JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Geometric Metaphysics B-11", 1969-1970.Oil on canvas.Signed on the back.Label of the Joan Prats gallery, Barcelona, on the back.This work is published in the artist's online catalogue, ref. 1123.Size: 75 x 75 cm; 79 x 79 cm (frame).This painting belongs to a specific series by Joan Ponç, produced between 1969 and 1970, characterised by being practically his only incursion into abstraction, expressing himself through a minimum of formal and chromatic resources, based on geometric figures and their shadows, with which he composes metaphysical landscapes.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to mark his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the metaphysical characters period (1970), the acupainting period (1971) and a final period of synthesis (1972). One of the most singular and enigmatic painters in the history of modern art, Ponç painted in order to survive the world, and turned each of his creations into a magical act. His trajectory describes a circular path over the years, almost without evolution, if we understand as such the change from one language to another, the variation of styles, the transformation of the unknowns that led him to paint. Ponç was a painter-poet, who used his brushes to discover the only world he knew, the most real of all, the world that lies at the bottom of his own being. It is a world inhabited by strange creatures with half-human, half-animal bodies, by demons who make us participants in their actions, by deserted spaces in which symmetrical mounds, craters in a line, Stygian lagoons under dark skies broken only by the glow of coloured moons stand out. He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.
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HSIAO CHIN (Shanghai, 1935)."Ux-107", 1960.Oil on canvas.Signed and dated in the lower right corner; signed, titled and dated on the back.Measurements: 69 x 99 cm; 71 x 101 cm. (frame).In the early 1960s, Hsiao Chin's artistic and life career was at a turning point. Throughout the decade, his painting would gradually lose texture and matter (moving away from the influence of European Informalism) and move towards an exploration closer to the heritage of Minimalism, Constructivism and Op Art. The painting shown here is situated at the hinge between these two quests. Although it is a material work, on a base of improvised gesture a studied composition of full and empty spaces unfolds through which the artist rehearses a singular visualisation of Zen philosophy. The millenary Orient and the Western avant-garde have been two reins on which the Chinese artist has pulled to advance along a unique path that he himself has been clearing freely.Hsiao Chin is a visual artist known for his numerous works and exhibitions on contemporary art, and for being the founder of the Chinese Abstract Art Organisation in Taipei. Born in Shanghai in January 1935, Hsiao Chin was influenced by his father, Hsiao You-mei, a well-known contemporary musician who founded the first music school in China, the Shanghai Conservatory of Music, in 1927. After the death of his father Chin had to go to live with his uncles and aunts in Taiwan; there he started his career as an artist at Taipei's Chengkung Middle School, today's National Taipei University of Education, a contemporary art school that helped him to integrate and interact with other contemporary artists, such as Ho Kan, Li Yuan-chia, Wu Haou and others, with whom he founded, together with Ho Kan, one of the first abstract art movements in China, the Top-Fan Art Group.In July 1956, Hsiao Chin decided to undertake a trip to Europe where he would continue his training as an artist; his first stop of many was Spain, where he participated in the "Jazz Salon Exhibition" in Barcelona. Later he decided to move around Italy and France until he arrived in the United States, where he met artists such as Mark Rothko and Mark Tobey, who taught him an art that broke with everything he had previously known; his work underwent a great evolution together with his person thanks to the experiences he had lived through during these years. His paintings are a representation of the idealism of Neo-Taoism; an abstract and constructivist representation that does not only follow a colourist and western technique but includes the classical Chinese typographic style, in order to create a Zen atmosphere and to remember the origins of his cultural roots. Many of his works are exhibited in major European contemporary art galleries, in Spain, specifically in Barcelona, he has works exhibited in the "Mataró Fine Arts Museum" and in the Museum of Contemporary Art of Barcelona, the "MACBA". In 1961, during his stay in Italy, Milan, he founded "Punto Art Movement" where he had numerous exhibitions in galleries such as "Galleria Salone Annunciata", Milan, "Galerie Internationale d'Art Contemporain", Paris and "Gignals Gallery", London. We can also find part of his work in New York, where in 1967 he exhibited part of his work in "Rose Fried Gallery" together with Mark Rothko. Currently most of his artworks are in the National Museum of History in Taipei, Taiwan, where he has a permanent exhibition of his work.
SOLEDAD SEVILLA PORTILLO (Valencia, 1944)."Insomnio", Granada, 2001.Oil on canvas.Signed, dated, titled and located on the back.Measurements: 65 x 100 cm; 74,5 x 109 cm (frame).A Valencian artist based in Barcelona, Soledad Sevilla trained at the Sant Jordi Academy of Fine Arts, and later extended her studies in Madrid and at Harvard University. She began her exhibition career at the end of the sixties, within a minimalist language which she abandoned in the following decade after participating in the Seminar on Automatic Generation of Plastic Forms held at the Calculus Centre of the Complutense University of Madrid. From then on he developed a geometrically based painting, using the module and its infinite variations. The evolution of Sevilla's language began at the end of the sixties in the search for an alternative style to the informalism and expressionism prevailing in Spain at the time, approaching Normative Art, its serial forms, its chromatic purity and its atonalism, rejecting subjectivity. From this first stage, influenced by Malevich and marked by the search for a purely abstract spatial conception, the artist moved on to optical, perceptive and structural proposals following her time at the Centro de Cálculo and her contact with José María Yturralde and Jordi Teixidor in the seventies. He continued, therefore, within a modular language, although now with a purely rhythmic conception, thus approaching a lyrical, non-objective painting, combining the emotional and the rational. Following this path, in the mid-eighties Sevilla focused on the investigation of landscape, with cultural and experiential connotations, delving into the perception of reality through subtle wefts and grids. Around this time, he also began to create his first installations. By then, Sevilla already had an important exhibition career not only in Spain, but also in the United States, Europe and Latin America. However, from the eighties onwards, his presence will be constant in the most important galleries in Madrid and other Spanish cities, and he will also reach Africa, Japan... His most recent exhibitions include the solo show held in 2012 at the Museo Nacional Centro de Arte Reina Sofía. Winner of the National Prize for Plastic Arts in 1993 and Gold Medal for Merit in Fine Arts in 2007, Seville is currently represented in the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo de Arte Abstracto in Cuenca, the IVAM in Valencia, the ARTIUM in Vitoria, the Künstmuseum in Malmö, the Marugame Hirai in Tokyo, the European Parliament and the Patrimonio Nacional, among other outstanding collections.
WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Deux amies I".1988.Watercolour on paper.Signed with stamp in the upper margin.With label on the back of the gallery Fernando Alcolea, Barcelona.Size: 16 x 20 cm; 33 x 38 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the stroke and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.
WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Deux amies II.Watercolour on paper.Signed with stamp in the left margin.Size: 16 x 20 cm; 31 x 36 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the line and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.
EDUARDO NARANJO (Monesterio, Badajoz, 1944)."Portrait of a girl", 1981.Oil on canvas.Signed and dated in the lower right corner.Measurements: 64 x 49 cm; 65 x 50 cm (frame).The eighties was a period of maturity and establishment in Eduardo Naranjo's career. It was at this time that the Círculo de Bellas Artes of Madrid awarded him the medal for his merits as a member of its board of directors for painting and a first monograph of the author was published. This portrait of a lady is a great example of this period, as we can appreciate the author's characteristic technical quality and his unmistakable aesthetic language, in which he treats realism from a dreamlike point of view. He shows before the spectator an image taken from everyday life, but distorting certain elements, thus enriching the image, an example of which is the background with a lake in the piece, and the large drawing on the stomach of a girl.Eduardo Naranjo began his artistic training in 1957 with his teacher Eduardo Acosta, and that same year he entered the Escuela de Artes y Oficios (School of Arts and Crafts). In 1960 he continued his studies at the Santa Isabel de Hungría School of Fine Arts in Seville, and a year later he moved to the San Fernando School of Fine Arts in Madrid, where he completed his studies. After his academic period, Naranjo decided to move to Paris, where he became deeply acquainted with the work of Picasso and artists such as Matisse. His work is defined by the technical exploration of painting, although he has also worked with sculpture and in the field of scenography. In addition, between 1986 and 1991 he made a series of engravings for the book "Poeta en Nueva York" by Federico García Lorca. Eduardo Naranjo's artistic career includes important prizes and awards, such as the Luis de Morales de Badajoz prize (1974), the Medal of Extremadura (1991), the María de Salamanca National Engraving Prize of the Museum of Contemporary Spanish Engraving (1994) and the Cross of Military Merit for his contribution to the Arts and the Army (1995). Throughout his career he has held solo exhibitions all over the world, and today he is one of the most sought-after living Spanish painters. In fact, his fame is international, being admired in countries as far away as China, where he has exhibited numerous times and has been invited to give master classes in Chinese universities. Today his work is divided between private international collections and numerous public museums, including the Museo Nacional Centro de Arte Reina Sofía in Madrid and the Nagasaki Museum in Japan, as well as countless private collections, including the Masaveu Collection in Oviedo.
First Millennium BC, Ring Money, a small hollow penannular smooth gold band of plain metal with one tapered end fitting inside the other, 1.14g, 20 x 17mm; together with a thin gold uniface roundel in the shape of a shield boss, presumably contemporary, 0.11g, 10mm (VA 1-3; cf. LaRiviere, lot 2) [2]. Fine to very fine, both with minor surface marks and damage £200-£300
First Millennium BC, A plain gold band, late Bronze Age or Iron Age, flat and rectangular in section with angle-pointed shaped ends, 8.28g, 12 x 4 x 1mm. A few scuffs and scrapes, otherwise very fine, original colour £400-£500 --- The band has been twisted and folded out of shape so it is uncertain whether it was originally a bangle, a bracelet, or a coiled finger ring
Edward IV (First reign, 1461-1470), First Crown coinage (c.1460-62), Groat, Dublin, nine-arc tressure with three pellets on each cusp, double saltires after civitas and dvblinie, annulets in second and third quarters of rev., 2.95g/10h (S 6280 [6272]; DF 79). Very fine or better, toned, rare £2,000-£2,600
Edward IV (First reign, 1461-1470), First Crown coinage (c.1460-62), Groat, Dublin, nine-arc tressure with three pellets on each cusp and crosses in three top angles, double saltires after civitas and dvblinie, annulets in second and third quarters of rev., 2.46g/4h (S 6280A [6272A]; DF 82). Better than very fine, toned, rare £2,000-£2,600 --- Provenance: Bt P. Finn
Edward IV (First reign, 1461-1470), First Crown coinage (c.1460-62), Penny, Dublin, large crown, eight-arc tressure with three pellets on each cusp, rev. annulet in two quarters, 0.66g/6h (S 6282C [6279]; DF 95). Slightly irregular flan, good fine and very rare £1,500-£2,000 --- Provenance: Bt C.J. Denton
Edward IV (First reign, 1461-1470), Small Cross on Rose/Radiant Sun coinage (c. 1462-3), Penny, large rose, small cross pattée at centre, rev. radiant sun with pellet-in-annulet in centre, 0.39g/5h (S 6290 [6289]; DF 113). Small of flan, nearly very fine £1,500-£2,000 --- Provenance: Bt P. Finn
Edward IV (First reign, 1461-1470), Second Crown coinage (c. 1463-65), Penny, mm. rose, Dublin, large crown within legend, no tressure, rev. no additional annulets in angles, 0.63g/5h (S 6297 [6286]; DF 110). Small flan split, good fine or better, extremely rare £2,000-£2,600 --- Provenance: Bt C.J. Denton
Edward IV (First reign, 1461-1470), Heavy Cross and Pellets coinage (c.1465-7), Groat, Dublin, mm. rose, no marks in tressure or by bust, reads hybernie, double saltire after civitas, 2.53g/4h (S 6306 [6290]; DF 118). On a full round flan, nearly very fine £300-£400 --- Provenance: Bt C.J. Denton
Edward IV (First reign, 1461-1470), Heavy Cross and Pellets coinage (c.1465-7), Groat, Dublin, mm. rose, no marks in tressure or by bust, reads hybernie, double saltire after civitas and dvblinie, 2.33g/3h (S 6306 [6290]; DF 118). Large edge chip, about very fine, toned £150-£200 --- Provenance: Bt C.J. Denton
![Edward IV (First reign, 1461-1470), Heavy Cross and Pellets coinage (c.1465-7), Penny, Drogheda, mm. rose, edward [ –––– ], n](https://cdn.globalauctionplatform.com/5ba0027f-e0e5-42a7-a223-aeb000ade443/643dc107-ab13-401c-bd7d-aee800c04393/468x382.jpg)
Edward IV (First reign, 1461-1470), Heavy Cross and Pellets coinage (c.1465-7), Penny, Drogheda, mm. rose, edward [ –––– ], nothing at neck, rev. vill a de droghe, small rose in centre of cross, 0.52g/2h (Burns Dr-3H; S 6316A [6370A]; DF –). Very fine £200-£300 --- Provenance: Bonhams/James Adam Auction (Dublin), 21 February 2003, lot 140
Edward IV (First reign, 1461-1470), Bust/Rose on Sun: ‘Doubles’ coinage (c. 1467-70), Groat, Trim, mm. rose, crowned bust facing within plain tressure, rev. rose at centre of large radiant sun, roses and suns in legend, 1.23g/5h (S 6333 [6323]; DF 150). Reverse slightly off-centre, a few surface marks, otherwise better than fine, very rare £1,500-£2,000
Edward IV (First reign, 1461-1470), Bust/Rose on Sun: ‘Doubles’ coinage (c. 1467-70), Penny, Dublin, mm. unclear, crowned bust facing, rev. rose at centre of large radiant sun, rose in legend, 0.33g/12h (S 6337 [6327]; DF 155). Small of flan, good fine, extremely rare £2,000-£2,600 --- Provenance: Bt R. Walshe
![Edward IV (First reign, 1461-1470), Base issues, Crown issue (c. 1460-1), Half-Farthing, pa [branch] trik [branch], crown, re](https://cdn.globalauctionplatform.com/5ba0027f-e0e5-42a7-a223-aeb000ade443/1994ac17-321f-47f8-a14f-aee800bfc3f0/468x382.jpg)
Edward IV (First reign, 1461-1470), Base issues, St Patrick’s issue (c. 1463-5), Farthing, facing mitred bust, rev. cross with rose and sun in alternating angles, blundered legend, sun between letters, 0.87g/12h (S 6349 [6402]; DF 100). Good fine for issue, very rare £1,200-£1,500 --- Provenance: Bt Spink
Elizabeth I (1558-1603), First issue (1558), Groat, mm. rose, reads regin, 2.82g/8h (S 6504; DF 244). Minor weakness otherwise good very fine £400-£500 --- Provenance: SCMB January 1982 (K12); L. LaRiviere Collection, Spink Auction 178, 22 February 2006, lot 103; M. Rasmussen FPL 14, Winter 2007/8 (250)
An extremely rare Coalbrookdale Midsummer Night's Dream pattern cast iron seatcirca 1870fully stamped ‘CB Dale Co.’ and with pattern and registration numbers164cm longSee engraving This extremely rare Coalbrookdale pattern, now sadly missing its scroll cresting is registered in the 1875 Coalbrookdale catalogue, section III, no 42. (See engraving) The central panel in the back depicts the moment when King Oberon’s servant fairy Puck squeezes the juice from a magical plant into the eyes of Queen Titania, making her fall in love with the first person she sees when she awake which turns out to be Bottom, whose head has been transformed into that of an ass. Garden Furniture
Pazifik - Südsee - - Richard Walter. Des Herrn Admirals, Lord Ansons Reise um die Welt, welche Er als Oberbefehlshaber über ein Geschwader von Sr. Großbritannischen Majestät Kriegsschiffen, die zu einer Unternehmung in die Südsee ausgeschickt worden, in den Jahren 1740, 41, 42, 43, 44, verrichtet hat, aus dessen Aufsätzen und Urkunden zusammengetragen und unter seiner Aufsicht an das Licht gestellet von M. Richard Waltern, Capellan auf Sr. Majestät Schiffe, dem Centurion in diesem Kriegszuge, aus dem Englischen in das Deutsche übersetzt. Mit 34 gestochenen Tafeln und Karten, davon 32 gefaltet. Leipzig u. Göttingen, Abraham Vandenhoeck, 1749. XLIV, 382 S., 14 Bll. Gr.-8°. HLdr. d. Zt. mit reicher RVergoldung, goldgepr. RSchild, Marmorvorsätze (etwas berieben, Bezug mit kl. Fehlstellen). Erste dt. Ausgabe. VD18 13770578. Sabin 1640. Henze I, 82. - Offizieller Bericht über die aufsehenerregende Weltumseglung des Engländers George Anson (zuerst 1748 in London erschienen), aufgeschrieben von dem Kaplan Richard Walter. Die Fahrt mit der "Centurion" (die als einziges von acht gestarteten Schiffen zurückkehrte) führte um Kap Horn, nach Peru u. Mexico sowie über die Marianen nach Macao und Canton. Mit 3 großen Karten von Patagonien, den Philippinen und dem Pazifik und reichem Tafelwerk, u.a. zahlreiche Küstenansichten des Feuerlandes mit Schiffen. - Papierbedingt gebräunt und etwas braunfleckig. Im unteren weißen Rand teils mit schwächerem Wasserfleck. Karte der Philippinen mit kurzem Einriss. Wohl erhalten. Pacific - South Seas - With 34 engraved plates and maps, 32 of them folded. Bound in cont. half leather with rich gilt decoration on spine and gilt label, marbled endpapers (somewhat rubbed, cover with small missing parts). - First German edition. - Official account of the sensational circumnavigation of the world by the Englishman George Anson (first published in London in 1748), written down by the chaplain Richard Walter. The voyage with the "Centurion" (which was the only one of eight ships to return) led around Cape Horn, to Peru and Mexico as well as via the Marianas to Macao and Canton. With 3 large maps of Patagonia, the Philippines and the Pacific and numerous plates, among others with coastal views of Tierra del Fuego with ships. - Paper browned and somewhat brown-stained. Lower white margin partly with weaker waterstain. Map of the Philippines with a short tear. Well preserved.
Uwe Wandrey (Pseud. Peer Brax). Reizreime. Nonnendose 2 und 4. 2 Tle. (von 7 ersch.). Um 1966. Je 1 gerolltes Blatt (ca. 56 x 13,5 cm) mit je 1 gerollten Titelblatt mit Auflistung aller ersch. Nonnendosen (ca. 12,5 x 19,5 cm). In farb. bemalten OPp.-Röhrchen mit Deckel u. mont. Titelschild (ca. 15 x 3,3 cm) (stellenw. etw. angeschmutzt u. berieben). Sehr seltene Erstveröffentlichung des Autors (wohl spät. Aufl.?). Im KVK nur in der Deutschen Nationalbibliothek nachweisbar. Dort zum Erscheinen Hamburg, Quer-Verlag, 1966 angegeben. Bei einem der vorliegenden Exemplare "Vertrieb: Manfred Blunck" vermerkt. - Enthält: Nonnendose 2. In der Hand wärmen sie den Silbergatten. - Nonnendose 4. Manche Nonne trägt im Knie unterm Rock ein Genie. - Jede Papierrolle mit Gedichten zu Nonnen, die Strophen durch die Darstellung einer nackten Nonne unterteilt. - Insgesamt ordentlich erhalten. 2 parts (of 7 published). Each with 1 rolled sheet and 1 rolled title page listing all published boxes of nuns. In col. painted orig. cardboad tubes with mounted title label (in places somewhat soiled and rubbed). - Very rare first publication of the author (edition?). In KVK only available in the German National Library. There indicated for publication Hamburg, Quer-Verlag, 1966. One of the present copies mentions "Vertrieb: Manfred Blunck". - Each paper roll with poems on nuns, the stanzas divided by a depiction of a naked nun. - Overall good condition.
Louis Bonaparte. Odes. Mit eigenhändiger Widmung des Verfassers. Lausanne, Imprimerie d'Hignou, 1814. 91 S. 8°. Geflecktes Kalbsldr. d. Zt mit goldgepr. DFileten und RVerzierungen, dreis. Goldschnitt (berieben, Rücken mit kl. Defekten). Seltene Ausgabe. - Die Widmung eigenhändig, die Signatur wohl von anderer Hand. Wir danken Herrn François Houdecek von der Pariser Fondation Napoléon für seine Einschätzung. - Louis Bonaparte (1778-1846) war einer von vier Brüdern des berüchtigten französischen Kaisers. Von 1806 bis 1810 war er König von Holland. Der sogenannte "prince philosophe" veröffentlichte mehrere Werke, darunter Poesie und Prosa. Seine hier vorliegenden Oden erschienen erstmalig 1813 in Wien. - Mit einigen wenigen Korrekturen im Text. Vorsätze leimschattig. Wohl erhalten. With autograph dedication by Louis Bonaparte. Mottled cont. calf with gilt fillets and ornaments on spine, triple gilt edges (rubbed, spine with small defects). - Rare edition. - The dedication in the author's own hand, the signature most likely in another hand. We would like to thank Mr. François Houdecek of the Fondation Napoléon in Paris for his assessment. - Louis Bonaparte (1778-1846) was one of four brothers of the infamous French emperor. He was King of Holland from 1806 to 1810. The so-called "prince philosophe" published several works, including poetry and prose. His odes presented here were first published in Vienna in 1813. - With a few corrections in the text. Endpapers shaded with glue. Well preserved.
Astronomie - - Astronomisches Manuskript mit 2 mont. Tuschezeichnungen. (London?), wohl Anfang des 18. Jh. S. 114-165. Gr.-8°. Ohne Umschlag mit 1 Metallstift geheftet (angerändert, an der Heftung etwas eingerissen). Wohl aus einem größeren Werk stammend, da die Seitennummerierung auf S. 114 beginnt. Enthalten sind zwei erstaunliche Illustrationen der Geometrie einer Finsternis. Eine Tafel zeigt eine Sonnenfinsternis, die andere eine Mondfinsternis. Auf S. 120 wird die totale Sonnenfinsternis vom 3. Mai 1715 erwähnt, die von London aus gesehen wurde und als Halleysche Finsternis bekannt ist, nach Edmond Halley (1656-1742), der sie mit einer Genauigkeit von 4 Minuten vorhersagte. Das Manuskript ist undatiert, die Seiten sind mit Wasserzeichen versehen, aber unleserlich. Es scheint keine Abschrift eines veröffentlichten Werks zu sein. Das Manuskript beginnt am Ende eines Kapitels, die Abschnitte über Sonnen- und Mondfinsternis sind aber vollständig. Es folgt Kapitel 7 "De Cometis" und dann Buch 3 "De physicis mundi systematibus" mit Artikeln über das "Systema cartesianum" einschließlich des kartesischen Wirbels, der Sonnenflecken und der Planetenbewegung. - Stellenweise etwas (stock)fleckig u. wasserrandig. Erste u. letzte Seite stärker fleckig, letzte Seite leicht wasserrandig u. besonders nachgedungelt mit verblasster Schrift u. geringem Textverlust. Astronomy - Handwritten manuscript with 2 pasted in plates with hand illustrated diagrams of eclipses. Likely early 1700s. - Presumably taken from a larger work as page numbering starts at p. 114. Included are two stunning illustrations of the geometry of an eclipse. One plate is of a solar eclipse, the other lunar. On p. 120, the total solar eclipse of 3 May 1715 is mentioned, viewed from London. It was known as Halley's Eclipse, after Edmond Halley (1656-1742) who predicted it to within 4 minutes accuracy. The manuscript is undated, pages watermarked but unreadable. It does not appear to be a copy of a published piece, no results found for small segments of the text. The manuscript starts part way through a chapter, the sections on solar and lunar eclipse are complete. Followed by chapter 7 "De Cometis" and then Book 3 "De physicis mundi systematibus" followes with articles on "Systema cartesianum" including Cartesian vortex, solar spots, and planetary motion. - No wrapper as part of a larger work, metal pin binding (somewhat torn along the pin, edges untrimmes with some chips and tears). First and last page quit strongly stained and soiled, last page dampstained and particularly darkenes with faded lettering and loss of some text to chips in page edge). Some foxing and staining.
Frankreich - - Constitution de la République Francaise, précédée de la Déclaration des Droits de l'Homme ... Paris, Didot L'Ainé, 1793. 2 Bl., 79 S. 8°. Ldr. d. Zt. mit goldgepr. RSchild u. etwas RVerg. (tls. berieben, 1 Ecke bestoßen, RSchild mit winzigem Eckabriss). Erste Ausgabe der zweiten, gleichzeitig auch in Quart erschienenen Revolutionsverfassung. - Exlibris-Blindstempel Roderich Zeller, Vorsätze etwas leimschattig, Vortitel u. Titel mit Besitzeintrag (Reinaldo Duarte de Oliviera), insg. guter Zustand. First edition. Contemp. leather with gilt-stamped and labelled spine (occ. rubbed, 1 corner bumped, label on spine with small defect). - Blindstamp, flyleaves with some binder's glue, ownership entry on half title and title, overall well preserved copy.
Jules Michelet. L'Oiseau. Cinquième édition, revue et augmentée. In prachtvollem Japonisme-Einband. Paris, Hachette & Cie, 1858. 2 Bll., LVII, 1 Bl., 330 S., 1 Bl. 8°. Brauner Maroquin des frühen 20. Jh. mit reicher RVergoldung, blauem goldgepr. RSchild, goldgepr. gestaffelten DFileten sowie zwei wundervollen intasierten und handbemalten japonisierenden Kompositionen auf Vorder- und Hinterdeckel mit Darstellungen von Vögeln (signiert M.G.). Blindgepr. Steh- und Innenkantenornamentik, Kopfgoldschnitt, Marmorvorsätze. In zweiteiligem Schuber. (Gelenke und Deckel stellenweise etwas berieben) Mit Exlibris des belgischen Künstlers Louis Buisseret (1888-1956) datiert 1918 und inspiriert von einer Komposition des britischen Präraffaeliten John William Waterhouse "Gather your rosebuds while you may". Das Exlibris wurde angefertigt für "M. Graux", was einen Bezug zu den Initialen auf den beiden Deckel-Kompositionen darstellen könnte. Plausibel scheint jedoch auch eine Provenienz aus der Sammlung des berühmten Docteur Lucien Graux (1878-1944). Der französische Arzt, Unternehmer, Kunstsammler, Bibliophile, Schriftsteller und Verleger trug in der ersten Hälfte des 20. Jahrhunderts eine der größten und spektakulärsten Privatsammlungen von Büchern und Manuskripten in Frankreich zusammen. 1940 schloss er sich dem Widerstand an und wurde 1944 von der Gestapo in seiner Wohnung verhaftet. Noch im selben Jahr wurde er im Konzentrationslager Dachau ermordet. Graux' Bibliothek blieb unversehrt und wurde von seiner Witwe in neun Auktionen zwischen 1953 und 1957 veräußert. - OBroschur samt Rücken mit eingebunden. Stellenweise stockfleckig. Gutes Exemplar. In splendid Japonisme binding. Early 20th c. brown morocco with rich gilt decoration on spine, blue gilt label, gilt staggered fillets and two beautiful intarsia and hand-painted japonisme compositions on front and back covers depicting birds (signed M.G.). Blind stamped standing and inner edge ornamentation, gilt top edge, marble endpapers. In two-piece slipcase. (Joints and covers somewhat rubbed in places). - With bookplate by the Belgian artist Louis Buisseret (1888-1956) dated 1918 and inspired by a composition by the British Pre-Raphaelite John William Waterhouse "Gather your rosebuds while you may". The bookplate was made for "M. Graux", which could be a reference to the initials on the two cover compositions. However, a provenance from the collection of the famous Docteur Lucien Graux (1878-1944) also seems plausible. The French doctor, entrepreneur, art collector, bibliophile, writer and publisher amassed one of the largest and most spectacular private collections of books and manuscripts in France in the first half of the 20th century. In 1940, he joined the resistance and was arrested by the Gestapo in his flat in 1944. He was murdered in the Dachau concentration camp the same year. Graux's library remained intact and was sold by his widow in nine auctions between 1953 and 1957. - Orig. paperback with spine bound in. Spotted in places. Good copy.
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