There are 118894 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeWoolf (Virginia). Jacob's Room, 1st edition, London: Hogarth Press, 1922, advertisements bound at rear, pp. 221-224 with frayed fore edges from rough opening, slight marginal toning, hinges a little tender, bookseller ticket to rear pastedown, original cloth, spine toned with small chips to label, some dust soiling and marks to covers, 8voQTY: (1)NOTE:Kirkpatrick A6a. One of 1200 copies of the first book published by the Hogarth Press.
Collins (John). The Chapter of Kings. by Mr. Collins, J. Harris: Corner of St. Paul's Church-yard., first edition, 1818, hand-coloured engraved title-page, 37 hand-coloured engraved illustrations, near contemporary ownership inscription to front free endpaper (upper inner edge partially detached), pages 22-23 lower inner edge detached from stitching, page 10 with small hole to Richard 1st torso, original printed boards with red morocco spine, publisher's advertisement to lower board, rubbed and slightly worn, small 4toQTY: (1)NOTE:Gumuchian 1818 & Moon 151.
Rackham (Arthur, illustrator). Dickens (Charles). A Christmas Carol, 1st edition, London: Heinemann, 1915, colour frontispiece, 11 colour plates, further black and white illustrations, prize bookplate to front pastedown, some toning, edges lightly spotted, original aubergine cloth gilt, spine faded and bumped, 8vo, together with:The Ingoldsby Legends, Mirth & Marvel, 1st edition, London: J. M. Dent, 1907, mounted colour frontispiece, mounted colour illustrations throughout, contemporary ink ownership inscription to half-title, top edge gilt, remainder untrimmed, original green pictorial cloth gilt, spine somewhat faded, rubbed, 4to, plusThe Ring of the Niblung, a trilogy with a prelude, 2 volumes, 1st edition, London: William Heinemann, 1910-11, mounted colour frontispieces, mounted colour illustrations throughout, lightly toned with a few spots, original pictorial brown cloth gilt, first volume with partial dust jacket only (second volume without), 4toQTY: (4)
Nicholson (John Gambril Francis). Love in Earnest. Sonnets, Ballades, and Lyrics, 1st edition: Elliott Stock, 1892, 230 pp., lacking pp. 163-164 (i.e. the poems 'The Boyhood of Raleigh' and 'St. William of Norwich'), some toning to endpapers, top edge gilt, original Japanese vellum-backed patterned boards, spine toned and rubbed at ends, small splits at head of joints, edges a little rubbed, 8vo, together with The Romance of a Choir-Boy, London, privately printed, 1916, ex-library Edinburgh Public Libraries with their ink stamps and labels, front endpaper renewed, folded prospectus for the poet's Garland of Ladslove loosely inserted, original cloth, shelf number in gilt to spine, library blindstamp to lower cover, spine darkened, a few flecked marks, 8vo, plus Last Letters of Aubrey Beardsley, edited by John Gray, 1st edition, 1904 QTY: (3)NOTE:First work a presentation copy, inscribed to front endpaper: 'To F. H. Whitehouse, in memory of days at Rydal Mount, from his affectionate friend J. G. F. Nicholson, July 29th 1892'.Rare. No copy recorded at auction. John Gambril Nicholson (1866-1931) was a Uranian poet and member of the Order of the Chaeronea, a secretive society of homosexuals, and as an English master taught at a number of schools including Rydal Mount, Colwyn Bay from 1888-94. One of the poems excised from this copy St. William of Norwich was written by his former teacher F. W. Rolfe, 'Baron Corvo'. The Earnest in the title, speculatively a code word for homosexual recognition was perhaps used as a pun by Oscar Wilde in his play The Importance of Being Earnest, (1895).
* Boyle (Eleanor Vere, 1825-1916). Six original illustrations to Child's Play, circa 1852, a group of six fine original pen and black ink illustrations on thin card, four heightened with brown ink, each with handwritten caption or verse, including a design for the titlepage: Child's Play, E.V.B. with a quotation below ' "Deep meaning lieth oft in childish play" Schiller.', the other illustrations depicting Wee Willie Winkie, Here we are on Tom Tickler's ground, Cuckoo, Mary, Mary, quite contrary, and I had a little Castle upon the sea-side, some minor or light soiling (mainly to sheet edges), generally in good condition, each 248 x 177 mm (9 3/4 x 7 ins)QTY: (6)NOTE:Six of the seventeen drawings Eleanor Vere Boyle executed for Child's Play, issued by Addey & Co. in 1852. This first edition of Eleanor Vere Boyle's first book, a collection of illustrated nursery rhymes, was issued with monochrome illustrations after her original drawings printed by the anastatic process. Comparison with the later and inferior colour wood-engraved Sampson Low edition of 1859 shows how much more of the artist's detailed penwork is preserved in the original edition. Considered one of the most important female illustrators of the mid 19th century, Boyle moved in artistic circles which included the painters Charles Eastlake, Thomas Landseer, and Sir William Boxall (1800-1879), later director of the National Gallery (1866 to 1874), who was also Eleanor's painting tutor.An exhibition of EVB's original drawings and watercolours, entitled Sketches, Dreams and Drawings, was held at the Glass Studio at Leighton House in April 1902. In the preface to the catalogue, William Hardinge commented ‘To those who have once come under this magic, it is a spell as unmistakable as Blake’s or Rossetti’s.’ (page 118). EVB was indeed a mystic and visionary who admired greatly Blake, describing his art in an undated letter to her close friend Lady Eastlake: 'Blake is marvellous as only he can be. In some (many) of his drawings there is a feeling, a grasp of imagination as impossible for the present day mind to understand as to imitate – the feeling in them is as fine as possible – but I can understand how the people sneer, and say ‘he was mad’.' (unpublished letter formerly in the collection of Margaret de Wend Fenton, great-great granddaughter of EVB).Another original drawing for the same publication was sold in these rooms in June 2024 (Modern Literature, Private Press, Original Book Art, Pop-Up Books, Playing Cards & Games, 20 June, 2024, lot 549) along with two smaller related sketches, and some proof engravings after the illustrations, which were contained in a contemporary album inscribed by Eleanor Vere Boyle to her friend and art tutor Sir William Boxall. The present works originate from the same private collection.
Hughes (Ted, contributor). Saint Botolph's Review, 1st edition, Cambridge: David Ross, 1956, 36 pp., original red printed paper wrappers, dust jacket, small stain and closed marginal tear (approx. 1.5 cm) to lower panel, laminate cover stuck down to dust jacket, 8voQTY: (1)NOTE:Sagar & Tabor C8.The student poetry journal which introduced Ted Hughes's poetry to Sylvia Plath, who consequently met Hughes at the journal's launch party on the day of publication. Hughes contributed four poems, representing the first time his poetry appeared in print under his own name. In Plath's journals she recounts their first meeting 'Then the worst thing happened, that big, dark, hunky boy, the only one there huge enough for me, who had been hunching around over women, and whose name I had asked the minute I had come into the room, but no one told me, came over and was looking hard in my eyes and it was Ted Hughes. I started yelling again about his poems and quoting: ''most dear unscratchable diamond''... and then he kissed me bang smash on the mouth and ripped my hairband off, and when he kissed my neck I bit him long and hard on the cheek, and when we came out of the room, blood was running down his face'. (The Journals of Sylvia Plath, The Dial Press, 1982)
Chesterton (Gilbert Keith, 1874-1936). The Ballad of the White Horse, Illustrated by Robert Austin, 10th (first illustrated) edition, London: Methuen & Co., 1928, woodcut illustrations including frontispiece and decorative title, limitation details to title verso, original buckram-backed boards with printed paper label to spine, dust jacket rubbed and somewhat soiled, top edge gilt, remainder uncut, 8voQTY: (1)NOTE:Signed limited edition of 100 copies on handmade paper. This copy unnumbered and inscribed by the publishers, ‘This is a presentation copy for F[rederick] Muller’, with Austin and Chesterton’s signatures beneath.Frederick Muller was a publisher. His limited company began publishing in 1932, and it is now part of the firm Random House. Whilst Muller did not publish Chesterton’s works, he did publish John O’Connor, Father Brown on Chesterton (1937). A nice association item.
Baxter (Glen, b. 1944). Stories by Glen Baxter, 1st edition, New York: Joe DiMaggio Press, 1973, 11 leaves, printed to rectos only, author’s signed presentation inscription to title, ‘For my chum Bryan, Head Keeper, Aller Boule Lawns, this 2nd May 1973, Glen’, stapled printed pink wrappers, light fading and a few marks, slim folio (limited edition, 49/175 copies), together with The Khaki, 1st edition, New York: Adventures in Poetry, 1973, 22 leaves, signed presentation copy for Bryan and Julia, original stapled pictorial wrappers, spotting to wrappers, 4to, (one of about 200 copies), plus Drawings, 1st edition, New York: Adventures in Poetry, 1974, 34 leaves, printed to rectos only, signed presentation copy for Bryan & Julia, date May 1975, original stapled pictorial wrappers with cover title ‘Cranierons of Botya’, 4to; plus signed first edition hardback copies of Glen Baxter: His Life: The Years of Struggle (Thames & Hudson, 1983), L'heure du thé (Hoebeke, 1988, dust jacket), The Further Blurtings of Baxter (Little, Brown and Co., 1994), and Trundling Grunts (Bloomsbury, 2002), a first edition paperback of The Impending Gleam (Fontana/Collins, 1983), plus a signed concertina-style pamphlet of L’histoire d’un cowboy, pour Beaux Arts Magazine, 1994, two signed Christmas cards, 1984 & 1985, a small signed print in clip frame, and unsigned copies of Loomings over the Suet and Collected Blurtings, a pamphlet in Japanese, unsigned calendars for 1986 and 1987, and two plates and a mug with printed Glen Baxter cartoonsQTY: (20)
Hughes (Ted). The Hawk in the Rain, 1st edition, London: Faber and Faber, 1957, 'The Hawk in the Rain' in full in blue ink to front free endpaper, each poem dated with a location in blue ink at foot of page, 'Wind' with neat correction adding 'black' so third line in second stanza reads 'Blade-light, luminous, black and emerald', pen and ink drawing of a serpent and unpublished poem in blue ink to rear free endpaper, original blue cloth, yellow lettering to spine, dust jacket, original promotional wraparound band, spine slightly faded with a few small nicks to head and tail, 8vo, contained in blue cloth drop-back box with red morocco spine label lettered in giltQTY: (1)NOTE:Sagar/Tabor A1a.An extensively inscribed copy of Hughes' first book, with manuscript poems to both endpapers (the latter unpublished), a pen and ink sketch of a serpent, a manuscript correction to the poem 'Wind' and each poem given a date and location, all in Hughes' hand.
Sassoon (Siegfried Loraine, 1886-1967). A collection of 18 books by or relating to Walter de la Mare (1873-1956), from the library of Siegfried Sassoon at his home, Heytesbury House, Wiltshire, 1910-57, mostly first editions and all but one (Two Poems by Walter de la Mare And (But!) Arthur Rogers) with Siegfried Sassoon's monogram book ticket to lower left corner of pastedowns, titles include The Three Mulla-Mulgars, 1910; Broomsticks & Other Tales, 1925, watercolour doodle by Siegfried Sassoon to front free endpaper; The Connoisseur and Other Stories, 3rd impression, 1926, presentation pencil inscription 'For darling Siegfried' [by Hester Sassoon] tipped in before front flyleaf; Henry Brocken, no date, c. 1924, 'Illustrated by Marian Ellis' inked out on title and no illustrations present; To Lucy, 1931, signed limited edition, 124/275 copies; This Year: Next Year, 1937, original cloth in slightly chipped dust jacket; The Lord Fish, Illustrated by Rex Whistler, [1935]; Memory and Other Poems, 1938, Sassoon's initialled monogram dated May 1938 in ink to top left corner of front pastedown and ink marginal notes in his hand on pp. x and xi; Behold this Dreamer, 1939, signed ink presentation inscription from the author to Sassoon to front free endpaper 'Siegfried with love from W. J. [Walter de la Mare's intimate form of signing], May 1939', Sassoon's pencil underlining of passages on pp. 5, 17 and 49, original cloth in dust jacket; The Burning-Glass and Other Poems, 1945, with ink handwritten inscription by Sassoon after the poem 'The Spectacle' on page 29, 'In Dec 1948 W.d.l.M lent me a revised version of this poem slightly longer, which I transcribed in "The Traveller"', and after 'Outer Darkness" on page 94 a pencil note 'Influenced by E. A. Poe?'; Inward Companion, 1950, with Sassoon's pencil marks against passages on pp. 13, 19 & 56, and with a footnote on p. 14, 'cf. T.H.'s [Thomas Hardy] "An August Midnight"', original cloth in dust jacket; Winged Chariot, 1951, author's signed ink presentation inscription to front free endpaper, 'To dear Siegfried (and George) [Sassoon's only son] with love from W.J., June 1951', original cloth in dust jacket; O Lovely England and Other Poems, 1st edition, 1953, original cloth in dust jacket; The Winnowing Dream, illustrated by Robin Jacques, 1954, author's autograph ink inscription to Sassoon from De la Mare to front pastedown in shaky handwriting, original stitched wrappers, slim 8vo; plus copies of John Freeman's Letters, 1936, with ink inscription by Sassoon as head of p. 243, Tea with Walter de la Mare by Russell Brain, 1957, with pencil footnote by Sassoon on page 80, Tribute to Walter de la Mare on his Seventy-Fifth Birthday, 1948, with two Typed Letters Signed 'Dick' from De la Mare's brother Richard, vice chairman of Faber & Faber, and Two Poems by Walter de la Mare And (But!) Arthur Rogers, privately printed, Newcastle-on-Tyne,1938, folded card, signed by Rogers to upper wrapper, limited edition, 141/200 copiesQTY: (20)
Minton (John, illustrator). Time was away, a notebook in Corsica, Written by Alan Ross and Illustrated by John Milton, 1st edition, first impression, first issue binding, London: John Lehmann, 1948, 8 full-page colour plates plus monochrome illustrations, light tape stains to endpapers, Foyle's bookseller label to front pastedown, publisher's original yellow buckram, titled in green and gilt to spine, dust jacket printed in colours, price-clipped, very minor wear to extremities, large 8vo QTY: (1)
James (Henry). Confidence, 2 volumes, 1st English edition, London: Chatto & Windus, 1880 [1879], 32 pp. publisher's catalogue dated December 1879 at end of volume II, occasional light spotting, contemporary previous owner signature at head of volume I title, floral patterned endpapers, Blackwell bookseller ticket to front pastedowns, original decorative cloth gilt, spines a little toned and rubbed at ends, edges lightly rubbed, 8voQTY: (2)NOTE:Edel & Laurence A11a. One of 500 copies printed. Precedes the first US edition by two months.
Larkin (Philip). The Less Deceived, 1st edition, 1st issue, Hessle: The Marvell Press, 1955, 1st issue with the misprint 'floor' for 'sea', first line on p. 38, a few minor spots, light offsetting to endpapers, original 1st state green cloth with square spine, dust jacket with printed price 6/-, some fading to spine, 8voQTY: (1)
Austen (Jane). The Novels of Jane Austen, edited by Reginald Brimley Johnson, 10 volumes, London: J. M. Dent, 1892, decorative titles printed in red and black, monochrome plates by William C. Cooke, a few light spots, some toning to endpapers, top edge gilt, original green cloth gilt, spines a little faded, occasional faint spotting to upper covers, a couple of corners bumped, 8voQTY: (12)NOTE:First Dent edition of the Novels.
Clemens (Samuel Langhorn, "Mark Twain"). Huckleberry Finn, 1st UK edition, London: Chatto & Windus, 1884, wood-engraved frontispiece and illustrations by E. W. Kemble, 32 pp. publisher's catalogue at rear dated October 1884, a few light spots, small abrasion to front pastedown, original pictorial cloth gilt, some fading to spine, one or two light marks, 8vo, together with Life on the Mississippi, 1st UK edition, London: Chatto & Windus, 1883, wood-engraved frontispiece, illustrations, 32 pp. publisher's catalogue at end dated August 1885, slight offsetting and light spots to title, previous owner inscription to half-title, original pictorial cloth gilt, some fading to spine, 8voQTY: (2)NOTE:BAL 3414 & 3410 respectively. The first UK edition of Huckleberry Finn precedes the first US edition by a few months and is in the stitched binding (BAL binding 'A').
Beckett (Samuel). Waiting for Godot. A tragicomedy in two acts, 1st UK edition, London: Faber and Faber, 1956, publisher's note tipped in, front endpaper toned from press cutting, original cloth, dust jacket, spine a little toned, edges slightly rubbed with a couple of tiny closed tears, 8voQTY: (1)NOTE:First published in Paris as En attendant Godot in 1952.
* Wallis (John, publishers).The Elements of Astronomy and Geography. Explained on 40 Cards beautifully engraved and coloured by the Abbe Paris, 1st edition, No. 16 Ludgate Street, London: John Wallis, 15th July 1795, 40 hand-coloured engraved numbered cards, designed by Louis-Michel Pâris, on faintly watermarked laid paper, depicting various astronomical and geographical diagrams, plans and instruments, very lightly bowed, variable toning, each verso with explanatory note, each card 92 x 62 mm, 15 cards mounted with photo corners onto a display board (54.5 x 40 cm), encapsulated in clear plastic (not examined out of board), the remainder contained in original open slipcase with ribbon (some minor rubbing and marks), printed paper label with engraved vignette laid onto front, over marbled paperQTY: (1)NOTE:Provenance: Collection of Dudley Ollis.Another copy of the same set of playing cards is held by the Victoria & Albert Museum (accession number: E.820-1939). Only one other complete copy traced at auction: Christie's London, 15 March 1995, lot 11. Louis-Michel Pâris (1740-1806) was a French priest and teacher who produced these cards as a teaching-aid for his pupils. He first engraved and coloured the set published by John Wallis in London in 1795: Pâris lived there for several years at the end of the 18th century before returning to France.
Tolkien (J. R. R.). The Lord of the Rings, 3 volumes, Reader's Union edition, London: George Allen & Unwin, 1960, folding map at rear of each volume, original brown cloth gilt, dust jackets, spines toned and damp-stained at foot, some spotting to panels, a few extremities frayed with small loss, closed tear to lower joint of first volume, 8voQTY: (3)
Spencer (Gilbert, 1892-1979). A group of five Christmas cards from Gilbert and Ursula Spencer to Lady Ottoline and Philip Morrell, circa 1930-1935, five printed Christmas cards, each with a monochrome design by Gilbert Spencer to front (depicting four people warming their hands at a fire with various animals, an angel in a cloud pointing to a shepherd with sheep in an enclosure, a winter scene with fireplace inscribed 'when icicles hang by the wall', a seated figure in academic gown within an oval inscribed 'At a Balliol Concert', and a lady playing a harp before with a group of boys singing), each with printed address of Burdens Farmhouse, Twyford, Shaftesbury, Dorset, or 38 Lansdowne Crescent, Ladbroke Grove, W. 11, together with three copies of Gilbert and Ursula Spencer's marriage announcement, dated December 30th, 1930, printed on Whitchurch watermarked hand-made paper, each with monochrome illustration of a young man with a basket on his arm standing beside a pigeon house, each signed in ink by Gilbert Spencer, and an original posted handwritten posted envelope from Gilbert Spencer to Lady Ottoline and Philip Morrell, 10 Gower Street, London WC1, 255 x 190 mm and a slightly smaller, together with other similar greetings cards fromvarious members of the Garsington circle: a woodcut Christmas greetings card from Pansy & Henry Lamb (1883-1960), printed on thin paper (somewhat creased), a small monochrome reproduction of a painting by Mark Gertler, entitled A Bouquet of Flowers, inscribed in capital letters by Gertler '"A Bouquet of Flowers" by Mark Gertler. To wish you a Happy Christmas', a 1930 printed calendar with colour illustration and verse by James Stephens, inscribed 'to Dear Lady Ottoline and Mr Morrell from Cynthia and James Stephens', in blue ink, a printed Christmas card from Stephen Tennant (1906-1987) to Lady Ottoline inscribed Ottoline from Stephen, December 1934, a colour reproduction of William Blake's The Act of Creation' published by A. Edward Newton, circa 1925, the reproduction inscribed 'to Ottoline from Augustus Birrell, New Year, 1926' , with original envelope addressed by hand to The Lady Ottoline Morrell, The Manor House, Garsington, Nr Oxford, a 1937 calendar anonymously inscribed in ink 'to the most graceful lady who walks in the Square', signed with a horseshoe symbol, an unsigned Christmas card for 1933 printed at the Poulk Press, Sutton Veny, Wiltshire in an edition of 150 copies, a Medici Society printed booklet containing the second chapter of St. Matthew, printed by the Curwen Press, and a Christmas card from Romano Gazzera (1906-1985) to Julian Vinogradoff, inscribed and sgned by Romano & Graziella in Italian, and dated 1959-1960QTY: (17)NOTE:Provenance: From the collection of Lady Ottoline Morrell (1873-1938): thence by descent.Gilbert Spencer, younger brother of Stanley Spencer, studied fine art at Camberwell, the Royal College of Art RCA, the Slade School, where he was highly influenced by Henry Tonks. He joined the teaching staff at the Ruskin School of Art, Oxford following his service in the First World War. Lady Ottoline had already purchased a major work by Gilbert Spencer, The Seven Ages of Man, for the Contemporary Arts Society in 1914, as well as Spencer's A Cotswold Farm 1930-31 (now in Tate Britain).The Poulk Press was founded by Nancy Nicholson, sister of Ben Nicholson, in the early 1930s; the colour linocut nativity scene is likely to have been designed by her.
Wells (H. G.) The War of the Worlds, 1st edition, 1st issue, London: William Heinemann, 1898, 1st issue with 16 pp. publisher's catalogue at rear dated 1897 (last two pages with marginal losses from rough opening), small tears to rear endpaper, some light toning to endpapers and first few leaves, light residue from label removal to front and rear pastedowns, original grey cloth lettered in black, Heinemann monogram to lower cover, spine ends slightly rubbed, small light stain to upper cover, one corner a little bumped, 8voQTY: (1)NOTE:Hammond B5.
Hughes (Ted, contributor). Saint Botolph's Review, 1st edition, Cambridge: David Ross, 1956, 36 pp., original red printed paper wrappers, dust jacket, small faint water spot to head of front panel, small closed tear (approx. 1 cm) to foot of lower panel, 8voQTY: (1)NOTE:Sagar & Tabor C8.The student poetry journal which introduced Ted Hughes's poetry to Sylvia Plath, who consequently met Hughes at the journal's launch party on the day of publication. Hughes contributed four poems, representing the first time his poetry appeared in print under his own name. In Plath's journals she recounts their first meeting 'Then the worst thing happened, that big, dark, hunky boy, the only one there huge enough for me, who had been hunching around over women, and whose name I had asked the minute I had come into the room, but no one told me, came over and was looking hard in my eyes and it was Ted Hughes. I started yelling again about his poems and quoting: ''most dear unscratchable diamond''... and then he kissed me bang smash on the mouth and ripped my hairband off, and when he kissed my neck I bit him long and hard on the cheek, and when we came out of the room, blood was running down his face'. (The Journals of Sylvia Plath, The Dial Press, 1982)
The Punisher No. 1 CGC Grade 9.4 featuring first issue of limited series (Marvel Comics, 1986).Jigsaw appearance.Creators: Steve Grant story, Mike Zeck and John Beatty art, Mike Zeck cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:4024556004CGC Grader Notes:Unavailable.~(1)Condition Report: NM (Near Mint) condition (9.4)Uncleaned/Unpressed.
DC Versus Marvel No. 1 CGC Grade 9.6 featuring first issue of milestone crossover event (DC Comics/Marvel Comics, 1996).1st appearance of Access.Creators: Peter David & Ron Marz story, Claudio Castellini and Paul Neary art, Dan Jurgens and Joe Rubinstein cover & art.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:2141477023CGC Grader Notes:Unavailable.~(1)Condition Report: NM+ (Near Mint plus) condition (9.6)Uncleaned/Unpressed.
Amazing Spider-Man No. 361 - 1st appearance of Carnage (Marvel Comics, 1992)Key Marvel 1st appearance issue. First-print edition of the 1st appearance, and origin of one of Spider-Mans most iconic villains: Carnage (Kletus Casady). This lot features:Amazing Spider-Man (1st series) No. 361 1st Prints, US Cents copy.Creators: Story by David Michelinie. Interior art and cover by Mark Bagley. Inks by Randy Emberlin.Complete without cut coupons or missing pages. Bagged and boarded in new polypropylene bags and comic boards.~(1)Condition Report: High-Grade condition.
Star Wars No. 1 CGC Grade 9.0 (Marvel comics, July 1977).Presenting the very first issue of the first ongoing Star Wars Comic book with an iconic cover by Howard Chaykin and many key 1st appearances.Creators: Story by Roy Thomas, interior art and cover by Howard Chaykin and Tom Palmer.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:4059054006CGC Grader Notes:Unavailable~ (1)Condition Report: VF/NM (Very Fine/Near Mint) condition (9.0)Uncleaned/Unpressed.
Spawn No. 1, High-Grade Black and White edition (Image Comics, 1997).High-Grade condition. Incredibly rare edition of Spawns first issue.This lot features:Spawn (1st series) No. 1 Black and White edition.Creators: Story, interior art and cover by Todd McFarlane.Issue complete without cut coupons, missing value stamps or missing pages.Issue comes bagged and boarded in polypropylene bag and comic board.1st print, US Cents edition.(1)Condition Report: High-Grade condition
DC Comics: The New 52 Exclusive Employee copy version, signed and numbered by Jim Lee with exclusive artwork (DC Comics, 2012).Omnibus collects all the first issues and stories for each title released during DC comics New 52 era.1st Print hardcover with limited Wonder Woman artwork print by Jim Lee exclusive to 1st edition for DC Colleagues, signed and numbered by Jim Lee No. 34/52.Copy comes with appreciation slip from DC publishers to colleagues and staff.2040 PagesDimensions:Item Height: 284mmItem Width: 198mm~(1)Condition Report: Excellent condition.
Watchmen No. 1 CGC Grade 9.4 featuring 1st appearance of Rorschach, Ozymandias, Dr. Manhattan, Silk Spectre and Nite Owl (DC Comics, 1986).First issue of whats widely considered the greatest comic book series of all time by legendary creator Alan Moore. 1st appearances of Rorschach, Ozymandias, Dr. Manhattan, Silk Spectre & Nite Owl. "Death" of Comedian.Creators: Alan Moore story, Dave Gibbons cover and art.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:3940805023CGC Grader Notes:Unavailable.~(1)Condition Report: NM (Near Mint) condition (9.4)Uncleaned/Unpressed.
Captain Britain No 1: featuring the 1stappearance of Captain Britain, complete with intact Mask free gift (Marvel UK, 1976).Magazine size weekly British edition comic published weekly by Marvel Comics International. First issue features 1stappearance of Captain Britain and origin of the Mask. Key Marvel 1stappearance issue. High-Grade condition.This lot features:Captain Marvel (Marvel UK) No. 11st print. UK Pence copy.Issue complete without cut coupons, missing value stamps or missing pages.Over size magazine format: 28cm x 21cm.Bagged and boarded.~(1)Condition Report: High-Grade condition.Mask in perfect, intact unperforated condition.
Justice League No. 1 CGC Grade 9.6 featuring first appearance of Maxwell Lord (Black King)(DC Comics, 1987).Creators: Keith Giffen and J.M. DeMatteis story, Kevin Maguire and Terry Austin cover & art.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:4432347001CGC Grader Notes:Unavailable.~(1)Condition Report: NM+ (Near Mint plus) condition (9.6)Uncleaned/Unpressed.
Blade Runner No. 1 CGC Grade 9.4: the first ever Blade Runner comic book. (Marvel Comics, 1982).Movie adaptation, part one of two.Creators: Archie Goodwin story. Al Williamson, Carlos Garzon, Dan Green and Ralph Reese art.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:1557814007CGC Grader Notes:Unavailable.~(1)Condition Report: NM (Near Mint) condition (9.4)
Marvel Team-Up No. 141 CGC Grade 7.0 featuring contested 1st appearances of Spider-Man Black suit (Marvel comics, 1984).Ties with Amazing Spider-Man No. 252 for first appearance of the black costume. Daredevil & Black Widow appearance.Creators: Tom DeFalco & Jim Owsley story, Greg LaRocque and Mike Esposito art, Art Adams and Mike Mignola cover.Graded by CGC and protectively slabbed within CGCs archival-grade capsule.White Pages. US Cents edition. Uncleaned/Unpressed.CGC serial number:3900029005CGC Grader Notes:Small, multiple bend.Spine stress lines breaks colour.~(1)Condition Report: FN/VF (Fine/Very Fine) condition (7.0)Uncleaned/Unpressed.
Rowling (J.K.), Harry Potter and the Philosopher's Stone, Harry Potter and the Chamber of Secrets, Harry Potter and the Prisoner of Azkaban, three volumes in slipcase, Ted Smart/The Book People editions, third, second and second printings respectively, original boards, dust jackets, with a first paperback edition of Harry Potter and the Chamber of Secrets. (4)
Milne (A.A.), The House at Pooh Corner, London: Methuen, 1928, first edition, illustrations by Ernest H. Shepard, pictorial endpapers, original pictorial cloth gilt, together with another copy, and Rackham (Arthur, illustrator), Some British Ballads, London: Constable, no date, colour plates, original pictorial cloth gilt (3).
Small Collection of Enid Blyton Books, including several first editions, majority in dust jackets.Five have plenty of fun , 1955Demon's rocks, 1961Get into a fix, 1958Have a wonderful time, 1952Have plenty of fun, 1955On finniston farm, 1960Five on a Tresaure Island - facsimile edition of the first edition, Hodder & Stoughton, 1992.
Albrecht Durer - Christ driving the money changers from the temple - 1510 / Description: Meder 131 (a-b/c). Woodcut from the Small Passion by Dürer. Original Dürer woodcut from an early edition without text, dating from circa 1544 -1589 based on the fragment of watermark found on the paper (watermark similar to the 'Kleines Wappen von Kaufburen mit einfachen Sternen =Meder Watermark 220.a, as used in the 'Ehrenporte' published in 1559.) Christ driving the money changers from the temple, with Christ raising a scourge over his left shoulder. Original woodcut from circa 1508-1509 by Dürer from the small passion, his first major project, and today his most celebrated, depicting the final days of Christ’s life. / Dimensions: 12,70 x 9,70 cm / Condition: Excellent brilliant sharp and evenly printed well contrasted black impression with the gaps in the borderline bottom left as as already described for the state before the Latin text. Early edition well ahead of the Italian text edition. On the full sheet of lead paper measuring 19,50 x 15,00 cm. Tipped with left border on a laid paper support sheet. Excellent untouched condition with no folds tearsoir stains, one hole from a rust particle in the paper in the left margin. / Literature: Meder 131 (a-b/c) With the gap in bottom left border as described for this and previous states ---Bartsch / Le Peintre graveur (VII.119.23) --- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.294.67) / Medium: Woodcut /Circa: 1508-1509
Albrecht Durer - Christ in Limbo - 1509 / Description: Meder 150 (b-d/d). Woodcut from the Small Passion by Dürer. Original Dürer woodcut from an early edition without text, dating from circa 1544 -1589 based on the fragment of watermark found on ' The Entombment ' (see lot 'other in this auction, watermark similar to the 'Kleines Wappen von Kaufburen mit einfachen Sternen =Meder Watermark 220.a, as used in the 'Ehrenporte' published in 1559.) Christ walking down to the arched gateway to Limbo on the right, on the left a group of people including Moses, John the Baptist, Adam and Eve. Original woodcut from circa 1510 by Dürer from the small passion, his first major project, and today his most celebrated, depicting the final days of Christ’s life. / Dimensions: 12,60 x 9,80 cm / Condition: Excellent brilliant sharp and evenly printed well contrasted black impression with the gaps in bottom borderline as described for state d but before the four gaps mentioned for state d the gap in left borderline was already described for state b, (this places our state between b and d). Early edition well ahead of the Italian text edition. On the full sheet of lead paper measuring 19,50 x 15,00 cm. Tipped with left border on a laid paper support sheet. Excellent untouched condition with no folds, tear or stain. / Literature: Meder 150 b-d/c. With the gaps as described --- Bartsch / Le Peintre graveur (VII.120.41) -)-- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.296.85) / Medium: Woodcut /Circa: 1509
Annibale Carracci - Arti di Bologna: Seller of Spectacles, and A Messenger - 1646 / Description: Diverse figure al numero di ottanta, disegnate di penna nell'hore di recreatione da Annibale Carracci intagliate in rame, e cavate dagli originali da Simone Guilino', more commonly called by the titles in the later reprints, 'Le Arti di Bologna': The occupations of the Bolognese). Here excellent early impressions, with the little scratsches in the plates stil visible, from the first edition of 1646 with traces of an earlier number erased in the bottom left corner also noticable on the first editions in Paris and Washington, but before the captions with the identification of the showed occupations in later states. It is assumed that Annibale Carracci would have drawn the figures of the Trades of his city, almost for fun, during the breaks in the work for the Farnese Gallery. The painter would have decided to collect these drawings in an album. Knowledge of this work by Annibale Carracci is due to the prelate Giovanni Antonio Massani, a relative of Pope Urban VIII and previously secretary of Giovanni Battista Agucchi. Massani, having found himself in possession of Annibale's drawings, as he himself narrates, had them engraved by the Frenchman Simon Guillain (1618-1658) and printed them in a volume entitled Diverse Figures al numero di ottanta, Disegnate di penna Nell'ore di raccolta da Annibale Carracci intagliate in copper, e scavate dagli Originali da Simone Guilino Parigino, dedicato a tutti i Virtuosi et Intendenti della Professione della Pittura, e del Disegno, printed in Rome in 1646. Here a pair of etchings from this famous work, mainly known by the later editions with title of the subject (here before...). The subjects here in this lot have later bein identified as: 'Acoramaglietti' A trinket seller, standing in the centre with his head turned to the left, holds up a decorative box full of his wares.) and 'Porta Citationi' (A man delivering notices (citations); seen in profile, he stands with his foot on a doorstep, thumbing through a bundle of papers.) Special for these etchings is that they have the title written in sepia ink beneath the print, only in later editions they were added to the copperplate etching itself. Also noticable is these plates are signed respectively ' A C I --- S. g S' and 'An. Ca Inv. --- S.G. Sc'' The number is also etched bottom middle, in later reworked editions it was set at the left or right corner to make space for the etched title. Our example is 100% identical as the first edition kept in the Library of Congres (In Roma : Nella Stamperia di Lodovico Grigniani, 1646). The British Museum holds only an etdition from 1740 with name of the profession etched in the image and other differences as described for later states. A pair of rare and original impressions from the first edition from 1646. / Dimensions: 27,30 x 16,70 cm / Condition: Outstanding early impressions with nice plate tone on crown watermarked laid paper with good margins. Subject titled in brown ink in lower margin. Excellent untouched condition. / Literature: IFF / Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (3) ----- Perfect Deformity, Ideal Beauty, and the "Imaginaire" of Work: The Reception of Annibale Carracci's "Arti di Bologna" in 1646 Author by Sheila McTighe in Oxford Art Journal , 1993, Vol. 16, No. 1 (1993), pp. 75-91). / Medium: Pair of Etchings /Circa: 1646
Albrecht Durer -The Entombment of Christ - 1510 / Description: Meder 153 (d). Woodcut from the Small Passion by Dürer. Original Dürer woodcut from an early edition without text, dating from circa 1544 -1589 based on the fragment of watermark found on this print (watermark similar to the 'Kleines Wappen von Kaufburen mit einfachen Sternen =Meder Watermark 220.a, as used in the 'Ehrenporte' published in 1559.) Joseph of Arimathea and two other men lowering the body of Christ into the tomb, behind the tomb the Magdalen holding an ointment jar, in the foreground the crown of thorns. Original woodcut from circa 1509-10 by Dürer from the small passion, his first major project, and today his most celebrated, depicting the final days of Christ’s life. / Dimensions: 12,80 x 9,80 cm / Condition: Excellent brilliant sharp and evenly printed well contrasted black impression with the four gaps in the top borderline as described for this state. Early edition well ahead of the Italian text edition. On the full sheet of lead paper measuring 19,50 x 15,00 cm. Tipped with left border on a laid paper support sheet. Excellent untouched condition with no folds, tear or stain. / Literature: Meder 153 d. With the gaps in top border as described for this state --- Bartsch / Le Peintre graveur (VII.120.44) -)-- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.296.88) / Medium: Woodcut /Circa: 1509-10
Master of Delft (1480-1498 Act) -The Transfiguration of Christ / Description: Christ in the halo. At his right hand Moses with the tables of stone and on his left Elias with a book, Peter, James, and John to kneel down in front of him. This is a full page incunabula old coloured woodcut, probably used in an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi"if not in an earlier work. The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to a group of three artists (Master of Delft, Master of the Delbecq-Schreiber-Passion, Master of the Virgo inter Virgines) and dated 1480-1500. It's quality is very good. It is a real early woodcut in History and precedes the more common woodcuts from the Ludolphus editions of the turn of the century. A very rare work. / Dimensions: 17,50 x 14,20 cm / Condition: Excellent early impression with unbroken woodcut lines, mounted on a laid paper collection sheet. Very nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Rijksmuseum RP-P-OB-2067 -----Conway (1884) and "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Oldcoloured woodcut /Circa: 1480-1503
Master of Antwerp (1485-1491), Attr - The calling of Mattheus / Description: This is an old colored incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is identical in style as the ones attributed by the Rijksmuseum to The First Antwerp Master and dated 1485-1491. They do not have this woodcut and I did not find it elsewhere. It is a real early woodcut in History and precedes the more common woodcuts from the Ludolphus editions of the turn of the century. / Dimensions: 9,80 x 13,00 cm / Condition: Excellent impression with unbroken woodcut lines, mounted on a laid paper collection sheet. Nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Woodcut /Circa: 1485-1491
Master of Delft (1480-1498 Act) - Christ healts the centurions servant. Falcony / Description: Christ heals the servant of the centurion of Capernaum. Christus speaks to the three men, one of them a falconer, the servant of the centurion of Capernaum, on the bed. This is a full page incunabula old coloured woodcut, probably used in an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi" if not in an earlier work. The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is attributed by the Rijksmuseum to a group of three artists (Master of Delft, Master of the Delbecq-Schreiber-Passion, Master of the Virgo inter Virgines) and dated 1480-1500. It's quality is very good. It is a real early woodcut in History and precedes the more common woodcuts from the Ludolphus editions of the turn of the century. A very rare work. / Dimensions: 17,40 x 14,50 cm / Condition: Excellent early impression with unbroken woodcut lines, mounted on a laid paper collection sheet. Very nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Rijksmuseum RP-P-OB-2032 -----Conway (1884) and "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Oldcoloured woodcut /Circa: 1480-1503
S.John with the Holy Trinity - Koberger Bible, 1483 / Description: Early incunabula folio sheet dating from 1483 (!) with large old coloured woodcut figuring the evangelist Saint John inside a building with at right the holy trinity holding a bible, a sphere with the world inside at their feet. This is a special woodcut at the first chapter of the Evangelium Johannem. On the backside with a very nice handpainted initial, the words: In dem Anfang was daz wort. Vnd das wort was bei got. vnd got was das wort . From the 'Nuremberg Bible (Biblia Sacra Germanaica) Nuremberg A. Koberger 17 February 1483 printed in 2 col., decorated with three-line red initial, paragraph marks in red. The woodcut is period hand colored. The text is a crib/incunabula; a writing set with loose letters that was printed in Europe before 1501. This edition is early and dates from1483. The woodcuts are even earlier and were created no later than 1478. (!) / Dimensions: 35,30 x 23,80 cm / Condition: Excellent condition with a fresh impression of text and woodcut with vivid old coloring from the period on the full sheet of strong laid paper. No stains, folds or tears on the woodcut and only very mild foxing of the outer margins. Outstanding excellent condition considering the age. / Literature: The Koberger Bible of 1483 is the ninth German-language version of the Bible to have been printed and the second to have been produced in Nuremberg, after the Sensenschmidt Bible of circa 1476-78. For the rich decoration of his edition, Anton Koberger (circa 1440-1513) used the woodcuts made for the Bible printed in Cologne by Bartholomaeus of Unckel in 1478-79, which he himself had helped to finance. Unlike Gu?nther Zainer, who had already used woodcut historiated initials in his Bible of 1475-76, Koberger allowed for painted initials to be supplied by a rubricator or illuminator.( Source: Library of Congress, with image) / Medium: Full sheet of an early incunabula sheet of the Woodcut /Circa: 1483
Albrecht Durer - Ascension of Christ - 1510 / Description: Meder 159 (c). Woodcut from the Small Passion by Dürer. Original Dürer woodcut from an early edition without text, dating from circa 1544 -1589 based on the fragment of watermark found on 'The Entombment ' (see lot 'other in this auction, watermark similar to the 'Kleines Wappen von Kaufburen mit einfachen Sternen =Meder Watermark 220.a, as used in the 'Ehrenporte' published in 1559.) The Ascension of Christ, an empty tomb in the center, surrounded by the apostles and the Virgin looking upwards; in the sky a cloud with Christ's legs visible. Original woodcut from circa 1510 by Dürer from the small passion, his first major project, and today his most celebrated, depicting the final days of Christ’s life. / Dimensions: 12,70 x 9,80 cm / Condition: Excellent brilliant sharp and evenly printed well contrasted black impression with the small gaps in top and bottom borderline as described for this state. Early edition well ahead of the Italian text edition. On the full sheet of lead paper measuring 19,50 x 15,00 cm. Tipped with left border on a laid paper support sheet. Excellent untouched condition with no folds, tear or stain. / Literature: Meder 159 c. With the gaps in top and bottom border as described for this state --- Bartsch / Le Peintre graveur (VII.120.50) -)-- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.296.94) / Medium: Woodcut /Circa: 1510
Claes De Grave -Balaam on his donkey - Antwerp, 1516 / Description: Post Incunabula sheet. Woodcut showing Balaam beating his Donkey. This Woodcut published in Antwerp bij Claes De Grave in 1516 is directly based on the woodcut sequence used in the first bible in Low German (Niederdeutsch), the Bible of Cologne: [Heinrich Quentell, c. 1478]. Most of the woodcut compositions of Quentell's Bible correspond in their turn closely to a manuscript bible produced in Cologne circa 1460, which may in turn reflect a common source (Info from: Bridwell Library Special Collections, Dallas).---------- The Bibel int Corte is known as one of the earliest Dutch-language bible editions. It was contestated for his fantasy of content. In 1518 The Franciscan Jan Elen wrote: Laet achter duytsche bibelen die onvolcomelic ende ooc valschelic sijn overgheset uten latine, ende historien ende legenden die dicwils niet waer en sijn, ende ander materien die u niet noot en sijn te weten, mer dicwils scadelic sijn. ---------- Early and important woodcut in history. Made before 1513 (first edition). 100% match with the 1516 Edition (See Library of Congess example) / Dimensions: 9,50 x 13,00 cm / Condition: Condition is good with small restoration of bottom right corner of the sheet. Size of the sheet 22,30 x 16,40 cm / Literature: De Bibel int corte ghetranslateert. Wten laine ende walsche metten figueren.[Antwerpen, Gheprent bi Claes de Graue, 1516] Rosenwald Collection (Library of Congress) Grave, Claes De, Date: 1516 (Image of page 111) ------------- As Balaam and his donkey travelled along a road, an angel of the Lord blocked the path of the donkey. When Balaam beat the donkey, God miraculously caused it to talk to its owner. Finally, Balaam saw the angel and realized what had happened. He ended up blessing the Israelites instead of cursing them. / Medium: Woodcut /Circa: 1510-1516
Dutch Incunabula - Werner Rolevinck - Utrecht 1480 / Description: Incunabula sheet with handpainted rubrifications and initials in red. Sheet from the Dutch translation of Werner Rolevinck, "Fasciculus tempororum" , printed in 1480 and published by Johann Veldener in Utrecht. The sheet is with no doubht from this edition as no other Duthc reprints are known.The First edition in Latin printed by Arnold Therhoernen (1474) / Dimensions: 28,00 x 20,00 cm sheet / Condition: Overall in excelent condition / Literature: As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. It goes without saying that religious views and opinions played a major part in Rolevinks’s history of the world and it is therefore not surprising that it starts with God’s creation of the world. The text is illuminated with many beautiful woodcuts. For instance we find illustrations of Noah’s Ark, the city of Nineve, the Ark of the Covenant, the tabernacle and many Biblical genealogies. But also ‘profane’ matters and cities are immortalized such as overviews of the royal families of France and England and cities including Rome, Constantinople, and London.... The incunable is a Dutch translation, printed in 1480 and published by Johann Veldener, publisher in Utrecht. There were no other Dutch reprints which suggests that the work was less popular in the Low Countries. Possibly Veldener was already involved in the first print of 1474, which rolled off the press in Cologne at Arnold Therhoernen. ..... the Fasciculus temporum is a synthesis between the religious and worldly history, a form quite common in the era of Humanism. However, emphasis is on the non-profane history, not surprising considering Rolevinck’s background. As sources for his text he used the Chronicon Pontificum et Imperatorum by Martin von Troppau, the Speculum historiale by Vincent van Beauvais and the anonymous Rudimentum noviciorum. ... (source of the description: Special collections - Utrecht University) / Medium: incunabula printed page /Circa: 1480
Monogrammist DS - Allegory of Astronomy - 1508 / Description: Allegory of Astronomy, Claudius Ptolemy (AD c100-170) being guided by the muse Astronomy. From an edition of 'Margarita Philosophica' by Gregor Reisch, published in Basel,1508. The woodcut artist is possibly the Swiss block-cutter known as the Monogrammist DS, active in Basel or Strasbourg in the first two decades of the 16thC; his prints were an important early influence on those of Urs Graf. A few paintings have also been associated with him but these attributions remain controversial. His woodcuts were published in Basel and this is assumed to be his main city of work, but he may have spent his early career in Augsburg and perhaps trained with Hans Burgkmair or Jörg Breu. He made woodcuts for the 'Margarita Philosophica' by Gregor Reisch, first published in Basel in 1508. From an early edition with blank space left open to add the painted initials. / Dimensions: 15,70 x 12,80 cm / Condition: Good early impression with less or no wear. Sheet and woodcut in perfect condition. / Literature: / Medium: Woodcut /Circa: 1508-1535
Anton Wierix II, Maerten de Vos, Complete series: The life and passion of Christ. / Description: Very rare complete series of 25 engravings, title and 24 engravings: The life and passion of Christ. After drawings of Maerten de Vos, engraved by Anthon Wierix II and Plate 14,17,18, engraved by Pieter de Jode. First edition published by Gerard de Jode in Antwerp ca 1583-1587. Complete with the text page nr° 24 which is often missing. All engravings first state or only state impressions. References: Hollstein Dutch 90 only state - Hollstein Dutch 111 only state. The engravings are all printed on the same kind of laid paper with large margins. Good dark impressions. Several with the same watermark. / Dimensions: Title: 19,5 cm x 14,4 cm; other ca 20,7 cm x 13,1 cm / Condition: The engravings are all printed on the same kind of laid paper with large margins The set is born together. Good dark impressions. Several with the same watermark. Nicely bound together. / Literature: All engravings first state or only state impressions: Hollstein Dutch 90 only state - Hollstein Dutch 111 only state. / Medium: complete set of 25 engravings /Circa: 1583-1587
Mer des Histoires - History of David - 16thC. / Description: David escapes through a window, David wit the head of Goliath. 'Full page of an edition of La Mer des Hystoires with two woodcuts inside a border of pinnacles. La Mer des Hystoires is an adapted version in French language of a very vast history(written in Latin, which starts with the origins and stops at the death of king Louis XI. On several occasions, revised and updated, it relies on the sources of the most diverse : the Bible, the Fathers of the Church and of the many authors of classical Antiquity and the Middle Ages. The first edition of The Mer des Hystoires appears in 1488, the last time in 1550. From 1491, the bookseller began to make prints in a full page formats he borrows from other contemporary books. The Sea of History , elegantly engraved, is recognized as one of the most beautiful illustrated books of the beginning of the print. All in all, it knows twenty-one editions. Unable to establish the date of publication this leaf comes from. My guess, with no guarantee is the 15120-1540 period. / Dimensions: 10,20 x 7,80 cm / Condition: Good strong printing on laid paper with remains of hinges on top and damp staining mainly in the margins. / Literature: / Medium: Woodcut /Circa: 1520-1540
Albrecht Dürer - Of nocturnal courting - 1494 / Description: Original Dürer woodcut from 1494. Von nâchtlichem Hofieren - Of nightly courting: By moonlight and starlight, a naked beauty pours lye from her chamber pot on five fools, three musicians and two singers who are paying her court, that is, serenading her. The smaller singer, who opens his mouth wide, seems to come off badly.--- Woodcut made by the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. This is one of the 75 of the 112 woodcuts now attributed to Dürer, who resided in Basel for a few months in 1494. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction is from the Latin edition. / Dimensions: 11,80 x 8,40 cm / Condition: Good black impression with margins around the borderline. Latin text on the backside. Laid paper with small defect at top right corner. / Literature: Schramm 1172, Winkler 29, Rogner & Bernard 1377, / Medium: Woodcut /Circa: 1494
Nuremberg Chronicle - Creation of Birds and Fish / Moon and Stars - 1493 / Description: Old coloured woodcut from the first edition of Hartmann Schedel, "Liber Cronicarum", from 12 July 1493. De opere quinte diei [Work of the Fifth Day, Creation of the Fish and Birds]. Second woodcut on the back: Creation of the firmament with moon, stars around the eart globe. Woodcuts from the richest illustrated Incunabula, the famous: "Nuremberg Chronicle". The wood blocks were designed by Michael Wolgemut and his stepson Wilhelm Pleydenwurff and their assistants, including the young Albrecht Dürer, who was apprenticed to Wolgemut at the time. The printing was carried out under the supervision of the great scholar-printer Anton Koberger, who was Durer's godfather. Wohlgemut was Albrecht Durer's tutor between 1486-90. The young Dürer was working in the workshop in the years 1486-1489 when many of the early designs for the Chronicle were made and he was probably involved in a certain amount of them. Especially the ones of the creation are connected to him and an amount of preparatory sketches found. Here we have a fine oldcoloured example of this impressive woodcuts from the old coloured luxury editions of the Cronicarum who were of the most expensive ones. / Dimensions: 22,50 x 22,00 cm / Condition: Excellent condition. Mounted on a collection sheet. With the original Latin letterpress above and on the backside of the woodcut from the first edition. / Literature: Liber Chronicarum, here a first edition, in Latin, printed by Anton Koberger in Nuremberg on 12 July 1493 in old colouring. The luxury editions in old colouring are mentioned in literature and were of the most expensive. --- Adrian Wilson - 1976: The making of the Nuremberg Chronicle. / Medium: Coloured Woodcut /Circa: 1493
Claes De Grave - David playing the Harp - Antwerp, 1516 / Description: Post Incunabula sheet. Woodcut showing David bringing the Ark into Zion; a procession lead by King David playing the harp; in foreground two horses drawing a cart with the Ark. This Woodcut published in Antwerp bij Claes De Grave in 1516 is directly based on the woodcut sequence used in the first bible in Low German (Niederdeutsch), the Bible of Cologne: [Heinrich Quentell, c. 1478]. Most of the woodcut compositions of Quentell's Bible correspond in their turn closely to a manuscript bible produced in Cologne circa 1460, which may in turn reflect a common source (Info from: Bridwell Library Special Collections, Dallas).---------- The Bibel int Corte (Thez Bible in Short) is known as one of the earliest Dutch-language bible editions. It was contestated for it's fantasy of content. In 1518 The Franciscan Jan Elen wrote: Laet achter duytsche bibelen die onvolcomelic ende ooc valschelic sijn overgheset uten latine, ende historien ende legenden die dicwils niet waer en sijn, ende ander materien die u niet noot en sijn te weten, mer dicwils scadelic sijn. ---------- Early and important woodcut in line of history of woodcut art. Woodcut made before 1513 (first edition). 100% match with the 1516 edition (See Library of Congess example) / Dimensions: 9,50 x 13,00 cm / Condition: Condition is good with added margin at right. Size of the sheet 22,30 x 16,40 cm / Literature: De Bibel int corte ghetranslateert. Wten laine ende walsche metten figueren.[Antwerpen, Gheprent bi Claes de Graue, 1516] Rosenwald Collection (Library of Congress) Grave, Claes De, Date: 1516 (Image of page 194) / Medium: Woodcut /Circa: 1510-1516
Master of Haarlem (1483-1486 Fl.), Attr. - Thomas Convinced / Description: Thomas Convinced, a rather a-typical version of the story. Upper left Saint Thomas in a cave blessed by the Lord, upper right Thomas at the door of a tower feeling the wounds of Christ, bottom part Jesus in an interior as salvator and pointing towards a table with bread and wine on it. ' This is an old colored incunabula woodcut from an early edition of Ludolphus de Saxonia, "Dat Boeck vanden leven ons lief heeren Ihesu Christi". The first edition was published in 1487 in Antwerp, followed by the 1488 edition in Delft, 1495 and 1499 in Zwolle and again in Antwerp in 1510. Amongst the earliest artist who worked at the project we mention: The Master of Haarlem, The second Gouda woodcutter and The first Antwerp woodcutter. The woodcut here on auction is identical in style as the ones attributed by the Rijksmuseum to The Master of Haarlem and dated 1483-1486. They do not have this woodcut and I did not find it elsewhere. It's quality is outstanding. It is a real early woodcut in History and precedes the more common woodcuts from the Ludolphus editions of the turn of the century. A very rare work. / Dimensions: 18,60 x 12,70 cm / Condition: Excellent early impression with unbroken woodcut lines, mounted on a laid paper collection sheet. Very nice period hand coloring. Gothic Dutch letterpress on the backside in two columns. / Literature: Conway (1884) and "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: Oldcoloured woodcut /Circa: 1483-1486
Master of the Gnad-Her - Prosecuting of good men - 1494 / Description: Narren mit Sack In Comendatione philosophie -Prosecuting of Good nenmen ---- Woodcut made by the so called The Gnad Her Master who worked aside of the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. From the 112 woodcuts 75 are now attributed to Dürer who resided in Basel for a few months in 1494. This woodcut however is by teh Gnad Her Master. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction from the Latin edition / Dimensions: 11,50 x 8,30 cm / Condition: Good black impression with margins around the borderline. Latin text on the backside. Laid paper with small hole top left and restored bottom left corner. / Literature: Schramm 1244, Rogner & Bernard 1415, / Medium: Woodcut /Circa: 1494
Nuremberg Chronicle -Westvalia Germanie / Bassia Germanie - 1493 / Description: Folio CCLXXXIIII. Westvalia Germanie Provincia / Bassia Germanie Provincia. Two large colored woodcut from the first edition of Hartmann Schedel, "Liber Cronicarum", printed by Anton Koberger in Nuremberg on 12 July 1493. The wood blocks were designed by Michael Wolgemut and his stepson Wilhelm Pleydenwurff and their assistants, including the young Albrecht Dürer, who was apprenticed to Wolgemut at the time. The printing was carried out under the supervision of the great scholar-printer Anton Koberger, godfather of Dürer. Wohlgemut was Albrecht Dürer's tutor between 1486-90. / Dimensions: 22,50 x 23,50 cm / 45,50 x 28,00 cm / Condition: Good impression of text and woodcuts on a large folio sheet of laid paper from the period. Some paper restauration of the margins slightly affecting the woodcut Bassia Germania on the backside / Literature: Michel Wolgemut, Painter, designer of woodcuts. At an early stage of his career he is thought to have assisted Hans Pleydenwurff (c. 1420-72) in Nuremberg. In 1473 he married Hans Pleydenwurff's widow, thereby inheriting this artist's workshop. Wolgemut taught Albrecht Dürer from 1486 to 1489. That Dürer held his master in high esteem is implied in a letter he wrote in 1506 from Venice to his friend Willibald Pirckheimer in Nuremberg, in which he recommends Wolgemut as a teacher for his younger brother Hans Dürer. Dürer also painted a portrait of Wolgemut in 1519. Wolgemut's stepson, Wilhelm Pleydenwurff (c. 1458-94), worked with him and by 1491 had become his partner. The Wolgemut workshop was the most active in Nuremberg during this period. Documented altarpieces for several churches. Together with Wilhelm Pleydenwurff, Wolgemut was responsible for the production of the woodblocks for Hartmann Schedel's 'Weltchronik' published in 1493 by Anton Koberger in Nuremberg (Text from Bartrum 1995). Bibliography: Rowlands 1993; Neudörfer, Nachrichten, pp. 128-30; Thieme-Becker, xxxvi, 1947, pp. 175ff.; xxxvii, 1950, p. 306 (for further literature); Gerd Betz, Der Nürnberger Maler Wolgemut und seine Werkstatt (typescript dissertation), Freiburg, 1955; Stange, ix, 1958, pp. 51-60; Bellm, Skizzenbuch; Bellm, Schatzbehalter, Austin, Nuremberg, pp. 92ff; Bartrum, BM 1995.A basic bibliography on Wolgemut is provided by Matthias Mende, Dürer-Bibliographie, Wiesbaden, 1971, nos 5808-30. Early literature on the prints is given in Campbell Dodgson, I, p. 241. A more recent discussion of Wolgemut, as well as Pleydenwurff, is in Jeffrey Chipps Smith, Nuremberg: A Renaissance City, 1500-1618, exh. cat., Austin, University of Texas, 1983, pp. 92ff. / Medium: Woodcut /Circa: 1493
Dutch Incunabula - Werner Rolevinck, The Ark of Noah - 1480 / Description: Incunabula sheet with hand painted rubrifications and initials in red. Sheet from the Dutch translation of Werner Rolevinck, "Fasciculus tempororum" , printed in 1480 and published by Johann Veldener in Utrecht. The sheet is with no doubt from this edition as no other Dutch reprints are known. The First edition in Latin printed by Arnold Therhoernen (1474) Larger oldcoloured woodcut of the Ark floating on the water. Indication of the use of the compartments in Dutch: The section for the tamed animals, the section for the birds and humans, the section for the wild animals. / Dimensions: 5,00 x 11,60 cm -- 28,00 x 20,00 cm sheet / Condition: A laid paper sheet in good condition. Moderate thumbing to the left corner. / Literature: Essling 277; Sander 6526; Goff R-261 ----- As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. It goes without saying that religious views and opinions played a major part in Rolevinks’s history of the world and it is therefore not surprising that it starts with God’s creation of the world. The text is illuminated with many beautiful woodcuts. For instance we find illustrations of Noah’s Ark, the city of Nineve, the Ark of the Covenant, the tabernacle and many Biblical genealogies. But also ‘profane’ matters and cities are immortalized such as overviews of the royal families of France and England and cities including Rome, Constantinople, and London.... The incunable is a Dutch translation, printed in 1480 and published by Johann Veldener, publisher in Utrecht. There were no other Dutch reprints which suggests that the work was less popular in the Low Countries. Possibly Veldener was already involved in the first print of 1474, which rolled off the press in Cologne at Arnold Therhoernen. ..... the Fasciculus temporum is a synthesis between the religious and worldly history, a form quite common in the era of Humanism. However, emphasis is on the non-profane history, not surprising considering Rolevinck’s background. As sources for his text he used the Chronicon Pontificum et Imperatorum by Martin von Troppau, the Speculum historiale by Vincent van Beauvais and the anonymous Rudimentum noviciorum. ... (source of the description: Special collections - Utrecht University) / Medium: Woodcut on incunabula printed page /Circa: 1480
Loading...
![James (Henry). Confidence, 2 volumes, 1st English edition, London: Chatto & Windus, 1880 [1879], 32 pp. publisher's catal](https://cdn.globalauctionplatform.com/880c603e-95bc-448f-9157-b23500e385eb/7937ef9c-f5d7-44bc-aa06-b237010e8986/468x382.jpg)
