Zoologie - - Karl Ernst von Baer. Über Entwicklungsgeschichte der Thiere. Beobachtung und Reflexion. 3 Tle. in 1 Bd. Mit 7 gefalt. tls. kol. lithogr. Tafeln u. 1 gefalt. Tabelle. Königsberg, Bornträger, 1828-1837 (I-II.1), Königsberg, Wilhelm Koch, 1888. XXII, 271 S. 2 Bl., 315 S. V, 400 S. 4°. Marmor. HLdr. d. Zt. mit marmor. Schnitt, RVerg. u. goldgepr. RSchild (berieben, bestoßen, Deckel kratzspurig). In 3 Teilen äußerst selten vorliegende erste Ausgabe der "grundlegenden Abhandlung über die Embryologie der höheren Tiere" (Horblit 9a). - Bibl. Waller 11772. - Junk, Rara 265. - Carter/Muir 288. - PMM 228b. - Horblit 9a. - HoH 869. - Norman 101. - Garrison-Morton 479. - Grolier Medicine, S. 215. - Wellcome II, 84. - Norman Sale no. 912. - Karl Ernst von Baer (1792-1876) untersuchte die Embryonalentwicklung von Tieren und entdeckte das Blastula-Stadium und das Notochord. Zusammen mit Pander und auf der Grundlage der Arbeiten von Caspar Friedrich Wolff beschrieb er die Keimschichttheorie der Entwicklung als Prinzip bei einer Vielzahl von Arten und legte in vorliegendem Buch den Grundstein für die vergleichende Embryologie. 1826 entdeckte von Baer die Säugetier-Eizelle. Im Jahr 1827 beobachtete von Baer als erster Mensch menschliche Eizellen. Erst 1876 wies Oscar Hertwig nach, dass die Befruchtung auf die Verschmelzung von Ei- und Samenzelle zurückzuführen ist. - "Continuing the work of his friend and collaborator Christian Heinrich Pander, Karl Ernst von Baer observed the formation of the germ layers and established the germ layer theory. He described the way in which the layers formed various organs by tubulation, and he emphasized that the development of the embryo is from the apparently homogeneous to the obviously heterogeneous. In this he finally refuted the long held and much discussed theory that embryonic parts might be preformed in the egg. The publication of this book provided a solid basis for the further systematic study of mammalian development." (Grolier Medicine, S. 215). - Vord. Vorsatz mit Besitzeintrag von Dr. Schwink sowie Exlibris von Rudolf Virchow u. Dr. Michael Lührs, Titel mit Stempel von Dr. Nützel. - Tls. gebräunt, braun- u. stockfleckig, 1 Bl. mit Einriss, sonst insg. wohlerhalten. Extremely rare first edition in 3 parts of the "fundamental treatise on the embryology of higher animals" (Horblit 9a). With 7 fold., partly col. lithogr. plates and 1 fold. table. Contemp. marbled half calf with marbled edges, spine gilt, and gilt stamped label (rubbed, bumped, cover scratched). - Karl Ernst von Baer (1792-1876) studied the embryonic development of animals and discovered the blastula stage and the notochord. Together with Pander and based on the work of Caspar Friedrich Wolff, he described the germ layer theory of development as a principle in a variety of species and laid the foundation for comparative embryology in this book. In 1826 von Baer discovered the mammalian ovum. In 1827, von Baer was the first person to observe human oocytes. It was not until 1876 that Oscar Hertwig proved that fertilisation was due to the fusion of egg and sperm. - Front endpaper with ownership inscription by Dr. Schwink and bookplate of Rudolf Virchow and Dr. Michael Lührs, title with stamp of Dr. Nützel. - Some browning, brownstaining and foxing, 1 leaf with tear, otherwise in good condition.
We found 596780 price guide item(s) matching your search
There are 596780 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596780 item(s)/page
Sigismund Friedrich Hermbstädt. Magazin aller neuen Erfindungen, Entdeckungen und Verbesserungen, fur Fabrikanten, Manufaktoristen, Künstler, Handwerker und Oekonomen. 4 Bände der Reihe in jeweils 6 Heften. Mit (zus.) 168 gefalt. Kupfertafeln. Leipzig, Baumgärtner, 1797 f. 4°. Halbleinwandbde. d. Zt. (etwas beschabt). Eine der ersten technischen und gewerbetechnischen Zeitschriften Deutschlands. - Kirchner 3917 - Engelmann, Bibl. mech.-techn. 234 - Die gefalt. Kupfertafeln mit dekorativen Illustrationen von Maschinen, Geräten und Werkzeugen sowie Versuchsanordnungen u.a. aus Industrie, Handwerk u. Landwirtschaft. - Teils leicht fleckig oder etwas gebräunt, alter Posener Bibl.-Stempel (Doubl.) verso Titel und Tafeln, insgesamt ordentlich erhalten. 4 vols. of the series in 6 issues. With (together) 168 folded copper plates. Cont. half cloth (somewhat scuffed). - One of the first technical and industrial journals in Germany. - The folded copper plates with decorative illustrations of machines, devices and tools as well as experimental arrangements from industry, handicraft and agriculture. - Partly slightly stained or somewhat browned, old Posen library stamp (Doubl.) on verso of title and plates, overall in good condition.
Türkei - - (Diaz Tanco Vasco). Türckische Historien. Von der Türcken Ankunfft, Regierung, Königen, und Keysern, Kriegen, Schlachten, Victorien und Sigen, wider Christen und Heiden ... Item: Von der Türcken Religion unnd Gesatz, von irem Gerichts Proceß, von der gemeinen Türcken Leben ... Aus Italienischer Sprach ... verdolmetscht durch ... Heinrich Müller ... 2 Tle. (von 3) in 1 Bd. Mit 12 Holzschnitt-Portraits ottomanischer Sultane. Frankfurt a.M., (Rab u. W. Hans Erben), 1563 u. 1565. 51 nn., 1 w., 93 num., 3 nn. 118 num., 3 nn. Bl. Schweinsleder d. Zt. über Holzdeckeln mit Streicheisenlinien, Rollen- u. Plattenstempeln sowie 2 Metallschließen (berieben, angestaubt, etwas fleckig). VD16 D 1381 (Tl. 1, dort ohne Vorrede), VD16 D 1385 (Tl. 2 "Von dem Machometischen glauben"). - Tl. 1 (Titelauflage?) entspricht in Satz und Paginierung nicht der im selben Jahr erschienenen Erstausgabe VD16 D 1382. - Ohne den auf dem Titelblatt aufgeführten, 1565 erschienenen 3. Teil "Endtlich ist mit angehenckt von Ursachen der Christen verderben und wie man sich in solchen nöthen schicken soll" (VD16 D 1386). - Seltene Sammlung früher Schriften über die Landeskunde, Geographie und Geschichte des Osmanischen Reiches, ins Deutsche übersetzt von Heinrich Müller. - Diaz Tancos italienische Ausgabe "Dell'origine, et succossione dell'imperio de Turchi" war erstmals 1558 erschienen und "schildert die türkischen Kriege bis 1538. Sehr übersichtlich ist die politische Geschichte" (Göllner 873). Tl. 2, Menavinos "Cinque libri della legge, religione et vita de'Turchi" (1548) stellt einen "sachlichen, von allen Phrasen freien" Augenzeugenbericht dar (Göllner 883). - Die Holzschnitte im ersten Teil zeigen Porträts der türkischen Herrscher beginnend mit Soliman dem Ersten. - Vorsätze erneuert, Titel knitterig u. mit kl. hinterlegten Fehlstellen, verso mit Wappenstempel (der Herren von Lilgenfeldt? mit Leopard u. drei Lilien) u. hs. Vermerk von 1612, papierbedingt tls. stark gebräunt, erste 9 Blätter mit kl., tls. hinterlegter Wurmspur u. vereinzelt weitere kl. Hinterlegungen mit geringem Buchstabenverlust, 2 Blätter mit mehreren tls. hinterlegten Einrissen, Vorrede stärker, im folgenden nur tls. im Rand wenig wasserfleckig. With 12 woodcut portraits of Ottoman sultans. Blind tooled contemp. pigskin over wooden boards with 2 metal clasps (rubbed, dusty, somewhat stained). VD16 D 1381 (part 1, there without preface), VD16 D 1385 (part 2 "Von dem Machometischen glauben"). - Part 1 does not correspond in typesetting and pagination to the first edition published in the same year (VD16 D 1382). - Without the third part "Endtlich ist mit angehenckt von Ursachen der Christen verderben und wie man sich in solchen nöthen schicken soll" (VD16 D 1386). - Rare collection of early writings on the geography and history of the Ottoman Empire, translated into German by Heinrich Müller. - Diaz Tanco's Italian edition "Dell'origine, et succossione dell'imperio de Turchi" was first published in 1558 and "describes the Turkish wars until 1538. Very clear is the political history" (Göllner 873). Part 2, Menavino's "Cinque libri della legge, religione et vita de'Turchi" (1548) is a "factual eyewitness account, free of all phrases" (Göllner 883). - The woodcuts in the first part show portraits of the Turkish rulers beginning with Soliman the First. - Flyleaves renewed, title creased and with small backed losses, verso with coat-of-arms stamp (of von Lilgenfeldt? with leopard and three fleurs-de-lis) and autograph inscription dated 1612, partly heavily browned due to paper, first 9 leaves with small, partly backed wormholes and sporadically further small backings with minor loss of letters, 2 leaves with several partly backed tears, preface stronger, in the following only partially slight waterstaining in the margin.
GIO PONTI (Milan, 1891-1979).Wall lamp "Quadro di luce".Polished brass structure.Handmade, limited and numbered edition, produced by POLLICE ILLUMINAZIONE from original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017.Issue 2016-004/10.With trademark label, Pollice Illuminazione, Milan.Bulbs not included.Measurements: 20 x 80 x 12,5 cm. Sculptural wall lamp with indirect light, handmade, limited and numbered edition, based on the original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017. Its design is inspired by minimalist sculptures. Like a container of light, it is defined by the rigour of its primary shapes: square, hexagon and rectangle form a harmonious dialogue of lines that effectively organise the light. This product is manufactured using artisanal, non-industrial processes. Small imperfections and uneven surface ageing are deliberately present, which is a specific feature of the product and testifies to its craftsmanship.Architect, designer and academic, Gio Ponti is, together with Ettore Sottsass, the leader of the most sought-after Italian designers of the 20th century by collectors. In addition to the elegance of his furniture, sensitive to functionality, yet original at the same time, Ponti is renowned for his volcanic creativity, which led him to produce and design until the 1970s.His ability to give voice to new trends made him the "inventor" of the Made in Italy design concept.Ponti studied architecture at the Politecnico. After the First World War, in which he had to serve, he worked as artistic director for the respected ceramics manufacturing company Richard-Ginori. Between 1923 and 1927 he teamed up with architects Mino Fiocchi and Emilio Lancia, opening his own studio in 1928, and founded the famous design magazine Domus, through whose pages (and those of Lo Stile, a magazine he would found and edit in the 1940s) Ponti influenced international design tastes for over fifty years. Around 1933, Ponti teamed up with engineers Antonio Fornaroli and Eugenio Soncini to create the Ponti-Fornaroli-Soncini studio, which firmly embraced the modernist aesthetic and worked until 1945. In 1950, Ponti was commissioned to build what would become one of the iconic buildings of the 20th century, the 32-storey Pirelli Tower in Milan.
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Stool.Wood.With marks of use.Measurements: 45 x 40 cm (diameter). Stool made of pine wood with a sober and robust finish. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Stool.Wood.With marks of use.Measurements: 44 x 48 x 37,5 cm.Stool made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö.Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Table.Wood.With marks of use.Measurements: 50,5 x 60 cm (diameter).Coffee table made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Chair.Wood.With marks of use.Measurements: 93,5 x 48 x 48 cm.Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
AXEL EINAR HJORTH (Sweden, 1888-1959).Lovö Chair.Wood.With marks of use.Measurements: 93,5 x 48 x 48 cm.Chair made of pine wood with a finish of sober and robust lines. The piece follows the models designed by Axel Einar Hjorth, during the 1930s, when he was head designer of NK (Nordiska Kompaniet, where he worked from 1927 to 1938.Architect and industrial designer Axel Einar Hjorth was one of the leading figures in the Swedish design culture that began to be internationally recognised in the 1920s. He was also instrumental in introducing Swedish decorative arts and architecture to the United States. Axel Einar Hjorth was born in Krokek, just outside Norrköping, Sweden. In 1908, Hjorth moved to Stockholm to study architecture and design at the Högre Konstindustriella Skolan, later known as Konstfack. He landed a position as a furniture and interior designer for Stads Hantverks Förening in the city of Stockholm in 1918. Hjorth's designs of this period were inspired by neoclassicism, often referred to as Swedish Grace. Throughout the 1920s, Hjorth worked with several manufacturers, including H. Joop & co, Myrstedt & Stern, Jonssons and Svenska Möbelfabrikerna in Bodafors. In 1923, Hjorth headed the mounting section of the Jubileumsutställningen (Jubilee Exhibition) in Gothenburg, an exhibition that the British critic P. Morton Shand called the beginning of Swedish dominance in the decorative arts. Wishing to spread Swedish design throughout the world, Hjorth, together with his contemporaries Carl Hörvik (1882-1954) and Carl Malmsten (1888-1972), represented Stockholm at the exhibition of contemporary Swedish decorative arts at the Metropolitan Museum in New York in 1927. This exhibition was instrumental in introducing Swedish decorative arts to America. From 1927 to 1938, Hjorth was the chief architect and designer of Nordiska Kompaniet (NK) in Stockholm, known as one of Sweden's most important producers of modernist furniture. During this time, Hjorth designed public and private interiors, and worked with international clients, including Iranian royalty. His first project for NK was a stand for the 1929 Barcelona World's Fair, where he exhibited the Louis cabinet and the Caesar cabinet. In the 1930s, Hjorth designed pine furniture intended for mass production for the summer houses he designed. These pieces mixed craftsmanship with international modernism, and were named after islands in the Stockholm archipelago, such as Blidö, Sandhamn, Toro and Lovö. Hjorth's designs - from the sumptuousness of neoclassicism to the severity of functionalism - are very different in style, materials and character. However, unlike many of his contemporaries, Hjoth did not conform to the socially oriented ideas of Svensk Form (the Swedish Society of Craftsmanship and Design). He often incorporated playful ornamentation from different historical periods from which he drew inspiration, such as French Art Deco, using a mixture of exotic woods, bright colours and textiles. Often omitted from the historical discourse on early 20th century Scandinavian design, Hjorth has become largely unknown in the design world and his achievements are little appreciated. The lack of published or archived works contributes to his anonymity and obscurity. Although Hjorth did not follow the design narrative of the time, he undoubtedly played an important role in developing the international reputation of Swedish design, as his style eventually absorbed the design characteristics of modernism in Sweden.
CHARLES EDOUARD JEANNERET-GRIS, "LE CORBUSIER"; (Switzerland, 1887 - France, 1965).LC6 table, design 1928.Elliptical tubular steel base with black finish. Glass top.Dimensions: 69.5 x 240 x 100 cm.The interest of the LC6 table lies in its refined steel and glass structure. On the one hand, the black chromed steel base gives stability and a robust appearance to the piece of furniture; on the other hand, the rectangular glass tabletop, with its sharp edges, provides lightness and weightlessness. Designed in 1928 by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, the base is inspired by the oval profiles used in aeronautical design to maintain the distance between the wings of biplanes. The result of their masterful design work is this multifunctional table, which can be used both in the office and at home.Architectural theorist, architect, designer and painter, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Exposition des Arts Décoratifs in 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.
KAARE KLINT (Frederiksberg, 1888-Copenhagen, 1954) for RUD RASMUSSEN.Safaristol chair with stool, design 1933.Light ash frame. Upholstery in natural coloured oxhide leather.Purchased in 2011 from the publisher.With slight wear and patina.Measurements: 80/32 cm (height) x 57 cm.Kaare Klint's Safari line of chairs are based on the Indian Roorkhee chairs used by the British military. The designer set out to transform the portable, detachable archetype into a practical design for modern interiors. Considered one of the best exponents of so-called Danish design, Kaare Klint created a simple, natural style based on the use of natural materials, functionality and ergonomics. He used unvarnished wood, leather and undyed fabrics. In 1924 he founded the furniture department of the Danish Academy of Arts, of which he was the first professor. Some of his sources of inspiration were Egyptian and Greek furniture, the Chippendale style of 18th-century England and the furniture of the American Shakers. He was also influenced by contemporary influences, such as Le Corbusier, whose Cowboy chaise longue inspired Klint's 1933 teak lounger. In 1928 he won the Eckersberg Medal and in 1954 the C. F. Hansen Medal.
KAARE KLINT (Frederiksberg, 1888-Copenhagen, 1954) for RUD RASMUSSEN.Safaristol chair with stool, design 1933.Light ash frame. Upholstery in natural coloured oxhide leather.Purchased in 2011 from the publisher.With wear and patina.Measurements: 80/32 cm (height) x 57 cm.Kaare Klint's Safari line of chairs are based on the Indian Roorkhee chairs used by the British military. The designer set out to transform the portable, detachable archetype into a practical design for modern interiors. Considered one of the best exponents of so-called Danish design, Kaare Klint created a simple, natural style based on the use of natural materials, functionality and ergonomics. He used unvarnished wood, leather and undyed fabrics. In 1924 he founded the furniture department of the Danish Academy of Arts, of which he was the first professor. Some of his sources of inspiration were Egyptian and Greek furniture, the Chippendale style of 18th-century England and the furniture of the American Shakers. He was also influenced by contemporary influences, such as Le Corbusier, whose Cowboy chaise longue inspired Klint's 1933 teak lounger. In 1928 he won the Eckersberg Medal and in 1954 the C. F. Hansen Medal.
CHARLES EAMES (USA, 1907 - 1978) for VITRA.Segmented table.Table with Santos rosewood veneered top. Chromed aluminium frame.Design 1964.Manufactured by Vitra. Labelled as such.Newly veneered by a professional cabinetmaker.Measurements: 72 x 170 x 100 cm.Table with top veneered in Santos rosewood, rectangular, without mouldings or ornaments, with rounded corners, raised on a chromed aluminium tripod structure with aerodynamic lines, creating an open base that gives lightness to the design. Charles Eames extracts poetry from the simple object, having learned from the modern movement the combination of rigour and originality.Charles and Ray Ames, a married couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.
HIROMICHI KONNO (Fukushima, 1972) for FRITZ HANSEN.Set of six "Rin HK10" chairs, design 2009.Moulded grey plastic seat and backrest.Four-way swivel base in polished aluminium.Made in Fritz Hansen with stamp and label, 'Brown Label' 2011.Use marks and scratches.Measurements: 76/44 cm. h.Japanese designer with an international outlook, Hiromichi Konno champions a unique style. The Rin chair is Hiromichi Konno's first collaboration with Fritz Hansen. It is an elegant, futuristic, innovative and progressive design that unites the guidelines of Danish and Japanese design. The designer himself says for the firm Fritz Hansen about the piece "I wanted to make a beautiful chair that can stimulate and arouse emotions in people. It should be able to appeal visually but also make us feel a form of elegance when we sit in it. Therefore, I have set something poetic, simple, strong, relaxed and innovative all at the same time. The goal from the beginning was to create the perfect chair.Trained in Japan and Sweden, Hiromichi Konno lived in London for many years, where he was able to further his education. He discovered his fascination for design after watching his grandmother work for hours on end with the art of Origami, the traditional Japanese way of folding paper. He now works for major companies and manufacturers all over the world, and is particularly in demand in Scandinavia.
VALENTÍ.Table model Elefante, 70s.Resin, brass and glass.Measurements: 42 x 160 x 100 cm.The history of the Valentí firm goes back to 1798, when the Valentí family founded its first goldsmith's workshop in Barcelona, a city which, at that time, was just beginning to experience the effervescence of Modernism. With the birth of Fernando Valentí, founder of today's Valentí, and with his entrepreneurial vision, the firm won the Design Award for the Pizarro Table, a prize awarded by the Official Association of Decorators and Interior Architecture Designers of the Community of Madrid. Subsequently, in 2001, it obtained the AENOR Certificate, a recognition that valued the continuous improvement in the design of its products, as well as the quality of its efforts in productivity.In this way, Valentí has become one of the most exclusive firms in the high decoration industry. With a long tradition and artisan roots, its pieces become unique products, worked with the exclusivity and sophistication of goldsmithing. The Valentí firm combines past and future: with experience as a base, the prestigious firm reinvents itself in its designs, creating new lines that range from the most classic furniture to the new vintage and contemporary lines.The success acquired during these two centuries has led the Valentí firm to project itself internationally, exporting its production to cities such as Rome, Paris, London, New York and Tokyo, consolidating the recognition that the firm enjoys in our country.
LE CORBUSIER; PIERRE JEANNERET (Genoa, 1896-1967), CHARLOTTE PERRIAND (France, 1903-1999) for CASSINA.Lounge chair LC3-1, design 1928.Chromed tubular steel frame, loose cushions upholstered in black leather with Cassina piping.Made by Cassina, stamp and serial number engraved on frame.Brand new.Includes certificate and original packaging.Literature: Charlotte and Peter Fiell. "1000 chairs", reproduced and referred to on p. 133.Measurements: 62/40 cm (height) x 100 x 73 cm; 68 x 109 x 78 cm (packaging).The LC3-1 armchair was designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand for Cassina (1928) and, like the contemporary LC2 series, was defined by its creators as a "basket of cushions", and conceived as a response to the traditional armchair, which inverts the dialogue between structure and cushions, leaving the former in view.Architectural theorist, architect, designer and painter, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Exposition des Arts Décoratifs in 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.
LE CORBUSIER; PIERRE JEANNERET (Genoa, 1896-1967), CHARLOTTE PERRIAND (France, 1903-1999) for CASSINA.Armchair LC32 two-seater armchair, design 1928.Chromed tubular steel frame, upholstered in black leather with Cassina piping.Made by Cassina, stamp and serial number engraved on frame.Brand new.Includes certificate and original packaging.Measurements: 64 x 166 x 73; Seat height 40 cm. Packing dimensions: 69 x 178 x 79 cm.Architectural theorist, architect, designer and Swiss painter, naturalised French citizen, Le Corbusier is considered one of the clearest exponents of the Modern Movement in architecture, and one of the most influential architects of the 20th century. He developed a new architecture based on five points that would be key to the development of this discipline from then on: the free plan, the terrace-garden, the "pilotis", the longitudinal window and the free façade. Among his most outstanding architectural projects were the Swiss Pavilion in the Cité Universitaire in Paris, the Unité d'Habitation in Marseilles and the chapel of Notre Dame du Aut. in Ronchamp. As a furniture designer, Le Corbusier produced his first creations together with Pierre Jeanneret and Charlotte Perriand, and received his definitive impetus at the Paris Exposition des Arts Décoratifs in 1925. His first chairs and armchairs were already conceived in terms of comfort, based on anthropometric studies that guaranteed total adaptability to the body. The first design that Le Corbusier created, together with Jeanneret and Perriand, was the LC1 chair, presented in 1928 and characterised by a height-adjustable backrest that allowed the user to choose the most comfortable posture. He continued to work along these lines, and at the 1929 Salon d'Automne du Design he presented his LC4 chaise longue, a purist and radical design that has become a classic today. Equally well known are his LC2, LC3 and LC5 designs, one-, two- and three-seater sofas designed to revolutionise the mass production of modern furniture. We should also mention the design of stools and dining chairs, such as the LC7, presented at the 1929 Salon d'Automne or the LC8. Le Corbusier, Jeanneret and Perriand sought to design furniture for all the rooms in the house, and so they created pieces such as LC9, a very simple stool for the bathroom with a fabric seat. Le Corbusier also created other types of furniture, such as tables and shelves. His designs are currently published by the Italian company Cassina, and are present in important collections such as that of the MoMA in New York and the Victoria & Albert in London.
CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for HERMAN MILLER."Lounge Chair", design 1956. Edition 1984.Black leather upholstery.Black polished aluminium base and wooden frame.With publisher's label.The leather is slightly worn.Measurements: 78 x 70 x 90 cmLounge" armchair, made in moulded wood, with leather upholstery, was designed by Charles and Ray Eames. Icon of 20th century design, this piece of furniture is part of important collections such as the MoMA in New York. This one was edited by Herman Miller in 1984.Charles and Ray Ames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.
CHARLES EAMES (USA, 1907 - 1978) & RAY EAMES (USA, 1912 - 1988) for HERMAN MILLER."Lounge Chair", design 1956. Edition 1984.Black leather upholstery.Black polished aluminium base and wooden frame.With publisher's label.The leather is slightly worn.Measurements: 78 x 70 x 90 cm.Lounge" armchair, made in moulded wood, with leather upholstery, was designed by Charles and Ray Eames. Icon of 20th century design, this piece of furniture forms part of important collections such as that of the MoMA in New York. This one was edited by Herman Miller in 1984.Charles and Ray Ames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.
TÊTE DE TRIDENT (TRISHULA) RITUEL EN ARGENT ET ACIER PARTIELLEMENT DORÉ ET INCRUSTÉ D'ARGENTTIBET ORIENTAL, XVIIE/XVIIIE SIÈCLE Himalayan Art Resources item no. 205004 50 cm (19 3/4 in.) highFootnotes:A SILVER AND PARCEL-GILT AND SILVER-INLAID STEEL RITUAL TRIDENT HEAD (TRISHULA) EASTERN TIBET, 17TH/18TH CENTURY 藏東 十七/十八世紀 銀及局部鎏金鋼錯銀三叉戟 The trishula has early origins related to concepts of trinity within the Vedic traditions and was the quintessential implement held by the god Shiva. In tantric Buddhism, it became linked as the magical weapon of Padmasambhava, illustrated in the crook of his left arm as a trident topped staff in his most iconic form as Guru Rinpoche.Trishula such as the one presented here, were first manufactured in the Tibetan style court ateliers of the early Ming emperors in China, and have a distinct style which includes gold overlay and inlay. Compare to a five-pointed fire flaming trishula which is partially gilt with golden overlays and a skull connecting the handle and prongs illustrated in Henss, Buddhist Ritual Art of Tibet, 2020, fig. 220. Similar examples can also be found in the Musee Guimet, Paris, (MA 5918), Sotheby's, New York, 22 March 1989, lot 252 and Christie's, Paris, 13 June 2013, lot 54.Published: Francois Pannier, La Danse Des Morts: Citipati De l'Himalaya, Danse Macabres et Vanites De l'Occident, Paris, 2004, p. 68, no. 36.Exhibited:La Danse Des Morts: Citipati De l'Himalaya, Danse Macabres et Vanites De l'Occident, Galerie le Toit du Monde, Paris, 15 September – 30 October 2004.Remember That You Will Die, Rubin Museum of Art, New York, 19 March - 9 August, 2010.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
BÂTON RITUEL EN FER DAMASQUINÉ ARGENT (KHATVANGA)TIBET ORIENTAL, DERGÉ, XVE SIÈCLE Himalayan Art Resources item no. 205010 44 cm (17 3/8 in.) highFootnotes:A SILVER DAMASCENED IRON RITUAL STAFF (KHATVANGA) EASTERN TIBET, DERGE, 15TH CENTURY 藏東 更慶鎮 十五世紀 鐵鋄銀喀章嘎天杖 This ancient ritual staff, known as a khatvanga, appeared in Hindu practices as early as the Gupta period (4th–6th century), and was incorporated into Vajrayana Buddhism no later than the 8th century. In Tantric Buddhism, the khatvangais considered the essence of Chakrasamvara, while also being associated with other Buddhist masters and protectors, including Padmasambhava, Mahakala, Hayagriva, and the dakini. It often serves in iconography to represent the opposite-gendered counterpart of a transformational deity (yidam) holding it. For example, as the principal attribute of Vajravarahi, the khatvangais always cast in the crook of her left arm, signifying her male counterpart Samvara (see a Pala period brass figure of Vajravarahi sold at Bonhams, New York, 16 March 2021, lot 305). Standalone khatvangas, such as the present lot, are typically used in empowerment rituals. Larger ones could also be placed on an altar and worshipped as sacred images (Henss, Buddhist Ritual Art of Tibet, 2020, p. 182). The present khatvanga is at once a remarkable piece of art and a ceremonial object of symbolic significance. Covered with brilliantly damascened silver spirals, its long octagonal shaft symbolizes the Eight-Fold Path to enlightenment. The shaft is surmounted by an exquisite 'thousand-petaled' lotus, below a finely modeled double-vajra (visvavajra). Above them, a long-life vase supports three stacked heads – the first freshly severed, the second decaying, and the third a skull. Each of the three finely detailed heads allude to the khatvanga'spower to destroy the Three Poisons: desire, aversion, and ignorance. The staff is finished with a five-pronged half-vajra on each of the two ends, symbolizing the Five Wisdoms. Compare to a closely related 15th-century khatvanga of identical size, published in Huntington et. al., The Circle of Bliss: Buddhist Meditational Art, 2003, pp.358-59, no.104 and another in the British Museum (Ramos Tantra, 2020, p. 132, fig. 93). The overall design and workmanship are also consistent with imperial ritual staffs from the Yongle period (1402-24); see a Yongle-marked khatvanga, damascened with both gold and silver, preserved at the Metropolitan Museum of Art, New York (fig. 2; 2015.500.6.28), and another silver-inlaid Yongle example at the Bodhimanda Foundation, Netherlands (V-232). Also see Christie's, New York, 21 March 2000, lot 106, and 22 March 1999, lot 108. Provenance:Suzi Lebasi, Tasmania, 2000sFor further information on this lot please visit Bonhams.com
SALVADOR DALI' (Figueres 1904-1989). First volume of the Biblia Sacra. Vulgatae editionis with illustrations by SALVADOR DALI'. First edition. Copy 530/1499, printed for Matilde Manzoni. Publisher's leather binding. 1967-1969. SALVADOR DALI' (Figueres 1904-1989). Primo tomo della Biblia Sacra. Vulgatae editionis con illustrazioni di SALVADOR DALI'. Prima edizione. Esemplare 530/1499, stampato per Matilde Manzoni. Legatura editoriala in pelle. 1967-1969.
SALVADOR DALI' (Figueres 1904-1989). Third volume of the Biblia Sacra. Vulgatae editionis with illustrations by SALVADOR DALI'. First edition. Copy 530/1499, printed for Matilde Manzoni. Publisher's leather binding. 1967-1969. SALVADOR DALI' (Figueres 1904-1989). Terzo tomo della Biblia Sacra. Vulgatae editionis con illustrazioni di SALVADOR DALI'. Prima edizione. Esemplare 530/1499, stampato per Matilde Manzoni. Legatura editoriala in pelle. 1967-1969.
SALVADOR DALI' (Figueres 1904-1989). Fourth volume of the Biblia Sacra. Vulgatae editionis with illustrations by SALVADOR DALI'. First edition. Copy 530/1499, printed for Matilde Manzoni. Publisher's leather binding. 1967-1969. SALVADOR DALI' (Figueres 1904-1989). Quarto tomo della Biblia Sacra. Vulgatae editionis con illustrazioni di SALVADOR DALI'. Prima edizione. Esemplare 530/1499, stampato per Matilde Manzoni. Legatura editoriala in pelle. 1967-1969.
SALVADOR DALI' (Figueres 1904-1989). Fifth volume of the Biblia Sacra. Vulgatae editionis with illustrations by SALVADOR DALI'. First edition. Copy 530/1499, printed for Matilde Manzoni. Publisher's leather binding. 1967-1969. SALVADOR DALI' (Figueres 1904-1989). Quinto tomo della Biblia Sacra. Vulgatae editionis con illustrazioni di SALVADOR DALI'. Prima edizione. Esemplare 530/1499, stampato per Matilde Manzoni. Legatura editoriala in pelle. 1967-1969.
NO RESERVE Adam (Robert).- Bolton (Arthur T.) The Architecture of Robert & James Adam (1758-1794), 2 vol., 1922 § Harris (Eileen) The Genius of Robert Adam: His Interiors, New Haven and London, 2001 § Parissien (Steven) Adam Style, 1992 § Green (Simon) Dumfries House: An Architectural Story, Edinburgh, 2014, plates and illustrations, original cloth or boards, the last two with dust-jackets, the first very lightly rubbed and soiled but a good copy; and c.10 others on the Adam brothers, 4to & 8vo (c.15)
NO RESERVE Galton (Francis) Finger Prints, 16 lithographed plates, one double-page, 1892; English Men of Science: Their Nature and Nurture, 1874; Natural Inheritance, illustrations, 1889; The Narrative of an Explorer in Tropical South Africa, 4 tinted lithographed plates, folding colour map, foxing, 1853, first editions, all but the first with advertisement leaf at end, all but the second ex-library copies with stamps, original cloth, the last pictorial gilt, all rubbed, wear to spine ends, the second recased, the last rebacked preserving original spine; and 11 others, Galton, Darwin etc., 8vo & 4to (15)
![NO RESERVE Industry.- [Carter (T.)] Memoirs of a Working Man, first edition, half-title, advertisements at end, ex-library co](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/963ca5de-a636-4db3-809a-af6000b923dd/468x382.jpg)
NO RESERVE Industry.- [Carter (T.)] Memoirs of a Working Man, first edition, half-title, advertisements at end, ex-library copy with stamp to head of title, modern cloth, 1845 § Blair (John) & Nigel Ramsay, editors. English Medieval Industries: Craftsmen, Techniques, Products, 1991 § Schubert (H.R.) History of the British Iron and Steel Industry, from c.450 BC to AD 1775, 1957 § Trinder (Barrie) The Industrial Revolution in Shropshire, 1973 § Fox (Celina) The Arts of Industry in the Age of Enlightenment, New Haven and London, 2009 § Hay (G.D.) & Geoffrey P. Stell. Monuments of Industry: An Illustrated Historical Record, Glasgow, RCHM, 1986, illustrations, all but the first original cloth or boards, last four with dust-jackets, some a little rubbed; and c.55 others on industry and manufacturing, including many from the Industrial Archaeology of the British Isles series, 4to & 8vo (c.60)
NO RESERVE Maritime.- Fairbairn (William) Treatise on Iron Ship Building: Its History and Progress, first edition, modern half calf, 1865 § Young (J.R.) Navigation and Nautical Astronomy, modern calf-backed boards, 1858 § Gould (Lt.-Cdr. Rupert T.) The Marine Chronometer: It's History and Development, reprint, 1960 § Waters (David W.) The Art of Navigation in England in Elizabethan and Early Stuart Times, 1958 § Hydrographic Office, Admiralty. Pacific Islands, vol.III (Eastern Groups): Sailing Directions for the Tubuai, Cook, and Society Islands..., lightly water-stained, 1885, some plates and illustrations, all but the first two original cloth, the third with frayed dust-jacket, the last a little stained; and c.20 others, maritime, 4to & 8vo (c.25)
NO RESERVE Medicine.- Sketch of the Life and Character of Dr. Monsey (A), first edition, lacking half-title, some foxing and soiling, modern calf-backed boards, for the author, 1789 § Keynes (Geoffrey) The Personality of William Harvey, original cloth, dust-jacket, Cambridge, 1949 § Osler (Sir William) Aequanimitas, third edition, original cloth-backed boards, Keynes Press, § Cushing (Harvey) The Life of Sir William Osler, 2 vol., fourth impression, Oxford, 1926 § Asher (Richard) A Sense of Asher, Keynes Press, 1983 § McMurrich (J.P) Leonardo da Vinci: The Anatomist (1452-1519), Baltimore, 1930 § Pelling (M.) Cholera, Fever, and English Medicine 1825-1835, Oxford, 1978, plates and illustrations, last four original cloth, slightly rubbed; and c.40 others on medicine, mostly cardiology, 8vo & 4to (c.45)
![NO RESERVE Newton (Sir Isaac).- [Pemberton (Henry)] A View of Sir Isaac Newton's Philosophy, first edition, fine engraved tit](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/997e57a2-8714-4377-8704-af6000b92998/468x382.jpg)
NO RESERVE Newton (Sir Isaac).- [Pemberton (Henry)] A View of Sir Isaac Newton's Philosophy, first edition, fine engraved title vignette, head- & tail-pieces and initials by Grison after J.Pine, list of subscribers, 12 folding engraved plates of diagrams, E1 torn and mounted on stub, ink stains to verso of final plate slightly showing through, a good copy with wide margins, modern mottled calf, spine ruled in gilt with red morocco label, [Babson 98; Wallis 123], 4to, S.Palmer, 1728.⁂ Pemberton edited the 1726 third edition of Newton's Principia.
![NO RESERVE Newton (Sir Isaac) [Principia] Mathematical Principals of Natural Philosophy..., edited by Florian Cajori, third p](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/f0e8352a-7b8c-4733-ada1-af6000b97e86/468x382.jpg)
NO RESERVE Newton (Sir Isaac) [Principia] Mathematical Principals of Natural Philosophy..., edited by Florian Cajori, third printing, Berkeley, 1947; Unpublished Scientific Papers of Isaac Newton...in the University Library, Cambridge, edited by A. Rupert & Marie Boas Paul, Cambridge, 1962; Papers & Letters on Natural Philosophy, edited by I. Bernard Cohen, Cambridge, Mass., 1958 § Westfall (R.S.) Force in Newton's Physics: The Science of Dynamics in the Seventeenth Century, 1971 § Manuel (F.E.) Isaac Newton, Historian, Cambridge, 1963 § Maddison (R.E.W.) The Life of the Honourable Robert Boyle F.R.S., 1969 § Hartley (Sir Harold, editor) The Royal Society: Its Origins and Founders, 1960, illustrations, original cloth or boards with dust-jackets, the first rubbed and frayed; and c.20 others on Newton and his associates, 4to & 8vo (c.25)
NO RESERVE Courtonne (Jean) Traité de la Perspective Pratique, avec des Remarques sur l'Architecture, first edition, half-title, engraved frontispiece by Lucas after Courtonne (bound at end) and 33 plates, all but one folding, one or two a little soiled and frayed at edges, a few creased, one torn and repaired, modern calf-backed marbled boards, green roan label, uncut, spine slightly faded, [Berlin Kat. 4729; Fowler 94; Millard 56], folio, Paris, Jacques Vincent, 1725.
NO RESERVE Nightingale (Florence) Notes on Nursing: What It Is, and What It Is Not, first edition, second issue, with "[The right of Translation is reserved]" at foot of title and yellow endpapers with printed advertisements dated 1860, ink signature to head of title, a little spotting or soiling, light water-staining to upper outer corner, original limp cloth, rubbed, rebacked, 8vo, [1860].
NO RESERVE Railways.- Ahrons (E.L.) The British Steam Railway Locomotive 1825-1925, 1927 § Tomlinson (W.W.) The North Eastern Railway: Its Rise and Development, later buckram, Newcastle-Upon-Tyne and London, [c.1914] § MacDermot (E.T.) History of the Great Western Railway, 2 vol. in 3, 1927-31 § Marshall (C.F. Dendy) A History of British Railways down to the year 1830, reprint, ex-library copy, 1971 § Smith (G. Royd) The History of Bradshaw, 1939 § Ottley (George) A Bibliography of British Railway History, 3 vol. including 2 supplements, main vol. second edition, first supplement ex-library copy, 1983-98, illustrations, all but the second original cloth or boards, two of the last with dust-jackets, most rubbed, first rebacked; and c.80 others on railways, 8vo & 4to (c.90)
NO RESERVE Railways.- Dmitriev-Mamonov (A.I.) & .F.Zdziarski. Guide to the Great Siberian Railway, translated by Miss L.Kukol-Yasnopolsky, revised by John Marshall, first English edition, 2 portraits, 3 phototype plates, one chromolithographed plate heightened with gold, 4 folding maps (3 colour) and 3 town plans, illustrations throughout, a few printed in colour, without advertisements at end, ink signature to head of title, occasional light foxing, Rhidorroch bookplate, contemporary straight-grain morocco, rather rubbed and faded, 8vo, St.Petersburg, Artistic Printing Society, 1900.⁂ Luxurious and comprehensive guide to the newly-built Trans-Siberian railway which connected Moscow with the Far East. The Russian, French and English editions were published simultaneously in 1900.
NO RESERVE Railways.- Williams (Frederick S.) Our Iron Roads: Their History, Construction and Administration, third edition, additional pictorial title, 1883 § Reynolds (Michael) The Model Locomotive Engineer, Fireman, and Engine-Boy, first edition, 1879; Stationary Engine Driving..., second edition, 1882; Engine-Driving Life..., first edition, 1881, plates and illustrations, advertisements at ends, original pictorial cloth, git, all a little rubbed, some spines slightly faded; and 9 others on railways, 8vo (13)
NO RESERVE Schrödinger (Erwin) What is Life?: The Physical Aspect of the Living Cell, first edition, Cambridge, 1944 § Strutt (R.J., 4th Baron Rayleigh) John William Strutt, Third Baron Rayleigh, 1924 § Willmoth (Frances) Sir Jonas Moore: Practical Mathematics and Restoration Science, Woodbridge, 1993 § Wood (Alexander) Thomas Young: Natural Philosopher 1773-1829, Cambridge, 1954 § [Sale Catalogue] Honeyman Collection (The) of Scientific Books and Manuscripts, 7 vol., price-lists loosely inserted, original wrappers, Sotheby's, 1978-81, some illustrations, all but the last original cloth, third and fourth with dust-jackets, last frayed, a little rubbed; and c.40 others, science, 8vo & 4to (c.50)
NO RESERVE Decker (Paul) Ausführliche Anleitung zur Civil Bau-Kunst, 3 vol. in 1, engraved throughout with 3 pictorial titles, dedication and 48 plates only (of 57, vol.1 lacking plates 5 & 19, vol.2 lacking plate 3 and vol.3 lacking plates G & N-Q), dedication bound before first title, some soiling and staining, some plates frayed at edges or trimmed and reinforced, a few other minor tears and repairs, old ink library stamp to dedication and verso of a few plates, modern half calf, red morocco label to upper cover, a little rubbed, [Berlin Kat. 1991, vol.1 & 2 only], Nuremberg, J.C.Weigel, [?c.1715].⁂ Rare illustrated introduction to architecture, vol.1 concerning the orders, vol.2 doorways, windows and chimneypieces, and vol.3 designs for staircases, houses, churches etc. Library Hubs lists only 2 UK copies (Courtauld and V & A).
![NO RESERVE Dorset.- Pouncy (J.) Dorsetshire Photographically Illustrated, Parts 1-4 in 2 [a complete set], first edition, li](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/dbe21f74-58e4-4f37-b86f-af6000ba08ec/468x382.jpg)
NO RESERVE Dorset.- Pouncy (J.) Dorsetshire Photographically Illustrated, Parts 1-4 in 2 [a complete set], first edition, lithographed title and 79 tinted photolithographed views, one double-page, advertisement leaf with list of subscribers at end of each volume, some foxing (as usual), original blind-stamped cloth, rubbed, a little rubbed and marked, spines slightly faded, oblong folio, London and Dorchester, [1857].⁂ The first book illustrated by photolithography, where photographs were transferred onto lithographic stones which were then enhanced with figures, animals and other details by drawing. "Pouncy's important work was a transitional stage between drawing and unretouched photography in book illustration". McLean, Victorian Book Design and Colour Printing, p.128."As far as we know Pouncy's rare book was not only the first but remained the only attempt in book form to reproduce photographic views from nature by photolithography" Gernsheim, History of Photography, p. 546.A further two parts were proposed but never issued; rare to find complete.
NO RESERVE London.- Phillips (Hugh) Mid-Georgian London: A Topographical and Social Survey of London about 1750, 1964; The Thames about 1750, 1951 § Darlington (I.) James Howgego. Printed Maps of London circa 1550-1850, 1964 § Port (M.H.) Imperial London: Civil Government Building 1850-1915, New Haven and London,1995 § Friedman (J.) Spencer House: Chronicle of a Great London Mansion, 1993 § Longstaffe-Gowan (Todd) The London Square, New Haven and London, 2012 § Coke (D.) and Alan Borg. Vauxhall Gardens: A History, New Haven and London, 2011 § Davies (Philip) Lost London 1870-1945, 2009, illustrations, original cloth, all but the first with dust-jackets, the first few rubbed and frayed; and c.70 others on London, v.s. (c.75)
![NO RESERVE Shell Guides.- Betjeman (John) Cornwall, second edition, 1935; Devon, [1935] § Byron (Robert) Wiltshire, 1935 § Ho](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/d4778daf-af1d-406b-b841-af6000b82a8a/468x382.jpg)
NO RESERVE Shell Guides.- Betjeman (John) Cornwall, second edition, 1935; Devon, [1935] § Byron (Robert) Wiltshire, 1935 § Hobhouse (Christopher) Derbyshire, 1935 § Clonmore (Lord) Kent, 1935 § Nash (Paul) Dorset, [1936] § Nash (John) Bucks, upper cover detached, [1936] § Quennell (C.H.B. & Peter) Somerset, original cloth, dust-jacket, [1936] § Sharp (Thomas) Northumberland & Durham, upper cover detached, [1937] § Piper (John) Oxon, [1938] § Bone (Stephen) West Coast of Scotland, [1938], all but the first first editions, maps, plates and illustrations, mostly photographic, some printed on tinted paper, original spiral- or ring-bound photographic wrappers, a little rubbed and soiled, a few creases (particularly the first); with c.70 others including first editions of the remaining 19 volumes in the series up to 1984 plus later versions and several duplicates, some reprints, original cloth or wrappers, most with dust-jackets, a little rubbed; and a small quantity of others, Shell Shilling guides etc. and other related ephemera, 4to & 8vo (2 boxes))⁂ An almost complete set of this highly-collectable series, lacking only Rayner's Hampshire of 1937 up to 1984, and with nearly all titles in first edition.
NO RESERVE Africa.- Freeman (R. Austin) Travels and Life in Ashanti and Jaman, first edition, frontispiece, plates and illustrations, 2 colour maps, one folding, 16pp. publisher's catalogue at end, original pictorial cloth, gilt, t.e.g., others uncut, a little rubbed, spine slightly browned and worn at ends, 1898; and another on Nigeria, 8vo (2)⁂ The author's first book.
NO RESERVE Central Asia & Great Game.- Burnaby (Capt. Fred) On Horseback through Asia Minor, 2 vol., mounted oval Woodburytype portrait, 3 folding maps, one torn and repaired, vol.1 with 24pp. publisher's catalogue at end and with portrait & one Contents leaf loose, traces of labels, original pictorial cloth, rubbed, one joint split, 1877 § Cobbold (Ralph P.) Innermost Asia: Travel & Sport in the Pamirs, first American edition, photogravure frontispiece, folding colour map at end, plates and maps, hinges weak, original pictorial cloth, gilt, rubbed and faded, 1900 § Bailey (Lt.-Col. F.M.) China - Tibet - Assam: A Journey 1911, 1945; Mission to Tashkent, 1946, first editions, the last two with plates, original cloth, slightly rubbed; and c.15 others on Central Asia, mostly Great Game, 8vo (c.20)
NO RESERVE Delaroche (Paul) Bas-Reliefs du Parthénon et du Temple de Phigalie, 20 engraved plates, tissue guards, light spotting and soiling, contemporary roan-backed boards, gilt-stamped roan label to upper cvover, rather worn, upper cover detached, Paris, 1838 § Choisy (Auguste) L'Art de Batir chez les Romains, first edition, 24 engraved plates, 3 double-page, the last couple with light marginal spotting or soiling, loose as issued in ?original board folder with ties, rubbed, rebacked in cloth, ties renewed, Paris, 1873; and another, v.s. (3)
NO RESERVE China.- Bishop (Isabella L., née Bird) The Yangtze Valley and Beyond, first edition, 1899 § Morrison (G.E.) An Australian in China, second edition, frontispiece & title loose, 1895 § Dingle (Edwin J.) Across China on Foot, New York, 1911 § Skrine (C.P.) Chinese Central Asia, Boston & New York, 1926 § Little (A.J.) Through the Yang-tse Gorges, third edition, 1898 § Leland (C.G.) Pidgin-English Sing-Song, fifth edition, 1900, plates and illustrations, folding maps, original cloth, some pictorial, rubbed, some spines faded or browned, the fifth torn at head; and c.25 others, mostly China, 8vo et infra (c.30)
NO RESERVE China.- Johnston (R.F.) Lion and Dragon in Northern China, publisher's presentation stamp to head of title, faint ink stamp of Glasgow Herald library, 1910; Buddhist China, 1913; From Peking to Mandalay, first American edition, New York, 1908; Twilight in the Forbidden City, 1934, all but the third first editions, maps, plates, some folding, occasional foxing, original cloth, rubbed, some spines faded; and 2 others by or about Johnston, 8vo (6).⁂ The author was a British Civil servant stationed in China who became tutor to the young emperor, Hsuan-T'ung, known as P'ui Yi. The last mentioned is an account of this role and formed the basis of the film The Last Emperor.
NO RESERVE India.- Goldsmid (Col. Sir Frederick John) Telegraph and Travel, 3 maps, 2 folding, wood-engraved plates and illustrations, errata slip, 60pp. publisher's catalogue at end, 1874 § Parkinson (J. C.) The Ocean Telegraph to India, chromolithographed frontispiece and 8 maps, plates, tables etc., one folding, advertisement leaf at end, Mario & Fiammetta Witt copy with their book-label, 1870 § Smyth (Capt. R.) & Capt. H.L.Thuillier. A Manual of Surveying for India, second edition, chromolithographed frontispiece, plates, folding maps, 16pp. catalogue at end, 1855 § Younghusband (Capts. G.J. & Frank E.) The Relief of Chitral, plates and maps, some folding, 4pp. advertisements, frontispiece loose, ex-library copy with stamps, 1895 § Maine (Sir Henry Sumner) Village-Communities in the East and West, second edition, 20pp. catalogue, 1872, all but the third and last first editions, original cloth, the first four pictorial gilt, rubbed, the first and third recased, the second damp-stained, the second & last with faded and worn spines; and c.35 others on India, 8vo & 4to (c.40)
NO RESERVE India.- Portman (M.V.) A Manual of the Andamanese Languages, first edition, contemporary roan, broken and becoming loose, 1887 § Wells (W.G.B.) Cooly Tamil as understood by labourers on Tea & Rubber Estates, second edition, Colombo, 1920 § Duke (Joshua) Kashmir and Jammu: A Guide for Visitors, second edition, folding maps, ?lacking loose maps at beginning & end, Calcutta & Simla, 1910 § Our Indian Empire, 2 folding maps in pocket at end, ink inscriptions to title, original cloth-backed boards, HMSO, [c.1917] § Medley (J.G.) India and Indian Engineering: Three Lectures..., London & New York, 1873, the first two with embossed library stamp to title, all but the first and fourth original cloth, all rubbed, the first and third worn; and 9 others, similar, mostly Indian languages, 8vo et infra (14)
NO RESERVE Middle East.- Bishop (Isabella L., née Bird) Journeys in Persia and Kurdistan, 2 vol., original pale blue cloth, gilt, spines browned and worn at ends, 1891 § [Bell (Gertrude)] The Arab of Mesopotamia, rather browned, first few leaves slightly nibbled at fore-edge, upper hinge weak, covers stained, Basrah, Government Press, 1918; Amurath to Amurath, folding map torn and repaired, upper hinge weak, joints split, 1911 § Blunt (Lady Anne) Bedouin Tribes of the Euphrates, first American edition, ex-library copy with label, New York, 1879 § Stark (Freya) Baghdad Sketches, first English edition, 1937 § Forster (E.M.) Alexandria: a History and a Guide, upper hinge broken, original boards, Alexandria, 1922 § Nakhlah (Yacoub) New Manual of English and Arabic Conversation, title foxed, old roan-backed cloth, spine detached, Boulack nr. Cairo, H.H. The Khedive's Press, 1874, most first editions, some maps, plates and illustrations, all but the last two original cloth, all rubbed; and c.25 others on the Middle East, v.s. (c.30)
NO RESERVE Middle East.- Curzon (Hon. George Nathaniel) Persia and the Persian Question, 2 vol., original cloth, gilt, new endpapers with folding map attached to rear pastedown of vol.1, vol.1 spine detached, traces of labels to spine, 1892; Russia in Central Asia in 1889 and the Anglo-Russian Question, ex-library copy with stamps, later cloth-backed boards, 1889; The Pamirs and the Source of the Oxus, first edition in book form, original calf-backed cloth, spine torn at foot, Royal Geographical Society, [1897], first editions, maps, plates and illustrations, all rubbed; and 13 others by or about Curzon, 8vo & 4to (17)
NO RESERVE Middle East.- Greenlaw (Jean-Pierre) The Coral Buildings of Suakin: Islamic Architecture, Planning, Design and Domestic Arrangements in a Red Sea Port, London and New York, 1995 § Hillenbrand (Robert) Islamic Architecture: Form, Function, and Meaning, Edinburgh, 1994 § Blair (S.S.) & Jonathan M. Bloom. The Art and Architecture of Islam 1250-1800, New Haven and London, 1994 § Kähler (Heinz) Hagia Sophia, 1967 § Goodwin (Geoffrey) Ottoman Architecture and its Values Today, 1993, illustrations, original cloth, dust-jackets, the first with faded spine; and 10 others on Islamic art and architecture, 4to & 8vo (c.15)
NO RESERVE Murray (John, publisher) A Hand-book for Travellers on the Continent...Holland, Belgium, Prussia, and Northern Germany, 1836; Southern Germany, third edition, 1844; Switzerland and the Alps of Savoy and Piedmont, 1838; Denmark, Norway, Sweden, and Russia, 1839; Ionian islands, Greece, Turkey, Asia Minor, and Constantinople, 1840; Northern Italy, second edition, 1846; Central Italy, 1843; France, 1843; Spain, 2 vol., 1845; Egypt, upper hinge split, contemporary half morocco, rubbed, 1847; Southern Italy, 1853; Syria and Palestine, 2 vol., 1858; India, 2 vol. (Madras & Bombay), 1859; New Zealand, 1893, all but the second and sixth first editions, folding maps, the early ones on linen, later ones mostly loose in pockets at beginning and/or end, all but the tenth original cloth, most rubbed and faded, a few joints split, some rebacked preserving original spines, [PMM 302a]; and c.75 others, mostly Murray's guides (a few Baedekers etc.), some duplicates or later editions, 8vo (c.90)⁂ An excellent and near complete set of these indispensable guidebooks to foreign parts, from the very first one onwards, and with many of the guides to the United Kingdom.
NO RESERVE Turkey.- Krausz (Wilhelm Victor) Die Turkei Im Weltkrieg: Bildnisse und Skizzen, first edition, 47 plates tipped into 34 aperture mounts, most colour, small ink library stamp to title, loose as issued in original pictorial cloth, gilt, folder with ties, a little spotted and soiled, folio, Vienna, 1916; and others, mostly on Turkish-British relations following WWI, folio & 8vo (c.15)⁂ Commissioned by the Austrian War Ministry to celebrate victory at Gallipoli and featuring notable Turkish leaders including Enver Pacha, leader of the Young Turks, and Mustafa Kemal, later Prime Minister Ataturk, as well as the Ottoman forces and landscapes.
NO RESERVE Early printing.- Mensa Philosophica, 48ff. only (of 52, lacking the first 4 leaves), 37 lines & headline, rust-hole in C7, some stains and spotting, marginal ink notes often trimmed, strengthening to some inner margins, modern boards, [Hain 11077*; Klebs 676.9; BMC I 306; Goff M 497], 4to, Cologne, Apud predicatores [Cornelis de Zierikzee], [c.1500].⁂ Catalogue description from Alan Thomas tipped in to front free endpaper in which he pleads: "This item was in my last catalogue. It was ordered at once by a small bookseller. Not knowing him, and not having sent him the catalogue, I sent a proforma invoice (a thing I seldom do). Result silence. It was then ordered by a private man, who came to inspect it and confirmed his order. A day or two later he telephoned and, with some embarrassment, explained that his wife would not let him buy it. Is there not, among my customers, a bibliophile, both warm-hearted and perceptive, who will give a home to this quite attractive little book?"
NO RESERVE Jouy (Etienne de) L'Hermite de Londres, ou Observations sur les Moeurs et Usages des Anglais au commencement du XIXe Siècle, 3 vol., first edition, half-titles, engraved frontispieces and folding map with vignettes, wood-engraved tail-pieces, contemporary half calf, spines gilt, a little rubbed, vol.1 with gouge to spine and upper cover, Paris, 1820-21 § Veritable Secretaire (Le) ou la belle maniere d'écrire avec justesse sur differens sujets. Par un Gentilhomme Francois, engraved frontispiece, a little browned, contemporary mottled calf, spine gilt, slight worming to spine, Amsterdam, Henri Desbordes, 1696; and others, French, 8vo et infra (18)
NO RESERVE Linguistics.- Torriano (Giovanni) Della Lingua Toscana-Romana. Or, An Introduction to the Italian Tongue, first edition, contemporary mottled calf, spine gilt, worn at ends, [Wing T1919], for J.Martin, and J.Allestrye, 1657 § Alvarado (Felix Antoni de) Spanish and English Dialogues, second edition, titles and parallel text in Spanish & English, contemporary calf, rebacked, for W.Hinchliffe & J.Walthoe, 1719 § Boyer (Abel) The Compleat French-Master, for Ladies and Gentlemen, seventh edition, musical notation, browned and water-stained, contemporary panelled calf, rebacked and repaired, for Richard Sare..., 1717 § Royal French Grammar (The)..., first edition, titles and parallel text in French and English, the Earl of Northesk's copy with his ink signature to French title, water-staining at beginning, contemporary sheep, stained, for J.Leui, 1709, all rubbed or worn; and c.75 others on European linguistics, 8vo et infra (c.80)⁂ ESTC records only 3 copies of the last mentioned (BL, Cambridge, Oxford).
NO RESERVE Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 6 vol., vol. 1 second edition, the rest first editions, one engraved map only (of 3), lacking portrait frontispiece, half-titles and errata, vol. with worming and start, light foxing and browning, bookplates of Sir William Wilson Hunter, later half vellum, spines gilt, spines darkened with some chipping to labels, 4to, W. Strahan; and T. Cadell, 1776-88.
Loading...-
596780 item(s)/page