 1758, 79 pp., contemporary calf, covers gilt stamped with the coronet of John Bligh, 4th Earl of Darnley (1767-1831), a little rubbed, 4to (Qty: 1)NOTESProvenance: 1) John Bligh, 4th Earl of Darnley (1767-1831; armorial binding). Bligh was a noted amateur cricketer for Kent, and his descendant Ivo Bligh, the eighth earl, was England captain during the inaugural Ashes series (1882/3). 2) Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Porta (Giovanni Battista della). La Fisonomia dell'Huomo et la Celeste, 3 parts in one, Venice: Sebastian Combi & Giovanni La Nou, 1652, title with engraved vignette, engraved portrait, engraved illustrations, some full page, bookplate, contemporary vellum, yapp edges, spine titled in manuscript, 8vo (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Garrison and Morton 150; Wellcome I, 596. First published in Latin in 1586. 'Della Porta preceded Lavater in attempting to estimate human character by the features. This is one of the first works on the ancient "science" of physiognomy to be extensively illustrated' (Garrison and Morton).

[Raguenet, François]. Roma Illustrata: or, a Description of the Most Beautiful Pieces of Painting, Sculpture, and Architecture, Antique and Modern, at and near Rome, 1st edition in English, for W. Chetwood and S. Chapman, 1722, early ownership inscription ('Judith Gale') and bookplate of Michael Jaffé to front pastedown, contemporary calf, gilt rules, rubbed, ring-mark to front board, tips worn, 12mo (16 x 9.3 cm), together with: Palomino de Castro y Velasco (Antonio), An Account of the Lives and Works of the most Eminent Spanish Painters, Sculptors and Architects ... Translated from the Musaeum Pictorium, 1st edition in English, for Sam[uel] Harding, 1739, engraved armorial bookplate of James Hustler of Acklam Hall, Cleveland (dated 1730) mounted to title-page verso, bookplate of Michael Jaffé, contemporary calf, rubbed, 8vo (15.3 x 9.3 cm), Richardson (Jonathan, elder & younger), Traité de la peinture, et de la sculpture, 3 volumes in 4, 1st edition in French, Amsterdam: Herman Uytwerf, 1728, volumes 1 and 2 with title-pages in red and black with engraved vignettes, 4 letterpress volume-titles (bound after the list of contents in volume 1), 3 folding tables to rear of volume 1, a few marks, bookplates of Welbeck Abbey and Michael Jaffé, contemporary marbled calf, richly gilt spines, 8vo (19.2 x 11.6 cm), Mensaert (Guillaume-Pierre), Le peintre amateur et curieux, ou description générale des tableaux des plus habiles maîtres, qui sont l'ornement des églises, couvents, abbvayes, prieurés et cabinets particuliers dans l'étendue des Pays-Bas autrichiens, 2 volumes in 1, 1st edition, Brussels: P. de Bast, 1763, etched frontispiece, contemporary marbled sheep, spine worn, 8vo (16.5 x 9.4 cm), and 12 others, mainly 18th-century French treatises on painting, contemporary calf bindings, variable wear, 8vo (Qty: 24)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. ESTC T169370 (Raguenet: twelve copies world-wide) T137303 (Palomino de Castro y Velasco); Cicognara 199 (Richardson; it is unknown whether an additional vignette title-page is called for in volume three in addition to volumes one and two).

Morisot ( Claude-Barthelémy ). Epistolarum C enturia P rima, 1 volume only [of 2], 1st edition, Dijon: Philibert Chavance, 1656, browned, ownership inscription of Andrew Fletcher of Saltoun to rear pastedown (see note), old boards, worn, 4to (22 x 16.4 cm), together with: Baglione (Giovanni), Le vitte de' pittori, scultori, architetti, ed intagliatori, dal pontificato di Gregorio XIII. del 1572. fino a' tempi di Papa Urbano VIII. nel 1642, Naples: [no publisher], 1733, worming, repairs, browning, 20th-century half morocco, 4to, Bellori (Giovanni Pietro), Le vite de pittori, scultori, ed architetti moderni, Rome: successors of Mascardi, 1728, 14 engraved plates (of 15: lacking frontispiece, toning, occasional spotting, contemporary vellum, gilt arms of the Society of Writers to the Signey to covers, marked, 4to, Orlandi (Pellegrino Antonio), L'abecedario pittorico, Naples: Nicolo and Vincenzo Rispoli, 1733, the 5 plates lacking, browning, bookplate of Michael Jaffé, contemporary calf, rebacked, scuffed and rubbed, 4to, and 1 other (Qty: 5)NOTESProvenance: All items: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitwilliam Museum, Cambridge First item: Andrew Fletcher of Saltoun (1655-1716; ownership inscription), Scottish bibliophile, writer and poltician, and friend of the philosopher John Locke. Fletcher assembled a library of over 6000 books across a wide range of subjects. A keen traveller, he spent half of his life abroad, often visiting bookshops in search of works of interest. The greater part of the library was sold in the 1960s. See P. J. M. Willems, Bibliotheca Fletcheriana, the extraordinary library of Andrew Fletcher of Saltoun, Reconstructed and Systematically Arranged (1999).

Barberini (Maffeo, Pope Urban VIII). Poemata, Antwerp: ex officina Plantiniana, 1634, half-title in red and black, engraved allegorical title-page after Peter Paul Rubens by Cornelis Galle the Elder, engraved portrait by Galle, final blank (O4) discarded, lacking endpapers, toning, half-title dust-soiled, occasional dust- or damp-stains to margins, a few other minor spots and stains, inscription 'Little Brittain, Jun 10 1726 [?]n.wton' and 'J Lewis' to half-title, 19th-century stencilled signature (William Ord) below elk's-head device to front pastedown, all edges gilt, contemporary calf, sides richly gilt with floral cornerpieces and arabesque centrepieces, front joint cracked, headcaps perished, scuffs to sides, extremities worn, 4to (23.5 x 17.6 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge. Jaffé wrote three substantial books on Rubens: Rubens (1967); Rubens and Italy (1977); and Rubens: catalogo completo (1989). Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard) , 68. First Plantin edition. Rubens's title-page is a response to Bernini's version for the edition printed in Rome in 1631. Cornelis Galle's portrait of the Pope is based on the engraved portrait by Claude Mellan also published in that edition. Maffeo Barberini (1568-1644), a cardinal since 1606, had been elected Pope in 1623, taking the name of Urban VIII.

Regnault (L.F.) . Catalogue Raisonne d’une nombreuse et riche collection d’estampes anciennes et modernes, en feuilles, en recueils et en œuvres, livres à figures, sciences et arts, tableaux et autres objets curieux, qui composaient le cabinet de feu Pierre-François Basan père, graveur & ancien marchand d’estampes, 1st edition, Paris, an VI de la Republique [1798], half title, engraved plate, some marginalia and light toning, contemporary calf-backed boards, rubbed, 8vo, together with Desenfans (Noel). A Descriptive Catalogue (with remarks and anecdotes never before published in English) of some Pictures, of the Different Schools, purchased for His Majesty the late King of Poland; which will be exhibited early in 1802, at the Great Room, No. 3, in Berners-Street..., 2 volumes in one, 2nd edition, 1802, light toning, contemporary half calf, joints cracking, rubbed, 8vo (Qty: 2)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.

Seneca (Lucius Annaeus). Opera quae exstant omnia: a Justo Lipsio emendata et scholiis illustrata. Editio quarta, atque ab ultima Lipsi manu, Antwerp: ex officina Plantiniana, 1652, bound with: Tacitus (Cornelius), Opera quae exstant, Justo Lipsio postremum recensita, Antwerp: ex officina Plantiniana, 1648, 2 works in 1 volume, mild toning, intermittent light spotting and dust-soiling, Seneca with half-title, engraved portrait frontispiece of Lipsius, architectonic title-page with medallion portraits and 2 full-page engravings (bust of Seneca and the dying Seneca in his bath), all after Peter Paul Rubens by Cornelis Galle the Younger, vignette at p. xxiv, woodcut initials and head- and tailpieces, initial blank loose, marginal repair to C6, minor printing flaw to 3Q5, small spill-burn in 3Y6, Tacitus with title-page in red and black with engraved vignette, woodcut initials and head- and tailpieces, final blank (3H8) present), browning towards rear, marginal worming to final 3 quires (3F-3H), contemporary vellum, spine defective, a few small perforations through front board and text up to quire [superscript 2]C, folio in 6s (37.8 x 24 cm), together with: Tacitus (Cornelius), Opera quae exstant, a Justo Lipsio postremum recensita, Antwerp: ex officina Plantiniana, 1648, title-page in red and black with engraved vignette, woodcut head- and tailpieces and initials, final blank (3H8) present, toning, bookplate of Michael Jaffé, contemporary mottled calf gilt, worn, folio in 6s (39.4 x 24.8 cm) (Qty: 2)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge (bookplate). Judson & Van de Velde, Book Illustrations and Titlepages (Corpus Rubenianum Ludwig Burchard), 30-32 for the three engraved plates by Rubens. Lipsius's edition of Seneca was first printed in 1605, with the plates redesigned for the second edition of 1615.

Titi (Filippo). Descrizione delle Pitture, Sculture e Architetture esposte al pubblico in Roma, Rome, Marco Pagliarini, 1763, title with woodcut device, occasional light toning, bookplate of William Murray of Touchadam, contemporary vellum, upper cover and head of spine partially repaired, a little soiled, 8vo, together with Cittadella (Cesare). Catalogo Istorico de Pittori e Scultori Ferraresi ed delle opere loro con in fine uno nota esatta delle piu celebri Pitture delle Chiese di Ferrara, 2 volumes in one, 1st edition, Ferrara, Francesco Pomatelli, 1782, engraved titles by Luigi Ughi, 12 engraved portraits, occasional light water stains, previous owner inscription, dated 1860 at foot of first title, contemporary half morocco, spine rubbed with tears at end, some edge wear, 8vo, plus Panni (Anton-Maria). Distinto Rapporto delle Dipinture, che trovansi nelle chiese della citta, e Sobborghi di Cremona, 1st edition, Cremona 1762, woodcut initials, previous owner inscription, 1788 erased at foot of title, original wrappers, manuscript label to spine, a few chips and losses to spine, 8vo, with two others: Adamo Chiusole's Itinerario delle Pitture, Sculture, ed Architetture piu' rare di molte citta d'Italia, Venice, 1782 (interleaved with notes) and Notice des Statues Bustes et Bas-Reliefs de la Galerie des Antiques du Musee, ouverte pour la premiere fois, le 18 Brumaire an 9/Notice des Tableaux exposes dans du Musee, 2 volumes, Paris, 1814 (Qty: 6)NOTESProvenance: Professor Cecil H. Clough (1930-2017), Reader in Medieval History, University of Liverpool. Cicognara 3891 and 2240 for the first and second works. Filippo Titi's guide to the churches and monuments as well as paintings of Rome was first published in 1674 as Studio di pittura, scoltura et architettura, nelle Chiese di Roma , and is the first guide to Rome to focus exclusively on works of art.

Cesio (Carlo). Galeria nel Palazzo Farnese in Roma del Sereniss. Duca di Parma etc dipinta da Annibale Caracci, intagliata da Carlo Cesio, 1st edition, [Rome]: Francesco Collignon, [1657], etched title-page, dedication leaf, and 40 plates on 31 sheets by Cesio after Carracci, plates numbered 1-30 but numbers 22-5 each with bis plate, plates 24-7 (including bis plates) each containing 2 separate engravings, and plate 30 bisected and mounted on 2 sheets, most plates double-page and mounted on guards, extra-illustrated with 8 further etched plates bound in at rear, all but 1 signed F. L. D. Ciartres (i.e. François L'Anglois), browning and staining throughout, a few repairs and closed tears, plates 3-7 bound in reverse order, several plates longitudinally re-conjoined at an early date, contemporary pencil or sanguine studies to versos of a few plates, Italian gift inscription dated 1692 to front free endpaper, contemporary limp vellum, soiled, folio (41.5 x 29 cm) (Qty: 1)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and curator of the Fitzwilliam Museum, Cambridge. Bartsch XXI, 108, 21-64; Cicognara 3375; cf. Berlin Katalog 4088 (with Venanzio Mondalini imprint and different collation). First edition of Cesio's fine series of etchings after Annibale Carracci's ceiling decorations in the Farnese Gallery in Rome (painted 1597-1601). Bound in at the front of this copy is the associated introductory booklet Argomento della Galeria Farnese dipinta da Annibale Carracci disegnata ed intagliata da Carlo Cesio , which contains a Platonic description of the ceiling by Giovanni Pietro Bellori. This has the imprint 'In Roma per Vitale Mascardi. MDCLVII', but the two works are habitually encountered together, and often catalogued under the title of the booklet.

Titi (Filippo). Ammaestramento utile, e curioso di Pittura Scoltura et Architettura nelle chiese di Roma, Palazzi Vaticano, di Monte Cavallo & altri..., Rome, G. Vannacci, 1686, engraved frontispiece, occasional slight toning, contemporary vellum, spine dust-soiled, 12mo, together with Dissertatio de Vita Fl. Malii Theodori V.C. quaestoris sacri Palatii..., Utrecht, 1694, 120 pp., title with engraved device, bound with Rosetum seu Praecepta stili Latini edita cura Ge. Nicolai Kriegk, by Johann Ludwig Prasch, Jena, 1702, 132 pp ., title with woodcut device, some light toning, near contemporary blindstamped vellum, manuscript title to spine, 12mo, with two others including Filippo Titi's Nuovo Studio di Pittura, Scoltura, ed Architettura nelle chiese di Roma, 1721 and [Phaselus Catulli, ad eundem parodiarum... edited by Nicolaus Henelius, 1642, lacking title] (Qty: 4)NOTESProvenance: Michael Jaffé CBE (1923-1997), English art historian and director of the Fitzwilliam Museum, Cambridge.