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Lot 565
DICKENS. CHARLES, "The Personal History of David Copperfield", Bradbury & Evans, 1850, engraved frontispiece, title page vignette and 38 plates by H.K. Browne. First edition in book form, issue points include the engraved vignette title is dated 1850, VIII has the last letter out of align, the contents page lists chapter XXVII at page 283, it is at page 282, 6 line errata at page XV, pages 16 line 1 and 225 line 22 have recal instead of recall, page 19 line 39 is printed cha pter, page 132 line 20 has the first issue point of screamed instead of screwed, page 387 line 45 has the incorrect spelling of corroboration, page 472 line 37 the quotation is not closed, dark plate opposite page 482. Full leather, browning and staining to plates (see illustration).
Lot 546
Five aviation books by AJ Jackson, British Civil Aircraft 1919 to 1959 Volumes 1 and 2, first editions, no dust jackets, both signed editions, De Havilland Aircraft Since 1909, signed, 1978 edition with dust jacket. Blackburn Aircraft Since 1909, signed first edition with dust jacket and Avro Aircraft Since 1908, signed first edition with dust jacket.
Lot 606
NIEDERHOFER. ERNEST J., "The Cold Steel Weapons of The SA, The SS and The NSKK of The NSDAP", "Uniforms and Equipment of German Forces" volume 5 published by Militair-Verlag Klaus de. Patzwall, 1993 first edition, German and English text, 197 pages, photographs and illustrations, pictorial hard cover.
Lot 564
DICKENS. CHARLES, "Dombey & Son" Bradbury & Evans 1848, engraved frontispiece, title page vignette and 38 plates by H.K. Browne, first edition in book form, issue points include hook on left arm of Captain Cuttle in the engraved title, page 15 no page entry for the frontispiece and vignette, the second listing has no quotation marks around the party, page 14 line 41 aint has no apostrophe, page 26 line 11 reads fidgetty, page 40 shew and shewed is printed instead of show and showed, page 97 has the register for that register, page 101 line 43 has dull crying for dull cooing, page 102 line 20 has Quintius before Curtis, page 324 last line has capatin for captain, page 582 has no fullstop to the last line, dark plate opposite page 547, engraved plates as listed with 8 extra plates bound in. Full leather, spine lacks portion above first band, browning to edge of plates, some staining to text.
Lot 776
A Pablo Picasso hand signed limited edition etching, 29/50. From the Erotica Series catalogued Bloch 1512. 15/4/68 No II. "The Old Man and His Tonkinese Hat". 56 cm x 46 cm (image only). Frame dimensions 99 x 84 cm. Sold with original receipt dated 2003 for £7700 (see illustration). CONDITION REPORT: This etching is in first class condition with no issues. It is well framed and under glass. There is no fading, foxing, tears or creases. The etching was originally bought at an auction on a P&O cruise in 2003.
Lot 337
A gentleman's steel Omega Seamaster 300 Edition wristwatch The round black dial with luminous applied tritium indices, large triangle at 12 position, Arabic 3/6/9, surmounted with an encircled 'T', sweep seconds hand Bi-directional rotating bezel, black inlaid luminous 10 minute increments, stainless steel case, 40mm diameter, automatic winding Case-back engraved W/10/6645-99-923-7697 A/153/67 Assessed as model 165. 024, c.1967 Total weight 61.70g, no strap Accompanied by two army diving log books, the first from the initial qualification (1974-1979) the second enhanced log book issued in line with the new health & safety legislation (1979 - 2012), with two fabric MOD service-issued diving badges (supervisor grade). Provenance: owned and submitted for auction by Mr M. Burton who joined the Royal Engineers in May 1970 as a Sapper and left August 1995 as a Warrant Officer class 1 (WO1), Engineer Diver. Amongst his diving achievements were helping to raise the hull of King Henry VIII's favourite ship, The Mary Rose in 1982, which sank in the Solent in 1545. Regimental Sergeant Major Burton also served in Belize, Hong Kong, Norway, Northern Ireland, Oman, Cyprus, Germany and Kenya where his extraordinary diving skills were deployed throughout. Omega introduced the Seamaster 300 in 1957 as part of a line of "Professional" watches. A very small quantity were made for military use from 1967 until approximately 1970. These were custom designed by Omega to meet the needs of members of the British Army and Royal Navy. A number of distinct features set these military-issued watches apart from Omega's regular production units. Their cases have distinctive curved and beveled lugs and were delivered with fixed spring bars. The dials feature an encircled "T" signifying the use of tritium for the luminous hour markers and hands. Their case backs were engraved by the Ministry of Defense with the military branch code, issue number, and year of issue. The "W10" designation indicates that this Seamaster 300 was one of a small number issued to the British Army.
Lot 271
A large Coalport figural group 'The Flower Seller' limited edition 192/250, designed by Sue McGarrigle, sculpted by Jack Glynn38cm high, boxed with certificateCondition report: In good, first quality condition with no cracks, chips, damages or repairs. Paying very close attention to all of the delicate parts (e.g. flowerheads, leaves, stamen, petals, etc), they are all present with no signs of any losses or any having been re-attached. The vendor has kept this in the box, which accounts for the essentially like-new condition. The box comes with all of the sections of stackable foam for protection, but the exterior of the box has acquired some spots of damp/mildew from storage and could do with a gentle clean (please see image).
Lot 518
David Dancey-Wood two limited edition lithograph prints, hand signed and numbered by the artist. The first being 'Gordon and Tuan' from an original drawing of two primates that lived at Monkey World nr 268/495 approx 14.6 x 13.5", published by Monkey World Ape Rescue Centre. Together with 'Meditation' from an original drawing of an orangutan nr 410/495, approx 15 x 14.5" with certificate, published by Hawksbill Fine Art.
Lot 517
David Dancey-Wood three limited edition lithograph prints, hand signed and numbered by the artist, with certificates, published by Hawksbill Fine Art. The first being 'Snow Leopard' from an original drawing nr 276/495, print 13 x 16", second 'Ocelot' from an original drawing nr 267/495, print 16 x 9.75", together with 'Cougar' from an original drawing nr 22/495, approx 14 x 11".
Lot 270
The King’s Own 1/5th Battalion TF 1914-1918. Original 1921 edition.Compiled by Albert Hodgkinson published 1921 ... Accompanied by “The First Birmingham Battalion in the Great War”. Published 1933 ... “History of the Royal Warwickshire Regiment 1919-1955. Published 1956 Very clean edition ... “1st Volunteer Battalion The Royal Warwickshire Regiment” Published 1906. (4 items)
Lot 263
WW2 1943 WD Publication “Enemy Sabotage Equipment (Identification)A rare example, of the publication known as the “Red Book”, this edition is attributed to F.R.J. Collins M.I. 10. The book covers 67 with an number of additional photographs. Gives details of explosives, timers, gadgets etc. The first page with pencil inscription “F.R.J. COLLINS M.I. 10 BRANCH ATT: TO A.F.H.Q.” Overall GC repair to spine. MI 10 was responsible for enemy weapons and technical analysis
Lot 180
After Barbosa, portrait studies of 18th and 19th Century American soldiers, from a limited edition of 920, signed in pencil by the artist. Framed and glazed with washline mounts. Includes South Carolina light horse, The First Virginia Cavalry, The Norfolk light artillery, Governer's Foot Guards of Connecticut, UK Topographical Engineers and the Light Infantry Brigade. (6)(B.P. 21% + VAT) In good condition, rather grubby externally.
Lot 461
A group of ecclesiastical books, relating to various aspects of Christianity, including a copy of 'The Ancient Ecclesiastical Histories of the First Six Hundred Years after Christ', by Meredith Hanmer, fourth edition, London, George Miller,1636, as well as 'Petrarca' 1596 in original vellum, 'Gods Deliverance of Man by Prayer' printed by Thomas Paybody, 1642 in original leather binding. 'Théâtre des cruautés des hérétiques de notre temps', Chez Adrien Hubert, 1588, a copy of Emblemata c.1550 and 'Book of Martyrs' by Rev. John Fox, circa 1570, second edition, Vol II in a period leather binding.Qty: 6Condition report: Book of Martyrs approximately 70% complete, although missing all but one full page illustrations and charts. Page 1938 illustrates the burning of Bishop Ridley & Father Latymer, unfortunately this illustration has a bottom to centre tear.
Lot 332
A limited edition Aynsley 'Concorde Celebration Vase', commemorating 25 years of passenger flight (1976-2001), of twin handled form with cover and mounted to a wooden base, numbered 3 of 100, with certificate in presentation box, together with two related First Day Covers, marking the 'Tribute to Conconcorde Farewell Flight' (October 2003) and 'Concorde 206 G-BOAA BAC Delivery Flight' (1976).Qty: 3Condition report: In good unsued condition, with original packaging.
Lot 117
Andy WarholMadonna and Self-Portrait with Skeleton's Arm (After Munch) Farbserigraphie auf Lenox Museum Board 81,5 x 101,6 cm. Unter Glas gerahmt. Rückseitig mit dem Stempel "Andy Warhol Art Authentication Board, Inc. Authentic" und mit einer Archivnummer. Rückseitig mit dem Copyright-Stempel des Künstlers "© ANDY WARHOL 1983". Unikat einer kleinen Serie von unikaten Farbvarianten.Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr. III A.62 eProvenienzVom Vorbesitzer direkt beim Drucker Rupert Jason Smith, New York, erworben.“Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature “Warhols,” the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely “Munchs,” images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch.” (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12) Andy WarholMadonna and Self-Portrait with Skeleton's Arm (After Munch) Colour silkscreen on Lenox Museum Board 81.5 x 101.6 cm. Framed under glass. Stamp "Andy Warhol Art Authentication Board, Inc. Authentic" verso and with archive number. The artist's copyright stamp "© ANDY WARHOL 1983" verso. From a small unpublished edition of unique colour variants.Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no. III A.62 eProvenanceAcquired directly from the Printer Rupert Jason Smith, New York, by the previous owner."Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature "Warhols," the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely "Munchs," images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch." (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12)
Lot 188
ChristoMein Kölner Dom, Wrapped Bleistift, Kohle, Pastell-, Wachskreide, Fotokopie, Stoff, Bindfaden und Karte auf Karton auf Holz 56 x 71 cm. Unter Plexiglas gerahmt. Signiert, datiert und betitelt 'Mein Kölner Dom, Wrapped (Project For Cologne-Germany) Christo 1992' sowie mit weiteren Angaben. Rückseitig auf dem Holz signiert '© Christo 1992'. - Mit Atelierspuren.Mit schriftlicher Bestätigung vom Studio Christo, New York, per E-Mail vom 29.03.2017.ProvenienzPrivatsammlung, HessenDie vorliegende Arbeit ist die Vorlage zur gleichnamigen Edition von 1992, erschienen bei Edition Torsten Lilja, Stockholm (Schellmann/Koddenberg 161).„Christos Verhüllung leitet die Suche nach der ‚verlorenen' Realität ein. Und selbst dort wo eine Verhüllungsaktion nicht zustande kommt oder nicht zustande kommen kann und im Stadium der vorbereitenden Zeichnungen und Collagen verharrt, wirkt sich schon die „Realität" aus. Es ist ja die Wirklichkeit, die etwas „Realität" werden lässt oder nicht. Christos Kunst ist von Anbeginn realitätsbezogen. Der Künstler setzt sich - und seine Kunst fordert zum Nachvollzug auf - mit der Wirklichkeit des Alltags auseinander, mit einer Wirklichkeit, die eine Vergangenheit hat und eine Zukunft haben wird." (Gerhard Kolberg, Christos Zeichnungen, in: Christo, Projekte in der Stadt 1961 - 1981, Ausst.Kat. Museum Ludwig, Köln 1981, S.25). Eine besondere Verbundenheit des Künstlers mit der Stadt Köln besteht bereits seit 1961, als im Hafen der Stadt Christos und Jeanne-Claude erstes gemeinsames Projekt „Gestapelte Ölfässer und Verhüllungen im Hafen" entsteht.1980 entwickelt Christo anlässlich des 100-jährigen Jubiläums zur Vollendung des Kölner Doms eine erste Idee zur Verpackung des Doms, die im Rahmen der Ausstellung „Zeitgenössische Künstler sehen den Kölner Dom" im Kölnischen Kunstverein präsentiert wird. 1992 greift Christo die Idee zur Verpackung der Kathedrale mit Mein Kölner Dom, Wrapped erneut auf. Seine Verhüllung des Doms ist bereits von Anfang an als Konzept beabsichtigt, das in unserer collagierten Ausführung mit Stoff und Faden die konkreteste Form seiner Verwirklichung erfährt. ChristoMein Kölner Dom, Wrapped Pencil, charcoal, pastels, wax crayon, photocopy, cloth, thread, and map on card on wood 56 x 71 cm. Framed under plexiglass. Signed, dated, and titled 'Mein Kölner Dom, Wrapped (Project For Cologne-Germany) Christo 1992' and additional information. Signed '© Christo 1992' verso on wood. - Traces of studio.Accompanied by a written confirmation from Studio Christo, New York, via email dated 29.03.2017.Provenanceprivate collection, HesseThe present work is the reference for the edition of the same name from 1992, published by Edition Torsten Lilja, Stockholm (Schellmann/Koddenberg 161).'Christo's wrapping initiates the quest for a "lost" reality. And even in those places where a wrapping action falls through or can't be realised, thus remaining in the state of preparatory drawings and collages, "reality" already has an impact. It is reality after all which makes something "real" or not. Christo's art refers to reality right from the outset. The artist explores the reality of everyday life, a reality that has a past and will have a future and his art urges this comprehension.' (Gerhard Kolberg, Christos Zeichnungen, in: Christo, Projekte in der Stadt 1961 - 1981, exhib.cat. Museum Ludwig, Cologne 1981, p.25). A special affinity to the city of Cologne already exists since 1961, when Christo and Jeanne-Claudes' first joint project Stacked Oil Barrels and Dockside Packages was created in the harbour. In 1980, on the occasion of the 100th anniversary of the completion of Cologne Cathedral, Christo developed first ideas on the wrapping of the cathedral which are presented on the occasion of the exhibition 'Zeitgenössische Künstler sehen den Kölner Dom' at Kölnischer Kunstverein. In 1992, Christo takes up the idea to wrap the cathedral with Mein Kölner Dom, Wrapped once again. His shrouding of Cologne Cathedral is an intentional concept right from the outset encountering its most concrete form of realisation in our collaged version with cloth and thread.
Lot 471
MARAT, Jean-Paul (1743-93). Recherches Physiques sur l' Electricité. Paris: De l' Imprimerie de Clousier, 1782. 8vo (202 x 122mm). Half title ("Oeuvres de M. Marat"), 5 folding engraved plates, one-page of errata on verso of final text leaf (many dark spots occasionally touching letters, I3 torn without loss, some light mainly marginal spotting and staining). Contemporary marbled calf, spine gilt with red morocco lettering-piece (spine and edges of boards quite heavily rubbed, extremities rubbed). Provenance: old annotation to p.29. FIRST EDITION. Blake 287; Ekelöf Cat. 557; Mottelay p.269; Ronalds p.322; Wheeler Gift 509; not in Brunet.
![EINSTEIN, Albert (1879-1955) & Sigmund FREUD (1856-1939). Pourquoi la Guerre? [Paris:] Institut International de Coopéra](https://cdn.globalauctionplatform.com/90ffa5c4-0670-4589-81bb-ac7e00fac987/325280e5-25d9-4177-81c6-ac7e01137df9/468x382.jpg)
Lot 445
EINSTEIN, Albert (1879-1955) & Sigmund FREUD (1856-1939). Pourquoi la Guerre? [Paris:] Institut International de Coopération Intellectuelle Société des Nations, 1933. 4to (225 x 165mm), Half title, text in French (marginal repair to one leaf). Original printed wrappers, unopened (top edge of upper wrapper lightly browned). FIRST EDITION. NUMBER 2,531 OF 3,000 COPIES. A printed note opposite the title reads: "Ce volume est publié simultanément en allemand, en français et en anglais. Le texte original des lettres de MM. Albert Einstein et Sigmund Freud a été traduit en français par M. Blaise Briod." These letters on the origins and evils of war were published shortly after Hitler's rise to power in Germany, where the book was immediately banned and almost all of the 2,000 copies printed in the German language were burnt.
Lot 421
THOMPSON, W. H. (1890-1978). I Was Churchill's Shadow. London: Christopher Johnson, September 1955. 8vo (215 x 140mm). Half title, photographed plates. Original blue buckram gilt, dust-jacket. Fourth impression. INSCRIBED by the author on the half title, "W. H. Thompson, Christmas 1956." With the same author's Sixty Minutes with Winston Churchill (London, 1953, original pictorial boards, FIRST EDITION, SIGNED by the author on the title "W. H. Thompson, May 1955") and M. E. Clifton James's I Was Monty's Double (London, reprinted 1955, original buckram, dust-jacket, INSCRIBED by the author "To Jeff, with best wishes, M. E. Clifton James"). (3)
Lot 462
HOBBES, Thomas (1588-1679). Opera Philosophica, Quae Latinè scripsit, Omnia. Antè quidem per partes, nunc autem, post cognitas omnium objectiones, conjunctim & accuratiùs edita. Amsterdam: Apud Joannem Blaeu, 1668. Parts I - IV (only, of 8) bound in one volume, 4to (198 x 150mm). Woodcut printer's device on title, folding engraved portrait of Thomas Hobbes by W. Faithorne, initials, ornaments, 24 engraved plates [?only, see footnote], 6 of which folding, 7 engraved diagrams, woodcut diagrams, tables (occasional light spotting and staining, a few darker spots, a few leaves lightly browned, minor printing flaw on Qq9v). Contemporary vellum, yapp edges, traces of title in old manuscript on spine (lightly stained). THE FIRST PART OF THE FIRST COLLECTED EDITION OF HOBBES' WORKS. This work has a notoriously problematic collation. The present copy has the following sections: Problemata physica ([A] - F2, pp. 1 - 44, 2 engraved plates [unnumbered]); Examinatio et emendatio mathematicae hodiernae ([A1] - T1, pp. 1 - 146, 2 engraved plates numbered "fig. 2" and "fig. 3"); Elementorum philosophiae sectio prima de corpore ([Aaa1] - Llll3, p. 1 - 261, 12 engraved plates numbered XIV, XVI, XVII, XVIII, XIX, XXI, XXII, XXIII, XXIIII, XXVI, XXVII and a single plate numbered "XXVIII et XXX"); Elementorum philosophiae sectio secunda de homine[Aa1] - LL3 ("Finis"), pp. 1 - 86, followed by 2 [?later] blanks, 8 engraved plates numbered Ad cap. II, III, IIII, V, VI, VII, VIII and IX). Brunet II, 598: "Collection recherchée et devenue rare" [1842]; Lowndes II, 1078; Macdonald & Hargreaves 104. Sold not subject to return.
Lot 507
SULZER, Jean-George (1720-79). Nouvelle Théorie des Plaisirs ... avec des Réflexions sur l' Origine du Plaisir, par Mr. Kaestner. [?Berlin: no publisher], 1767. 8vo (163 x 95mm). Typographical ornament on title, headpiece and ornaments, folding engraved plate (a few dark spots, some marginal browning to first and last few leaves). Contemporary mottled calf, spine gilt with red morocco lettering-piece and raised bands (rubbed, corners a little worn). Provenance: old Lyonnaise library stamp on title. FIRST EDITION. Mottelay 223; Poggendorff II, 1080; Quérard IX, 292; Wheeler Gift 420: "Sulzer discovered 'Galvanic taste' by placing his tongue between two plates, one of silver and the other of lead, connected together by a wire."
Lot 499
SECCHI, Angelo (1818-78). Le Soleil ... Deuxième Edition, revue et augmentée. Paris: Gauthier-Villars, 1875. 3 volumes including "Atlas" vol., large 8vo (235 x 155mm), "Atlas" (237 x 210mm). Half titles, illustrations and diagrams, 3 plates in the text vol., of which 2 coloured, 6 double-page plates in the "Atlas" vol. (some light spotting and staining). Contemporary red half morocco gilt, gilt edges (rubbed). The author, an Italian Catholic priest, was a pioneer in astronomical spectroscopy and was one of the first scientists to state authoritatively that the Sun is a star. (3)
Lot 431
BERTHOUD, Ferdinand (1727-1807). Essai sur l' Horlogerie; dans lequel on Traite de cet Art Relativement a l' Usage Civil, a l' Astronomie et a la Navigation. Paris: J. Cl. Jombert, Musier [and] Ch. J. Panckoucke, 1763. 3 volumes including plate volume, 4to (258 x 195mm). 38 engraved plates (lacks 2 leaves [iii-vi] of the "Table" at the front of vol. II, some marginal staining to a few leaves in vol. II and to the margins of a few plates). Contemporary tree calf, flat spines decorated in gilt, dark green morocco lettering-pieces (rebacked preserving old spines). Provenance: G. [?]Cuffier (old signature dated 1865 on front free endpapers of all 3 vols.). FIRST EDITION. Brunet I, 365: "Ouvrage le plus estimé que l' on ait sur cet art" (citing the second edition of 1786); Tardy 51. (3)
![SASSOON, Siegfried (1886-1967). Memoirs of a Fox-Hunting Man. London: Faber & Faber, [1929]. 8vo (220 x 150mm). Half tit](https://cdn.globalauctionplatform.com/90ffa5c4-0670-4589-81bb-ac7e00fac987/8d040552-4088-48e7-a50e-ac7e0111e72f/468x382.jpg)
Lot 409
SASSOON, Siegfried (1886-1967). Memoirs of a Fox-Hunting Man. London: Faber & Faber, [1929]. 8vo (220 x 150mm). Half title, 7 plates by William Nicholson, illustrations. Contemporary red morocco gilt [indistinctly stamped by binder], spine gilt on compartments with hunting motifs, top edges gilt, others uncut, original coloured endpapers bound in (covers detached, extremities rubbed). FIRST ILLUSTRATED EDITION, ONE OF 300 COPIES ON HAND-MADE PAPER AND SIGNED BY THE AUTHOR AND ILLUSTRATOR. Keynes A30e.
Lot 467
LE CLERC, Sébastien (1637-1714). Traité de Geometrie Theorique et Pratique, a l' Usage des Artistes. Paris: Chez Ch. Ant. Jombert, 1744. 8vo (193 x 120mm). Title and text within double rule border, title with etched vignette by Cochin, etched illustration above the first chapter and at end of chapter VIII and IX, 44 folding engraved plates (?only, of 45 [see footnote], strip torn away from title with slight loss, some holes at gutter towards the beginning, title and first few leaves with large but light waterstain, variable mostly marginal spotting, staining and browning). Contemporary calf (some repairs to spine and corners, rubbed and scuffed). Provenance: "Ce livre se vend à Mons, chez Henri Bottin, Libraire, & Imprimeur, Ruë de la Chef" (printed label on front pastedown); old inscription on title, partly excised; old illegible stamp. FIRST EDITION. Plate counts vary for this work, with most copies recorded as having 45; the present copy has complete numbered sequences of plates in each chapter, and so is apparently complete with just 44. Cohen-de Ricci 611-612; Fowler 174; not in Brunet. Sold not subject to return.
Lot 505
STURM, Johann Christoph (1635-1703). Collegium experimentale sive curiosum in quo primaria seculi superioris inventa & experimenta physico-mathematica, spetiatim campanae urinatorie, camerae obscura, tubi Torricelliani, seu baroscopii, antliae pneumaticae, thermometrorum, hygroscopiorum, telescopiorum, microscopiorum & c. phaenomena & effecta. Nuremberg: Sumptibus Wolfgangi Mauritii Endteri, 1701 [third and fourth parts dated 1685; fifth part dated 1699]. 5 parts bound in one volume, 4to (195 x 155mm). Half title, 8 folding engraved plates including 4 mounted on stubs at the end [?extracted from another work], engraved illustrations and diagrams, some full-page, woodcut initials and ornaments, tables (some light browning, a few dark spots and small rustholes occasionally touching letters). Contemporary panelled calf, spine with tan morocco lettering-piece (rubbed, some minor erosion to foot of spine). A flying machine is illustrated on p. 64 of the first part and a diving bell on p. 4 of the second part. Graesse VI, 517 (citing the first edition of 1676); not in Brunet. Sold not subject to return.
Lot 415
SPORTING BOOKS - Thomas SMITH (dates unknown). Sporting Incidents in the Life of Another Tom Smith. London: Chapman and Hall, 1867. 8vo (198 x 125mm). Half title, lithographed frontispiece and 12 plates printed on blue paper (some light mainly marginal spotting and staining). Attractively bound in later red half morocco gilt by Riviere & Son, spine gilt in compartments, top edges gilt, others uncut (upper cover detached, extremities rubbed). Provenance: Jonathan E. Backhouse (bookplate). FIRST EDITION. The half title is inscribed, "from the author." With 13 other books of sporting interest, including Surtees' Hillingdon Hall or The Cockney Squire (London, 1888, hand-coloured plates) and seven by H. H. Dixon, all attractively bound in leather. (14)
Lot 442
CHEVALLIER, Alphonse (1793-1879) & Etienne Ossian HENRY (1798-1873). Mémoire sur le Lait. Sa Composition, ses Modifications, ses Altérations ... (Extrait du Journal de Chimie Médicale, de Pharmacie et de Toxicologie.[)] Paris: Felix Locquin et Compagnie, 1839. 8vo (225 x 150mm). Wood-engraved plate, partly hand-coloured, tables (some light staining). 19th-century plain blue wrappers, stitched, unopened. Provenance: old library label pasted onto upper wrapper. [?]First separately-published edition.
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118894 item(s)/page