CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Fisherwomen", 1988.Oil on canvas.Signed in the lower right corner.Measurements: 81 x 100 cm; 99 x 118 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he began his training at the School of Arts and Crafts. During the Civil War he enters the Escuela Superior de Pintura and attends the workshop of Daniel Vázquez Díaz, who will become his teacher, supporting him throughout his career. In his workshop, Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa or San José. In 1946 he presents his work for the first time, in the framework of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he holds an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics begin to echo his work and he is selected to participate in the exhibition "Spanish Art", held in Buenos Aires and organized by the Ministry of Education. From this moment on, he shows his work in several Spanish cities and in France, and participates in group exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travels three times to Paris thanks to different scholarships. His period of maturity begins with a new visit to Paris at the beginning of the sixties, to later travel to Switzerland, Germany, Holland and Belgium, obtaining several medals in the National Exhibitions of Fine Arts, as well as the Painting Prize of the Hispano-American Biennial of Cuba. Although he is not part of the Second School of Vallecas, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly focused on landscape painting and still lifes, although at first he also dedicated himself to the figure. The painter elaborates his landscapes by means of a direct contemplation of nature, not by copying it, because later in his studio he makes a selection of what interests him. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art of Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
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JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937)."Inside a cafeteria", Tunisia.Watercolor on paper.Signed and titled in the lower left corner.Preparatory drawing for the work "Inside a Coffee House, Tunis" which was sold at the auction "Important Works from the Najd Collection", held at Sotheby's London in 2019, whose hammer price reached 646,000 €.Measurements: 36 x 44 cm; 66 x 74.5 cm (frame).Orientalist painters embarked in search of new motifs and experiences to North Africa, the Middle East and Turkey, motivated on the one hand by a genuine fascination and on the other hand by the great demand for the "exotic" in Europe. Spanish Orientalists such as Antonio Fabres y Costa and José Benlliure gravitated around the Spanish Academy in Rome, where, inspired by Mariano Fortuny, they produced some of their most important works.The scene is inspired by Benlliure's experience during his travels in North Africa, particularly Tunisia, Morocco and Algeria. However, it appears that the composition is derived from a photograph published in 1892 in La Ilustración Española y Americana, in which he portrays a mise-en-scène of Spanish artists dressed in oriental costumes during carnival celebrations at the Circolo Artistico Internazionale in Rome.Luminous and characterized by loose brushstrokes, the watercolor transports the viewer to the hustle and bustle of a musical evening in a Tunisian café and offers a perspective of daily life in North Africa through the eyes of a Spaniard. The artist's skill in depicting the details of the clothing, as well as the brilliance of the palette, stand out.José Benlliure cultivated costumbrista themes and portraits. He began his artistic studies with Francisco Domingo in Valencia, to later continue his training in Madrid, where he settled in 1869. From an early age he enjoyed the patronage of the King of Savoy and in 1879 he moved to Rome, where he was discovered by the important art dealer Martin Colnaghi, who financed his studies in the city.In 1897 he made several trips to Tangier, Algeria and Morocco where he approached through a realistic, luminous, loose and stained painting to the daily world of the places visited. From 1900 onwards, his work depicts popular themes. He attended the National Exhibitions of Fine Arts, obtaining third medals in the editions of 1876 and 1878 and first in 1887. He belonged to the Academies of San Fernando (Madrid), San Lucas (Rome), San Carlos (Valencia), Brera (Milan) and Munich. Between 1904 and 1912 he directed the Spanish Academy in Rome. The most important part of his production is preserved in Valencia, in his House Museum and in the Museum of Fine Arts San Pío V. He is also represented in the Prado Museum, the Thyssen-Bornemisza and the Palace of Charles V in Granada, among others.
EUGÈNE BOUDIN (France, 1824 - 1898)."Dordrecht, La Meuse; Study of an Estuary," 1875.Watercolor and graphite on laid paper.Attached photo certificate of authenticity issued by Manuel Schmit in 2016. Registration number in the Manuel Schmit Fine art archive: B-A.7562.The work will be included in the forthcoming Catalogue Raisonné of Eugène Boudin's works on paper.Signed, dated and located in the lower area.Provenance: Andre Seligmann, New York.Measurements: 22 x 33.5 cm; 39.5 x 50.5 cm (frame).In this work, which is conceived as a sketch, the author captures a view of the city of Dordrech, located in the Low Countries. Boudin captures in the foreground the presence of the canal and in the distance a city that stands out for the presence of windmills, a recurring theme in Impressionist painting, of which Boudin was an admired master. It is worth noting that Boudin made several visits to the city of Dordrech, in which he immortalized urban scenes and seascapes, which were always of his predilection. The 1884 visit was especially prolific, as he made numerous views of the city. The work has a photo certificate of authenticity issued by Manuel Schmit, a scholar who made a catalog raisonné of the artist.Eugène Boudin was one of the first landscape painters of the French school to paint directly in the open air, a plein air, before the Impressionists popularized this practice. He specialized in marine and harbor and coastal views, although on occasion he was also interested in green inland landscapes with animals, such as the cows grazing serenely in this beautiful panorama. He worked both in oil and pastel. His pastel sketches, synthetic and expressive, were widely praised by Baudelaire, and earned him the nickname "king of the skies" from Corot. The son of a dock worker, he began working on steamships as a child, always near the sea, something that would mark his work. However, in 1835 he moved with his family to Le Havre, where his father opened a frame store in which works by Constant Troyon and Jean-François Millet were exhibited. Knowledge of these painters, and also of Isabey and Couture, encouraged the young Boudin in his pictorial vocation. At the age of twenty-two he abandoned his work in commerce to devote himself fully to painting, and the following year he began a journey that would take him to Paris and Flanders. In 1850 he obtained a scholarship that allowed him to settle in the French capital, a city from which he would travel frequently to Normandy and Brittany in search of new coastal landscapes. In Boudin's work, from these early years of his career, a profound influence of the masters of Dutch Baroque landscape painting can be seen. In 1859 he made his debut at the Paris Salon, and in those years he met a very young Monet, whom he influenced to leave caricature and devote himself to landscape painting. From then on, both artists would be united by a great friendship, and in fact they would exhibit together in the first Impressionist exhibition (1874). Already fully established as an artist, in the 1870s Boudin made numerous trips, first to Belgium, the Netherlands and the south of France, and already in the 1890s he would travel regularly to Venice. He continued to exhibit his work at the Parisian Salons, and was awarded a third medal in 1881. He was also awarded a gold medal at the Paris Universal Exposition of 1889, and in 1892 he was made a knight of the French Legion of Honor. Towards the end of his life Boudin returned to the south of France, finally dying in 1898 in his native Deauville. His works are now in the Musée d'Orsay in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the Art Institute of Chicago, the National Gallery in London, the Ashmolean Museum in Oxford, the Thyssen-Bornemisza in Madrid, etc.
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923)."Valencian group", 1908.Oil on parchment.Signed and dated.Measurements: 21 cm ø; 41,5 x 41,5 cm (frame).José Navarro Llorens was directed very early to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling in Godella permanently. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
IGNACIO ZULOAGA Y ZABALETA (Eibar, Guipuzcoa, 1870 - Madrid, 1945)."Female portrait.Charcoal on paper.Signed and dedicated to Teresina Boronat, dancer from Barcelona, in the lower left corner.Measurements: 50 x 44 cm; 83 x 77 cm (frame).Teresina Boronat was a successful Spanish dancer who settled in Paris. In 1927, she set up her studio in the district of Montmartre, a very busy environment for the Spanish artistic avant-garde exiled in Paris during the dictatorship of Primo de Rivera. Names like Ignacio Zuloaga, who staged some of the dances of his company, Pablo Gargallo or Pere Pruna resonated in an environment full of changes and artistic novelties.Son of the notable damascene artist Plácido Zuloaga, and nephew of Daniel Zuloaga, one of the most outstanding Spanish ceramists of his time, Ignacio Zuloaga worked as a child in his father's workshop, where he had his first contact with drawing and engraving. He later began studying engineering, but abandoned his studies to devote himself to painting. He acquired his artistic training at the Prado Museum, copying Ribera, Goya, Velázquez and El Greco, of whom he would be one of the first propagators. In 1887 he presented a painting at the National Exhibition in Madrid, entitled "A priest praying in an old room". After a first trip to Rome in 1889, where he imbibed the Renaissance masters, Zuloaga went to Paris, where he met French artists such as M. Dethomas and Rodin, with whom he became great friends. He also met Miguel Utrillo and Santiago Rusiñol, and with the latter he traveled again to Italy. In Paris he came to practice pointillism and impressionism, and participated in some group exhibitions at the gallery Le Bar de Boutteville, frequented by the symbolists. However, the search for his own roots took him to Andalusia, where he spent some time between 1894 and 1897. In the latter year, in Segovia, he painted "My uncle and my cousins", a painting that he presented at the Paris Salon and which was acquired by the French State. In 1898 he married and settled in Madrid, although he made frequent trips to the French capital. The following year he presented his "Family Portrait" at the Paris Salon, which was also acquired by the French Government. From 1903 onwards he took part in international exhibitions and his fame grew. Between 1906 and 1913 he worked in Segovia, attracted by the austerity of the Castilian landscape and the quiet and humble dignity of its inhabitants, influenced by the ideology of the Generation of '98. In 1908 he was invited to present an exhibition in New York. At the outbreak of World War I he returned to the Basque Country and lived in a 12th century monastery in Zumaya (Guipúzcoa), later converted into a museum, where he installed his rich collection of works of art, including paintings by El Greco and Goya. Such was his admiration for the Aragonese master that he even bought his birthplace in Fuendetodos. Likewise, in 1926 he acquired the castle of Pedraza (Segovia), also converted into a museum. Ignacio Zuloaga is today considered, together with Gutiérrez Solana, the continuator of the tradition of Spanish painting throughout the 20th century. He is currently represented in prominent museums such as the Prado (works attached to the Museo Nacional Centro de Arte Reina Sofía), as well as in others around the world such as the Orsay, the Rodin and the National de Versailles in Paris, the Hermitage in St. Petersburg, the Metropolitan in New York, the Thyssen-Bornemisza in Madrid, among others.
ALEJANDRO FERRANT Y FISCHERMANS (Madrid, 1843 - 1917)."Young man with parrot", 1854.Oil on canvas.Presents period frame.Signed and dated in the upper right corner.Measurements: 34 x 23 cm; 54 x 46.5 cm (frame).Scene of interior that stands out for its sobriety in the architectural conception, contrasted with the luminosity of the figures that conform the scene. The painting itself has been conceived by the artist as a game of opposites, not only for what has been mentioned, but also for the protagonists themselves; a woman dressed in regionalist clothes that allude to the deepest traditions of the land, and right next to her a parrot, representing a great exoticism. It should be noted that both harmonize in color, the bird thanks to its plumage and the woman due to the skirt, which is somewhat reminiscent of the clothing of the painting "La Ciocciara", painted by Alejandro Ferrant in 1881 and currently belongs to the collection of the Prado Museum.Alejandro Ferrant y Fischermans studied with his uncle, the artist and academic Luis Ferrant y Llausas, at the Royal Academy of Fine Arts of San Fernando. He was a protégé and pensioner of the Infante Don Sebastián. In 1874 he traveled to Rome to reinforce his studies when he was pensioned by the government of Spain in the first promotion of painters of the Spanish Academy of Fine Arts in Rome, together with Francisco Pradilla, Casto Plasencia, Manuel Castellano, Eduardo Sánchez Solá and Jaime Morera. He was director of the Museo de Arte Moderno de Madrid, which became part of the Museo del Prado in 1971. His son Ángel Ferrant was an outstanding sculptor of the Spanish avant-garde. As a decorator it is worth mentioning his ornamental work in the Linares Palace in Madrid and the Miramar Oratory in San Sebastian, among others. His best known work as a decorator was the church of San Francisco el Grande in Madrid, where he worked with Manuel Domínguez and Francisco Pradilla. He excelled in drawing, but also in different painting techniques such as watercolor, oil and fresco. He captured a sober and elegant coloring, which in the case of portraits is linked to the baroque tradition by the use of a varied artistic theme in history, genre, religious and landscapes, as well as in portraits and decorative painting. He presented works and obtained several medals in national and international exhibitions. Among his works are Sibyls and Prophets in the dome of San Francisco el Grande, Madrid, The Last Communion of San Fernando, The Burial of San Sebastian and Cisneros, founder of the hospital of Illescas, the latter painting with which he won the first medal at the National Exhibition of 1892.
MANUEL MUÑOZ Y OTERO (Jerez de la frontera, c. 1850)."View of Tangier", 1877.Oil on canvas.Preserves period frame with faults.Presents label on the back.Signed and dated in the lower left corner.Measurements. 50 x 69 cm; 73 x 92 cm (frame).In this view the author presents us with an almost panoramic scene, which allows us to make out both the landscape and the actions of the characters in it. Open the road in the foreground, this defines a great depth where a foreground with the figures is structured, followed by another where the landscape is developed and finally the presence of the city in the distance and the sea with the horizon. By the clothing and attitudes of the characters, the landscape, etc., this scene can be inscribed within the current of orientalism, which was born in the nineteenth century as a result of the romantic spirit of escape in time and space. The first orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the beginning to failure. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimeter but ultimately unknown and idealized. During the second half of the 19th century, however, many of the painters who traveled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new orientalist school leaves behind the beautiful odalisques, the harems and the slave markets to paint nothing but what they see, the real Orient in all its daily dimension. Along with the change of vision comes a technical and formal change; since it is no longer a matter of recreating an imagined world in all its details, the brushstroke acquires impressionist fluency, and the artists focus not so much on the depiction of the types and customs as on the faithful reflection of the atmosphere of the place, of the very identity of the North African populations.Manuel Muñoz y Otero was an Andalusian painter, linked to the school of painting, sculpture and engraving, formed under the influence of the artist José Cala (Jerez de la Frontera, 1850, c. 1891). Despite the few biographical data on the artist, it is known that in 1876, Muñoz y Otero was presented at the Fine Arts Exhibition in Madrid, with a painting of orientalist theme, and a year later, in 1887, he participated in the Paris Exhibition, where he also returned to an orientalist theme.
JULES WORMS (France, 1832 - 1914)."Harlequin."Gouache and watercolor on paper.Presents frame circa 1900.Signed in the lower right corner.Measurements: 55.5 x 39 cm; 73 x 56 cm (frame).During the 19th century a type of gallant painting was developed, in which luxurious interiors were represented, profusely decorated, with characters in theatrical attitudes. This work in particular follows the precepts of this trend, although it is true that the main character is a harlequin, however, it is necessary to pay attention to the unplaced cap of the protagonist, the woman's shoe, which he holds in his hand and especially in the female clothes arranged on the chest of drawers and the armchair. Elements that indicate that the harlequin has been an accomplice of a scene that is no longer visible to the spectator and that remains at the mercy of his own imagination.Born in Paris, Jules Worms was the son of a family of Parisian shopkeepers at the time of the July Monarchy, a period in the history of France characterized by the impulse of the comic tradition within the plastic arts. Thus, Worms began his artistic career as an illustrator of satirical newspapers, after having been trained in the field of lithography. However, his great aptitudes allowed him to enter the Ecole des Beaux-Arts in Paris in 1849, when he was seventeen years old. There he was encouraged by Jean-Baptiste-Adolf Lafosse, a history painter who introduced him to this genre, to which Worms brought a certain comic nuance. In fact, the first work he presented at the Paris Salon, in 1859, was entitled "A dragon making love to a maiden on a bench in the Place Royale", and it was a comic vision of the romances of the time. In the early 1860s he made the first of his trips to Spain, becoming fascinated by its traditions, people and culture, like many romantic painters of his time. Like many of his colleagues, Worms must have spent many hours studying the work of the Spanish painters exhibited in the Galerie Espagnole, created in the Louvre in 1838. This collection of works by El Greco, Goya, Murillo, Ribera, Valdés Leal, Velázquez and Zurbarán, among others, had a profound and immediate influence on the French painters of the time, who learned to appreciate the dramatic light, the expressive brushwork and the themes of everyday life. His trips to Spain became very popular, and Worms himself worked as the graphic correspondent of "L'Illustration" in our country. He also took part in the National Exhibitions of Fine Arts in Madrid in 1864 and 1866, obtaining a first class medal on both occasions. He returned to France and exhibited his works at the Salon, winning medals in 1867, 1868 and 1869. But Worms would often return to Spain, and even lived for six weeks in 1871 in Granada with the painter Mariano Fortuny, whom he had met in Paris. On his return to his native city he continued to collaborate with various publications and illustrate books, while continuing to paint pictures on Spanish themes. His fame and clientele continued to grow, and in 1876 he was named Knight of the Legion of Honor. In 1883 he was appointed Secretary of the French Arts, and continued to exhibit annually at the Salon until the mid-1890s. He was also awarded prizes at the Universal Exhibitions of 1878 (third class medal) and 1889 (medal). Worms is currently represented in the Museums of Fine Arts in Rennes, the Legion of Honor in San Francisco, the Sterling and Francine Clark Art Institute in Willismtown (Massachusetts) and in numerous private collections, such as the Bellver in Seville.
JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937)."The beggars, Basilica of Assisi".Oil on panel.Signed in the lower right corner.Measurements: 37 x 53 cm; 61 x 77 cm (frame).José Benlliure cultivated the costumbrista theme and the portrait. In the present case, we are in front of a scene in the interior of the Basilica of San Francisco de Asís. In it, some beggars appear seated on the bench of the basilica under the serious gaze of the parish priest, while praying the rosary. The scene plays with the light and the backgrounds, creating several spaces. The main part of the piece is the one that frames the beggars next to the parish priest, illuminated by a candle; while the secondary scene is played by two altar boys, at the back of the parish priest, who talk to each other. The background of this second scene is almost black. It is not arbitrary that the scene is represented in the Basilica of St. Francis of Assisi, since he went from being the son of a rich merchant of the city in his youth, to live under the strictest poverty and observance of the Gospels. His religious life was austere and simple, so he encouraged his followers to do the same. In short, we find a piece with exceptional detail, where each face, each architecture and each detail are worked to the millimeter.José Benlliure began his artistic studies with Francisco Domingo in Valencia, to later continue his training in Madrid, where he settled in 1869. From an early age he enjoyed the patronage of the King of Savoy and in 1879 he moved to Rome, where he was discovered by the important art dealer Martin Colnaghi, who financed his studies in the city.In 1897 he made several trips to Tangier, Algeria and Morocco where he approached through a realistic, luminous and loose painting to the daily world of the places visited. From 1900 onwards his work depicts popular themes. He took part in the National Exhibitions of Fine Arts, obtaining third medals in the editions of 1876 and 1878 and first in 1887. He belonged to the Academies of San Fernando (Madrid), San Lucas (Rome), San Carlos (Valencia), Brera (Milan) and Munich. Between 1904 and 1912 he directed the Spanish Academy in Rome. The most important part of his production is preserved in Valencia, in his House Museum and in the Museum of Fine Arts San Pío V. He is also represented in the Prado Museum, the Thyssen-Bornemisza and the Palace of Charles V in Granada, among others.
ELISÉE MACLET (Lyons-en-Santerre, 1881 - Paris 1962)."View of the snowy Sacré Coeur Basilica".Oil on cardboard.Signed in the lower left corner.Measurements: 63 x 48,5 cm; 84 x 69,5 cm (frame).The Parisian district of Montmartre deeply inspired the young and promising Elisée Maclet, recently landed in the French capital in 1906. Sceneries such as the cabarets of Lapin Agile or the Moulin de la Galette, the Sacré Coeur Basilica, the streets of old Paris or the views of the Seine River were masterfully immortalized by Maclet, through a post-impressionist style of a certain childlike simplicity. Considered a key figure in the development of the style of the painter Maurice Utrillo, a firm representative of the Montmartre life of 1900, Elisée Maclet left an important artistic mark on the Paris of the time. As his success grew in Parisian social circles, his artistic role solidified, to the point that the great Parisian gallery owners hung his works alongside those of Van Gogh and Picasso. On this occasion, Elisée Maclet gives us a snowy view of the emblematic Sacré Coeur Basilica, one of the most repeated enclaves by the artists of the time, thanks to its location at the top of the Montmartre hill. In it, the painter captures the underlying essence of one of the most magical places in the French capital, through a daring technique and a totally harmonious and matching color palette.Élisée Maclet initially developed a "primitivist" style of painting that would earn him a place among the "naïff" painters of the turn of the century. In 1906, Maclet moved to Paris. There he settled in the Montmartre district and produced most of the landscape and street scenes for which he is best known. Maclet's Parisian scenes were successful, especially after World War I, and he maintained this success for the rest of his career because of the unique sensibility and original techniques he demonstrated in his works. Many of the French writers appreciated his paintings and often wrote about him, including Max Jacob, Sidonie Gabrielle Colette, and Francis Carco. From 1918 to 1919, Maclet painted seascapes in Dieppe, living in a house that Carco lent him. He returned to Montmartre in 1919. In 1920, the art dealer, Dosbourg, bought some of his early Montmartre scenes. He lived in Arles from 1923 to 1928, where he painted many remarkable landscapes expressing his enchantment with nature and Mediterranean culture, some of which are sometimes reminiscent of Matisse. In 1928, Maclet received his first major solo exhibition, held at the Gallerie Barreiro in Paris, where more than 50 of his works were exhibited. At the end of the year, he left mainland France on a painting excursion to the island of Corsica. He then went to Brittany, where he lived and worked in 1929 and 1930. In 1957 the first major retrospective of Maclet's work was held at the Nicolas Poussin Gallery in Paris, and in 1960 the same gallery presented his work in its "20th Century Paintings" exhibition; another major retrospective took place in 1961, at the Thibaut Gallery in New York City. In the period following his international breakthrough, Maclet was the subject of numerous magazine articles and, over time, several public collections in Europe and America acquired examples of his work, including museums in Chicago, Bremen, Geneva, Sweden, Norway and Monte. After his death in 1962, Maclet posthumously received several international tributes, including solo exhibitions in Paris, Germany, and Venezuela, as well as a prominent exhibition at the Vestart Galleries in New York City in 1969. In 2011, the National Gallery of Bermuda mounted a solo exhibition of his work.
EUGENIO HERMOSO MARTÍNEZ (Fregenal de la Sierra, Badajoz, 1883 - Madrid, 1963)."Young man with flowers".Oil on canvas.Signed in the lower left corner.Measurements: 75 x 48 cm; 91 x 63 cm (frame).Eugenio Hermoso began his studies at the School of Fine Arts of Santa Isabel de Hungría in Seville, with a scholarship from the City Council and the Provincial Council of Badajoz. In 1901 he moved to Madrid to continue his training at the School of San Fernando, and there he also dedicated himself to making copies of the great masters in the Prado Museum. During these years he frequented the Ateneo and the Círculo de Bellas Artes, being praised by intellectuals such as Pío Baroja, Díaz Canedo and Juan Ramón Jiménez. He then began a study trip that took him to France and Belgium, as well as the most important Italian cities: Genoa, Pisa, Rome, Naples, Florence, Venice and Milan. On this trip Eugenio Hermoso came into contact with the European avant-garde, meeting the Impressionists and admiring the portraits of Egyptian sarcophagi from the Roman period. In 1912 he embarked for England, exhibiting his work in London that same year. In 1918 he settled in Madrid forcibly and definitively. From then on he frequented the nightly gatherings of the Nuevo Levante café, attended by the brothers Ricardo and Pío Baroja, Ignacio Zuloaga, José Gutiérrez Solana and Rafael de Penagos, among others; and the Maisón Doré café, together with Jacinto Benavente, Manuel and Antonio Machado and Francisco Villaespesa. In 1922 he held his first major exhibition at the Museum of Modern Art in Madrid, with public and sales success. Professor at the Escuela Superior de Bellas Artes de San Fernando in Madrid, he was appointed academician in 1941. Seven years later he was awarded the medal of honor at the National. Under the pseudonym of Francisco Teodoro de Nertóbriga he published his "Autobiography" in 1955, and signed his satirical paintings. He is mainly represented in the Fine Arts Museums of Badajoz and Seville, as well as in other public and private collections.
MARIANO FORTUNY MARSAL (Reus, Tarragona, 1838 - Rome, 1874)."Henry IV of Valois", 1860.Oil on paper mounted on cardboard.With label of the Artur Ramon Gallery, Barcelona.Measurements: 21 x 8,5 cm; 40 x 26 cm (frame).Fortuny initiated his formation in the municipal School of Art of Reus, and in 1850 he moves to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn, and entered the School of Fine Arts, where he had as teachers Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attends Lorenzale's private school, which will determine his inclination for romantic painting in this first stage. In 1858 he settles in Rome thanks to a scholarship, and attends the Chigi Academy. While he was there, the Diputación de Barcelona proposed him to travel to Morocco to paint the warlike encounters that were taking place in the area, which will give a total turn to his career. The light of Morocco and the exoticism of the place and its people led him to become interested in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly after, he began a trip to Europe and finally returned to Rome for good. He attends classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visits Florence and comes into contact with the "macchiaioli". He returns to Morocco in 1862, and devotes himself to painting genre subjects in which he captures the movement through color and light. Back in Rome, he continued to focus on orientalist themes. Shortly after he travels to Paris and meets Adolphe Goupil, who will be his dealer from 1866. That same year he visits Madrid again and visits Toledo, where he discovers El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition in the Parisian gallery of Goupil. In these years he settled in Granada, in the Fonda de los Siete Suelos de la Alambra, with the idea of tackling new themes with the greater freedom that commercial and critical success gave him. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.
WILSON, Henry (1673-1741) and William HUME. Surveying Improv'd or, the Whole Art both in Theory and practice, Fully Demonstrated. London: for J. Wood and C. Woodward, 1741. 8vo (195 x 120 mm). 11 engraved folding plates. Contemporary sprinkled calf gilt (joints starting, some minor rubbing). Provenance: Ebenezer Hare (early signature). Third edition, the first to be published with Hume's supplement, Geodoesia Accurata: or, Surveying made Easy by the Chain only. The work, dedicated to Edmund Halley, describes use of chains, surveying wheel, theodolite, circumferentor, semicircle, plain table and scales. Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
PINEL, Phillippe (1745-1826). La medecine clinique rendue plus precise et plus exacte par l'application de l'analyse. Paris: Brosson, Gabon et Cie., 1802. 8vo (198 x 124 mm). Half-title; 3 engraved folding tables. (Minor fraying to outer margin of one table.) Contemporary French sheep, smooth spine gilt, red morocco lettering-piece gilt, edges stained yellow (some minor wear, upper joint starting). FIRST EDITION, SIGNED BY THE PRINTERS on the half-title. Pinel's work, based on his experiences at the Hospice de la Salpêtriere, where he was chief physician, was a major contribution to the classification of diseases. He was instrumental in the development of a more humane approach to the care of psychiatric patience, and worked to humanise their treatment, for which he's described as the father of modern psychiatry. Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
POE, Edgar Allan (1809-1849). "The Raven" in: The American Review: A Whig Journal. Vol. I, Nos. 1-6. New York: Wiley & Putnam, 1845. 6 parts in one, 8vo (225 x 145 mm). 3 engraved portraits (of 5, lacking 2). (Some pale spotting, a few leaves browned.) Contemporary cloth (rebacked in modern leather). FIRST APPEARANCE OF POE'S "RAVEN" which appears on p.143 of the second number, under the pseudonym "by --- Quarles." Heartman and Canny consider this to be the first printing of "The Raven," but which appearance came first is a bit of a dispute. Heartman and Canny maintain that the 29 January 1845 appearance in The Evening Mirror is not the first printing, since The American Review announced that "No. II will bear date Feb. 1845, but will be issue early in January." Unless the publishers were unable to issued the work as promised, the appearance in The American Review predates the later January appearance in The Evening Mirror. See Heartman and Canny, p.145. For condition inquiries please contact lesliewinter@hindmanauctions.com
HILL, John, Sir (1716?-1775). The Construction of Timber, from its Early Growth; explained by the Microscope. London: for the author, 1770.Folio (498 x 297 mm). 46 engraved plates. (A few small spots, some very minor soiling.) Contemporary boards (rebacked and recornered); quarter morocco folding case. Second edition, THE VERY RARE LARGE-PAPER FOLIO EDITION, a reissue of the first edition, which was published in octavo format. Rare: according to online records, no copy of this edition has appeared on the market at auction since 1964. Henrey 803. Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
LE CARRE, John (1931-2020). The Looking-Glass War. London: Heinemann, 1965.8vo. Original black boards; original dust jacket (price-clipped, spine sunned, some very slight rubbing to corners). Provenance: The Book Shop, Kew (bookseller's label). FIRST EDITION. For condition inquiries please contact lesliewinter@hindmanauctions.com
CUMMINGS, Edward Estlin ( "e e cummings") (1894-1962). W. New York: Horace Liveright Inc., 1931. Folio (307 x 180 mm). Woodblock print on title-page. Original publisher 's quarter cloth, boards, smooth spine lettered in silver, all edges uncut (minor rubbing); original slipcase, front cover lettered in silver (some chipping). LIMITED FIRST EDITION, number 41 of 95 copies, SIGNED BY CUMMINGS. Cumming 's third major collection of poetry with typography by S. A. Jacobs, embodying his experimentation with typography and design. Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, IndianaFor condition inquiries please contact lesliewinter@hindmanauctions.com
GREW, Nehemiah (1641-1712). Anatomie des Plantes. Paris: Lambert Roulland, 1675.12mo (148 x 80 mm). Engraved frontispiece, engraved head-pieces and figures; woodcut tail-pieces and initials. (Two leaves roughly opened, not affecting text, tiny spots on a few leaves, some minor worm-holes in lower gutter margin occasionally touching letters.) Contemporary French mottled calf gilt, brown morocco lettering-piece gilt, edges stained red (a few wormholes on the spine, hinges starting). Provenance: Librairie Jacques Lechevalier (bookseller's ticket). FIRST EDITION IN FRENCH of Grew's first book, published in 1672, The Anatomy of Vegetables Begun, "the first published study of the development of a plant from seed to seed" (LeFanu). Hunt 338; Pritzel 3554.Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
SHAKESPEARE, William (1564-1616). Arthur RACKHAM, illustrator. A Midsummer-Night 's Dream by William Shakespeare. New York & London: Doubleday, Page & Co., and William Heinemann, 1908. 4to (246 x 180 mm). Title-page woodcut, 40 color-printed plates tipped to mounts and numerous illustrations by Rackham. (Some quires loose, one tipped-in image free). Original quarter green cloth gilt, top edge gilt (some light overall wear). FIRST TRADE EDITION. Hudson p.168; Latimore & Haskell p.32; Riall p.87.Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, IndianaFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FORE-EDGE PAINTING] -- BYRON, George Gordon Noel, Lord (1788-1824). The Gaiour. 1814. --Childe Harold’s Pilgrimage, a Romaun](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/1e17d828-161e-4433-8d4e-adc2016758a6/468x382.jpg)
[FORE-EDGE PAINTING] -- BYRON, George Gordon Noel, Lord (1788-1824). The Gaiour. 1814. --Childe Harold’s Pilgrimage, a Romaunt. 1814. --Childe Harold’s Pilgrimage, Canto the Third. 1816. --Childe Harold’s Pilgrimage, Canto the Fourth. 1818. --Mazeppa, a Poem. 1819– All London: Thomas Davison for John Murray. 5 volumes, small 8vo (217 x 131 mm). One engraved plate folding. (Some light spotting.) Contemporary red straight-grained morocco gilt, edges gilt concealing FORE-EDGE PAINTINGS of Rialto Bridge in Venice, Verona, Naples, Rome, and an unidentified coastal Italian village (some light wear to joints and light rubbing). FIRST EDITIONS of the last three works, a uniformly bound set of Byron's works.For condition inquiries please contact lesliewinter@hindmanauctions.com
![[SOCIETAS REGIAS SCIENTARUM UPSALIENSIS]. Carolus LINNAEUS, Jan Frederik GRONOVIUS, and others. Acta societatis regiae scient](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/5079628e-26f7-493c-a526-adc2012a6ae9/468x382.jpg)
[SOCIETAS REGIAS SCIENTARUM UPSALIENSIS]. Carolus LINNAEUS, Jan Frederik GRONOVIUS, and others. Acta societatis regiae scientiarum Upsaliensis ad annum MDCCXL [-MDCCXLII]. Stockholm: Laurentius Salvius, 1744-17483 parts in one volume, 4to (275 x 195 mm). Woodcut devices on title-pages, woodcut and engraved head- and tail-pieces, woodcut initials and diagrams; 10 engraved plates (4 folding), one by Ehret. (Some spotting.) ORIGINAL BOARDS UNCUT (losses to spine, some soiling). Provenance: The Library of the Earls of Macclesfield (bookplate, embossed stamp on title-page, sold Sotheby's London, 25 October 2005, Sale L05409, Lot 1916). FIRST EDITION, THE MACCLESFIELD COPYLinnaeus contributes four articles, including work on orchids and lobelia. Gronovius also contributes four articles, including a work on fish. Other contributors include: Swedish mathematician, Samuel Klingenstierna, 4 articles (2 on solar eclipses); Finnish physician Helmut D. Sporing, one article on the trachea; Astronomer Peter W. Wargentin, to articles on the movement of Jupiter's moons; Albert Haller, 2 articles and numerous astronomical observations; and entomologist Carlo De Geer on Parvulis Insectis. Soulsby 396, 416 & 930. Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
AGRIPPA VON NETTESHEIM, Henricus Cornelius (1486?-1535). De Incertitudine & Vanitate Scientiarum Declamatio Invectiva, Denuo ab Autore Recognita, & Marginalibus Annotationibus Aucta. [Cologne]: T. Baumius, 1544. 8vo (157 x 97 mm). Woodcut portrait on title-page, 2 woodcut initials. (Some underlining, some dampstaining, small marginal wormholes toward rear). Contemporary calf rebacked (all else preserved), spine in 5 compartments with 4 raised bands, blind-stamped sides (sides worn, some wormholes, annotation on fore-edge "Van. Scich"). Provenance: Anto[nius] Manuelus? (signature, some annotations); Philip vir De Lauberiviere (signature, some annotations). Early edition, first published in 1530. Following the publication of this work, Agrippa was branded a heretic and lost his position as the imperial historiographer to Charles V for scrutinizing intellectual activity in his satirical call for a return to the faith as exemplified by the early Christian church. STC German p. 11; not in Adams. Property from the Thomas Sills Trust, Chicago. IllinoisFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FINE BINDINGS] -- A group of 7 works in 8 volumes finely bound, comprising: THICKNESSE, Ann. Sketches of the Li](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/49958b26-a493-4d5b-99f9-adc20166108f/468x382.jpg)
[FINE BINDINGS] -- A group of 7 works in 8 volumes finely bound, comprising: THICKNESSE, Ann. Sketches of the Lives and Writings of the Ladies of France. London: Dodsley and W. Brown, 1781. 12mo, Vol. III only. Contemporary calf smooth spine gilt, red morocco lettering-piece. Later edition. ESTC T110208 -- LYTTON, Edward George Earle Bulwer. Eugene Aram. London: Members of the Society of Bibliophilists, 1831. Edition de Luxe, number. 51 0f 100 copies. -- LAMB, Charles & Mary. Arthur RACKHAM, illustrator. Tales from Shakespeare. London and New York: J.M. Dent & Co. and E.P. Dutton & Co., 1909. 4to. 20th-Century Half brown morocco. -- PHILLIPPS-WOLLEY, Clive. A Sportsman's Eden. London: Richard Bentley and Son, 1888. Bruns P88. "“ And 3 others. Together, 7 works in 8 volumes, all 8vo (173/225 x 101/159 mm) (except where noted), all late 19th-century half-calf morocco gilt (except where noted), all FIRST EDITION except where noted, condition generally good. For condition inquiries please contact lesliewinter@hindmanauctions.com
BOCCONE, Paolo (1633-1704). Icones & descriptiones rariorum plantarum Siciliae, Melitae, Galliae, & Italiae. Quarum unaquaeque proprio charactere signata, ab aliis eusdem classis facile distinguitur. Oxford: Theatro Sheldoniano and London: Robert Scott, 1674. 4to (226 x 174 mm). Engraved vignette of the Sheldonian Theater on title, 52 engraved illustrations, some with hand-coloring (title repaired in upper blank margin, some minor mostly marginal browning). Modern calf. Provenance: Sold Wheldon and Wesley, 1964; Anita Peek Gilger, M.D. (sold her sale, Christie's New York, 14 October 2003, Lot 12).FIRST EDITION of this description of rare plants in Italy and France. Boccone, an Italian naturalist, visited England in 1673, where he attended a meeting of the Royal Society and met Charles Hatton. Hatton convinced his mentor, Robert Morison, to edit Boccone's manuscript for this work, and paid for its publication. Boccone brought plates for the work to England, but Morison had them redrawn from dried specimens and engraved at Hatton's expense because they were inaccurate. Henrey 14; Hunt 329; Nissen BBI 179; Wing B-3385.Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[MANUSCRIPT - CIPHERING]. EVANS, Cadwallader. Ciphering Book of a Colonial Schoolboy. [Philadelphia], 6 April-26 July 1763. &](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/5998b82a-47f8-40a9-9e2b-adc201259bda/468x382.jpg)
[MANUSCRIPT - CIPHERING]. EVANS, Cadwallader. Ciphering Book of a Colonial Schoolboy. [Philadelphia], 6 April-26 July 1763. Folio (330 x 210 mm). 37 II. Manuscript in English, in ink, with diagrams, comprising Geometry and Trigonometry (ff.1-6), land surveying (ff.7-19), and plain, traverse, oblique and Mercator sailing (ff.20-37). With an elaborate surveying map, compass, and several diagrams. (Some mostly marginal chipping or tearing occasionally affecting text, small losses to the corners of two leaves.) Original red linen over boards, hand-lettered "C. E." on upper cover. (Upper hinge broken A portion of the surveying exercise appears to come from William Leybourn's The Compleat Surveyor (see the fourth edition, published 1679, pp. 292-294). Evans personalizes his ciphering book on the first page, including a drawing of his rooster, "Belon is Narr Cock's Father or the Bony Cock a Doodle Doo." The drawing includes the rooster's spurs, with a note: "Spurr um up my Boy." Evans also includes an aphorism about doing good deeds. Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
DODGSON, Charles Lutwidge ("Lewis Carroll") (1832-1898). The Game of Logic. London: Mac Millan and Co., 1886. 8vo. Wood engraved diagrammatic frontispiece, numerous diagrams in text; 2pp. publisher's advertisements at end; complete with original printed envelope containing the separate card diagram (envelope torn with old tape repairs, flap of envelope detached, card with a few short tears and one crease); COMPLETE WITH 9 ORIGINAL COUNTERS, 5 gray and 4 pink (with two additional pink and one additional gray counter laid in). Original red cloth gilt, black coated endpapers (front endpaper disbound with minor chipping, a few gatherings or leaves disbound, separations to hinges); quarter morocco folding case.RARE SUPPRESSED FIRST EDITION, ONE OF 50 COPIES BOUND AT DODGSON'S REQUEST. Dodgson was not satisfied with the first issue, initially intended to be printed in an edition of 500 copies, so the issue was suppressed. In a letter to the publishers of 5 December 1886, Dodgson complains that Baxter used "old type, which obliged him to damp the paper so much that the letters print a little too thick ... and the crooked printing showed me that, to get the best results, it does not do to trust the local printers" (Lewis Carroll and the House of Macmillan, pp. 216-217). "A mystery edition which is rarer than would be expected" (Williams-Madan-Green-Crutch 193).[With:] CARROLL. The Game of Logic. London, 1887. With original printed envelope and separate card diagram (lacking counters). Second edition. For condition inquiries please contact lesliewinter@hindmanauctions.com
WELTY, Eudora (1909-2001). The Robber Bridegroom. Garden City, New York: Doubleday, Doran & Co., Inc., 1942. 8vo. Original teal cloth stamped in white and pink; top edges stained green; dust jacket (some light toning on rear panel, minor edgewear and soiling). FIRST EDITION of Welty's popular second book. PRESENTATION COPY, INSCRIBED BY WELTY TO BARRY MOSER on the front free endpaper: "For Barry Moser, with warmest admiration stretching out of the past (1942) for your sensitive, beautiful, imaginative engravings of the 1987 Robber - and gratitude and affections, delight - Eudora Welty / Jackson, Mississippi / November 13, 1987." [With:] WELTY, Eudora. The Robber Bridegroom. London: John Lane The Bodley Head, 1944. 8vo, original cloth; dust jacket (significant portion of lower spine and rear panel torn away, some other chipping). FIRST ENGLISH EDITION, INSCRIBED BY WELTY on the title: "For James S. Bloom / Eudora Welty." Accompanied by a later American edition (no dust jacket); and an essay on Welty 's photography by Robert MacNeil, Jackson, Mississippi: University Press, 1990, 8vo, original wrappers. Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
RAY, John (1628-1705). Synopsis Methodica Avium & Piscium. London: William Innys, 1713. 2 parts in one volume, 8vo (192 x 110 mm). Four engraved folding plates; publisher's advertisement leaf at end. (Some very slight chipping to edges of two plates, some minor offsetting or spotting.) Contemporary calf gilt (rebacked to style). Provenance: S. Dillon Ripley (1913-2001), ornithologist, eighth Secretary of the Smithsonian (bookplate).FIRST EDITION, published posthumously. "This classic treatise completes, with the Synopsis Quadrupedum et Serpentini, the author's contributions to vertebrate zoology, a series that should form part of every first-class library on natural history" (Wood p.529). Keynes, Ray 105.Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
BAKER, Henry (1698-1774). Employment for the Microscope. London: R. Dodsley, 1753. 8vo (196 x 120 mm). 17 engraved folding plates. (Some browning, spotting or offsetting.) Contemporary sprinkled calf gilt (hinges starting, some light wear.) Provenance: Sir William Gregory (1625-1696) British judge and politician (armorial bookplate); Acton Scott (letterpress bookplate). FIRST EDITION presenting Baker's microscopic observations on salts, crystals, and aquatic life. Wellcome II, p.89.[With:] BAKER, Henry (1698-1774). Employment for the Microscope. London: R. and J. Dodsley, 1764. 8vo (196 x 120 mm). 17 engraved folding plates. (Some browning, spotting or offsetting, a short tears to folds of a few plates.) 19th century half tan calf, marbled boards, edges marbled (some very minor rubbing.) Provenance: W. E. Davies (signature); Tomlinson (presentation inscription from Davies); Thomas Fiddian (bookplate). Second edition. Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[SENDAK, Maurice (1928-2012)]. A group of approximately 20 works with illustrations by Maurice Sendak (1928-2012), including:](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/ac61fceb-b00f-487e-b4a3-adc201519eda/468x382.jpg)
[SENDAK, Maurice (1928-2012)]. A group of approximately 20 works with illustrations by Maurice Sendak (1928-2012), including:SAWYER, Ruth (1880-1970). Maggie Rose: Her Birthday Christmas. New York: Harper & Brothers, 1952. 8vo. Publisher 's original pink cloth, dust jacket. First Edition. -- SENDAK. Very Far Away. New York: Harper Collins, 1957. 8vo. Publisher 's original decorated cloth, dust jacket. A later edition. -- SENDAK. Higglety Pigglety Pop! Or There Must be More to Life. New York: Harper & Row Publishers, 1967. Square 8vo. Publisher 's original olive boards, dust jacket. First edition. -- MACDONALD, George (1824-1905). The Golden Key. New York: Farrar, Straus, and Giroux, 1976. 8vo. Publisher 's original decorated blue cloth, dust jacket. Second edition. -- HOFFMANN, E.T.A. (1776-1822). Nutcracker. London: The Bodley Head, 1984. Square 4to. Publisher 's original cloth, dust jacket. SIGNED by MAURICE SENDAK. -- And 15 more. -- Condition generally good. -- Complete list available upon request.Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
DICKENS, Charles (1812-1870). Sketches by Boz...New Edition, Complete. London: Chapman and Hall, 1839. 8vo (208 x 131 mm). Engraved frontispiece, engraved vignette title, 38 engraved plates by Cruikshank. 20th-century maroon straight-grained morocco gilt, edges gilt (a few minor scuffs lower cover). FIRST OCTAVO ONE-VOLUME EDITION of The Complete Sketches by Boz. Chapman and Hall acquired the copyright to both series of Sketches by Boz, which they issued in parts with 13 additional illustrations. In May 1839, the series was published in the present one-volume edition (see Smith I:2, p. 16). Gimbel A7.For condition inquiries please contact lesliewinter@hindmanauctions.com
CASSINI, JACQUES. Tables astronomiques du soleil, de la lune, des planets, des etoiles fixes, et des satellites de Jupiter et de Saturne. Paris: de l'imprimerie royale, 1740.4to (248 x 192 mm). 26 engraved plates; engraved head-piece and initial. (Lacking the errata leaf as often, a few small spots or stains to a few leaves.) Contemporary mottled calf, spine gilt, brown morocco lettering-piece gilt, edges stained red (some overall wear).FIRST EDITION of Cassini's collection of astronomical tables. Jacques Cassini succeeded his father as the head of the Paris Observatory. He was a cartesian, and an opponent of Newtonianism. Houzeau & Lancaster 12793.Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FRANK LLOYD WRIGHT]. The Architectural Forum. Vol. 68, No. 1. New York: Time, Inc., January 1938. 4to. Numerous](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/337db7a2-1e32-49f2-ae9d-adc201565e20/468x382.jpg)
[FRANK LLOYD WRIGHT]. The Architectural Forum. Vol. 68, No. 1. New York: Time, Inc., January 1938. 4to. Numerous illustrations throughout. Original spiral-bound wrappers printed in red and black (some light staining, tiny crease to lower corner).FIRST EDITION of the issue dedicated to the work of Wright, and highlighting his work on Fallingwater, Unity Temple, the S. C. Johnson Company Building, and Usonian House. Property of the Caraway FamilyFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[BASKIN, Leonard (1922-2000), illustrator]. ALIGHIERI, Dante (1265-1321). The Divine Comedy. Translated by Thomas G. Bergin.](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/06e468fa-4782-4f8a-a7fd-adc2017ad4f9/468x382.jpg)
[BASKIN, Leonard (1922-2000), illustrator]. ALIGHIERI, Dante (1265-1321). The Divine Comedy. Translated by Thomas G. Bergin. New York: Grossman Publishers, 1969. 3 volumes, folio. Numerous full-page plates by Leonard Baskin. (Some light spotting on edges.) Original cloth-backed boards, spine gilt-lettered (some burn damage to foot of spine of Vol. II [see note below], some light rubbing & soiling); publisher's slipcase, paper labels on sides (edges worn). FIRST EDITION with Baskin's plates. BARRY MOSER 'S COPY, inscribe on front free endpaper of Vol. I: "This set was in a shelf in my study and was burned by a stupidly placed candle / Barry Moser." Laid-in are 2 printed Christmas wishes slips presenting the set from Christ Bromwich, Fred Ramage and 13 others, and adding: "this could only have been accomplished through the thoughtful kindness of Rev. Douglas Graham, Harold McGrath, Leonard Baskin and Albert, our worm." [With:] 2 other illustrated editions of Dante 's Divine Comedy, by William Blake (New York: Heritage Press, 1944) and Gustave Dore (New York: Pantheon Books, 1948), original bindings, each with Moser 's bookplate.Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[SENDAK, Maurice (1928-2012)]. A group of approximately 25 works illustrated by Maurice Sendak (1928-2012), including:MARGOLI](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/230c9277-a745-4ee7-9802-adc20151a8e3/468x382.jpg)
[SENDAK, Maurice (1928-2012)]. A group of approximately 25 works illustrated by Maurice Sendak (1928-2012), including:MARGOLIS, Matthew. Some Swell Pup. New York: Farrar, Straus and Giroux, 1976. 4to. Original publisher 's brown cloth, dust jacket. Stated first edition. "“ SENDAK. We are All in the Dumps Together. New York: Harper Collins, 1993. Oblong 8vo. Publisher 's original binding, dust jacket. SIGNED my MAURICE SENDAK. Stated first edition. -- YORINKS, Arthur. (b.1953). The Miami Giant. New York: Michael di Capua and Harper Collins, 1995. 4to. Publisher 's original boards, dust jacket. Stated first edition. -- MARSHALL, James (1942-1992). Swine Lake. New York: Michael di Capue and Harper Collins: 1999. Publisher 's original cloth, dust jacket. Stated first edition. -- And 21 more. -- Condition generally good. -- Complete list available upon request. Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
DICKENS, Charles (1812-1870). The Posthumous Papers of the Pickwick Club. London: Chapman and Hall, 1837. 8vo (212 x 125 mm). Half-title; engraved frontispiece, engraved title; 41 engraved plates by R. Seymour and H. K. Browne ("Phiz"). (Some minor spotting to a few leaves.) 20th-century red morocco gilt, stamp-signed by Morrell (some slight rubbing to joints, minor wear to spine ends). FIRST EDITION IN BOOK FORM, text with most of the first issue points listed in Smith, this copy without signature E on p.25, but with "inde-licate" corrected on p.341. Gimbel A15; Grolier English78; Smith I:3. For condition inquiries please contact lesliewinter@hindmanauctions.com
DICKENS, Charles (1812-1870). The Life and Adventures of Nicholas Nickleby. London: Chapman & Hall, 1839.8vo (219 x 138mm). (Lacking half-title; frontispiece, title, two text leaves (pp. 199-202) and final plate detached and a bit frayed at edges, some browning to plates.) Late 19th-century half morocco gilt over marbled boards (minor wear to extremities, some rubbing to boards, rear hinge starting). FIRST EDITION IN BOOK FORM, this copy with copy frontispiece in 1st state (with imprint), first four plates in later state without imprint, page 123 with "sister" (2d state) & page 160 with "letter" (2d state). Smith I:5; Eckel, p. 64. [With:] DICKENS, Charles (1812-1870). The Life and Adventures of Martin Chuzzlewit. London: Chapman & Hall, 1844. 8vo (219 x 138mm). Frontispiece, additional pictorial title and 38 engraved plates by Hablot K. Browne. (Lacking half-title, frontispiece detached and slightly shorter, engraved title and a few plates slighty shorter, some toning and spotting to plates, including frontispiece and pictorial title.) Late 19th-century half morocco gilt over marbled boards (minor wear to extremities, some rubbing to boards). FIRST EDITION IN BOOK FORM, second issue, with the signpost reading £100 and the 14-line errata leaf after list of plates. Smith Vol. I:7; Hatton & Cleaver, pp. 185-224. Eckel, pp. 71-73.For condition inquiries please contact lesliewinter@hindmanauctions.com
HOLBEIN, Hans (1497-1543). The Dances of Death, through the various stages of Human Life: wherein the capriciousness of that tyrant is exhibited in Forty-Six Copper plates. London: W. Smith and Co., for John Scott & Thomas Ostell, 1803. 4to (179 x 144 mm). Additional engraved title for "Le Triomphe de la Mort," dated 1786, frontispiece portrait, 46 engravings by David Deuchar after Holbein. Contemporary blue morocco gilt, covers with floral border, anchor tools in corners, upper cover with central ornament of Garter badge and collar surmounted by a crown and with anchor underneath, flanked by the initials "G. R.III.", smooth spine in 6 compartments (hinges starting, some light wear). Provenance: George III (1738-1820), King of Great Britain and Ireland (binding); his third son, William Henry, Duke of Clarence (1765-1837), later King William IV (bookplate); his eldest illegitimate son George Augustus Frederick FitzClarence (1794-1842), English peer (his bookplates as Col. FitzClarence and the Earl of Munster); John Gerard Heckscher (1837-1908), American book collector (bookplates). A COPY FROM KING GEORGE III'S LIBRARY. In terms of his contribution to the arts, he is best remembered for his book collecting; his library was available to scholars and became the foundation of a new national library (see Ayling, George the Third, 1972, p. 195-198). George Augustus FitzClarence served in the Peninsular War, was wounded twice, and escaped capture by the French. He became brevet lieutenant-colonel in 1819 and served as A.D.C. to his father, King William IV, from 1830 to 1837, becoming Earl of Munster in June 1831. His Journal of a Route across India, through Egypt, to England, illustrated with hand-colored plates, was published in 1819. Hans Holbein's series of woodcuts was first published in 1536. In this edition, 46 Dance of Death plates are within separately engraved borders in four different designs. 30 of the woodcuts are copied from Wenceslaus Hollar's 17th-century designs. Brunet III:258; Oppermann 1154 ("very rare edition"). Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[LEE, Robert E. (1807-1870).]. General Orders No. 3. Richmond: Adjutant and Inspector General's Office, February 6, 186](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/d25b8d14-4e9e-46f7-a212-adc20143e09c/468x382.jpg)
[LEE, Robert E. (1807-1870).]. General Orders No. 3. Richmond: Adjutant and Inspector General's Office, February 6, 1865.8vo (195 x 127 mm). Bifolium, including integral blank, printed on recto of first leaf only. (A few stains.) Provenance: Rebel Archives, Record Division and Department (stamp).Confederate imprint recording the appointment of Robert E. Lee as the General in Chief of the Armies of the Confederate States, issued and signed (in type) by General Samuel Cooper, Adjutant and Inspector General of the Confederate Army. In part: "The Congress of the Confederate States of America do enact, That there shall be appointed...an officer, who shall be known and designated as 'General in Chief,' who...shall have command of the military forces...and will be obeyed and respected accordingly."Property from the Collection of Dr. Brant MittlerFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[CHILDREN 'S] -- A group of 18 chapbooks in 23 volumes, all likely Rosenbach remainders, comprising: SHERWOOD, M](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/787f8a24-6e3b-4b77-adb7-adc201524d0e/468x382.jpg)
[CHILDREN 'S] -- A group of 18 chapbooks in 23 volumes, all likely Rosenbach remainders, comprising: SHERWOOD, Mary Martha. The History of Little Henry and his Bearer. Catskill: Croswell & Son for Nathan Elliot, 1818. With another copy. Original tan printed papers (chipped). Third American Edition. Rosenbach 571. -- G., J. A Small Help, Offered to Heads of Families, for Instructing Children and Servants. Morris-Town: J. Mann for P.A. Johnson, 1814. Original wrappers (minor chipping). Rosenbach 489. -- London Cries for Children: With Twenty Elegant Wood Cuts. Philadelphia: John Bouvier for Johnson & Warner, 1810. Original printed stiffened wrappers (spine defective, some staining). Rosenbach 421; Welch 249.12. -- The Tragi-Comic History of the Burial of Cock Robin. Philadelphia: S. Probasco for Benjamin Warner, 1821. Plain stiff wrappers (spine defective, chipped, frontispiece and final plate laid-down to inside covers). Rosenbach 616. "“ SENDAK, Maurice. Ten Little Rabbits A Counting Book with Mino the Magician. Philadelphia: Philip H. & A.S.W. Rosenbach Foundation, 1970. Original blue marbled wrappers with mounted pictorial paper label to front cover. Blue wrappers preceded the red (Hanrahan). Hanrahan A76. "“ WOOD, Samuel. The Young Child's A,B,C; or First Book. New York: Samuel Wood & Sons, 1806. With another copy, 24mo. Original printed pictorial wrappers (some creasing). FIRST EDITION and Later Edition. -- COBB, Lyman. Cobb 's Toys. Second Series, Nos. 3-6. Lewistown, PA: Hickok & Stark, 1835. 4 volumes. Contemporary plain colored paper wrappers (some chipping, some creasing). Rosenbach 794. -- And 11 others. Together, 18 works in 23 volumes, all 12mo except where noted, condition generally good. Provenance for the lot: John F. Fleming (1910-1987). For condition inquiries please contact lesliewinter@hindmanauctions.com
VEITCH, James Herbert (1868-1907). Hortus Veitchii A History of the Rise and Progress of the Nurseries of Messrs. James Veitch and Sons, Together with an Account of the Botanical Collectors and Hybridists Employed by them and a List of the Most Remarkable of Their Introductions. London: James Veitch & Sons Limited, 1906. 4to (285 x 198 mm). Photogravure frontispiece, title printed in red and black, 50 photogravure plates. (A few light spots, some occasional creasing.) Contemporary half black morocco gilt, marbled paper, tan metal-tipped cornerpieces, top edge gilt, others uncut (spine sunned, some browning). LIMITED EDITION, one of an unstated number "for Private Circulation only." The Veitch family comprised several generations of distinguished horticulturalists, owned the largest group of family-run plant nurseries in the 19th century, and may have been the first to employ "plant-hunters" for their nurseries. James Veitch was a fellow of both the Linnean Society and the Royal Horticultural Society. Through the Veitch family 's work "a mass of interest and beauty has been added to the gardens of Great Britain!" (Introduction, p. 10), and the work includes 1500 plants the business introduced to the market. Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FORE-EDGE PAINTING] "“ SCOTT, Walter (1771-1832). Tales of the Crusaders. "“ Vol. I-II, The Betrothed. "“ Vol. III-IV, The T](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/75b86339-6a72-4c7f-a746-adc20168be4c/468x382.jpg)
[FORE-EDGE PAINTING] "“ SCOTT, Walter (1771-1832). Tales of the Crusaders. "“ Vol. I-II, The Betrothed. "“ Vol. III-IV, The Talisman "“ Edinburgh & London: Archibald Constable and Co., Hurst, Robinson, and Co., 1825. 2 works in 4 volumes, 8vo (173 x 107 mm). 19th-century red morocco gilt, spine in 7 compartments with 6 raised bands gilt, edges gilt, concealing FORE-EDGE PAINTINGS of St. Giles Cathedral, Parliament House, The University of Edinburgh, and The Bridewell (some minor chipping). FIRST EDITION of two of Sir Walter Scott 's Waverly novels.For condition inquiries please contact lesliewinter@hindmanauctions.com
STEINBECK, John (1902-1968). Cannery Row. New York: Viking Press, 1945. 8vo. (Half-title and first few leaves creased). Original publisher's buff cloth printed in blue, top edge stained blue; original pictorial dust jacket (some minor chipping). Provenance: Bob Stricker (signature). FIRST EDITION, issue in cloth, in first issue binding. Goldstone & Payne A22b. For condition inquiries please contact lesliewinter@hindmanauctions.com
![[THE SAVOY]. SYMONS, Arthur (1865-1945), editor. Aubrey Beardsley, illustrator. The Savoy: An Illustrated Quarterly. London:](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/b937bccb-7bc2-40e0-ac62-adc201631b9f/468x382.jpg)
[THE SAVOY]. SYMONS, Arthur (1865-1945), editor. Aubrey Beardsley, illustrator. The Savoy: An Illustrated Quarterly. London: Leonard Smithers, 1896. 3 volumes (Nos. I-VIII [all published]), 4to. Numerous illustrations after Beardsley and others. (Tear to one title-page repaired, some minor chipping, weak hinges.) Publisher 's original gilt-pictorial cobalt cloth, smooth spine gilt-lettered and decorated (chipping to spines, spines darkened, some corners bumped). FIRST EDITION in book form with illustrations after Beardsley, Whistler, Beerbohm, Blake, Shannon, Pennell, and other contemporary artists. Literary contributions by Yeats, Beardsley, Conrad, and G.B. Shaw, amongst others. Reproductions include line and half-tone wood engravings by Paul Naumann. Lasner 103. Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, IndianaFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[TRAVEL & EXPLORATION] -- BOWDICH, Thomas Edward (1791-1824). Excursions in Madeira and Porto Santo, During the Autumn of 182](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/597c7cf1-ceba-458f-9be9-adc201640bb8/468x382.jpg)
[TRAVEL & EXPLORATION] -- BOWDICH, Thomas Edward (1791-1824). Excursions in Madeira and Porto Santo, During the Autumn of 1823, While on His Third Voyage to Africa. Sarah Bowdich, Editor. London: George B. Whittaker, 1825. 4to (265 x 209 mm). Lithographic hand-colored frontispiece, 18 lithographic plates (2 hand-colored, 6 folding, 4 in-text woodcut illustrations. (Some spotting or minor creasing.) Contemporary calf gilt, smooth spine gilt, black morocco lettering-piece gilt, blind and gilt decoration to sides, edges marbled, marbled endsheets (sympathetically rebacked, rubbed). Provenance: Rev. Dr. Bellamy (presentation inscription). FIRST EDITION, A PRESENTATION COPY FROM THE EDITOR, inscribed to Rev. Dr. Bellamy by Bowditch 's wife. Bowdich 's text was completed and edited posthumously by his wife, Sarah, who contributed 3 additional sections: "A narrative of the Continuance of the Voyage to its Completion," "A Description of the English Settlements on the River Gambia," and the "Appendix." Abbey Travel 190; Colas 418. Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, IndianaFor condition inquiries please contact lesliewinter@hindmanauctions.com
LINCOLN, Abraham ( 1809-1865). Political Debates between Hon. Abraham Lincoln and Hon. Stephen A. Douglas. Columbus: Follett, Foster and Company, 1860. 8vo (231 x 155 mm). (Some light spotting.) Publisher's blue-gray cloth (spine toned, small separation along upper joint, minor chipping to spine ends). FIRST EDITION, later issue, with "2" on p.13 (rather than p.17). The first published edition of the debates between Lincoln and Douglas, conducted during their campaign for the U.S. Senate in 1858. Follett, Foster, and Co. would later publish Lincoln's campaign biography. Howes L-338; Sabin 41156.Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, IndianaFor condition inquiries please contact lesliewinter@hindmanauctions.com
GRIMM, Jacob Ludwig Karl (1785-1863) and Wilhelm Carl (1786-1859) ( "The Brothers Grimm"). Hansel and Gretel and Other Stories. Kay Rasmus Nielsen, illustrator. London: Hodder and Stoughton, 1925. 4to. Color printed frontispiece and 11 colored printed plates tipped in; title-page and numerous pictorial initials printed in red and black, 10 full-page woodcuts. (Short marginal tears to a few leaves.) Publisher 's original half red cloth gilt top edge gilt, others uncut (some minor chipping ); original glassine; original black cloth slipcase (some minor staining). Provenance: Jasmine Britton, gifted to; Helen Ramsay Fifield (bookplate laid in). LIMITED EDITION, No. 319 of 600 copies SIGNED BY NIELSEN. Danish illustrator Nielsen moved to California in 1939 and contributed illustrations to Fantasia in one of his many collaborations with Disney over a 4-year period. Despite his talent, Nielsen did not have financial success. His last artworks were murals for local churches and schools around Los Angeles, most notably the "The First Spring" mural at Central Junior High School. With a pamphlet by Nielsen, "The First Spring Mural for Central Junior High School," laid in. Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
White, Elwyn Brooks ( "E.B. White") (1899-1985). Charlotte 's Web. Garth Williams, illustrator. New York: Harper & Brothers, 1952. 8vo. Numerous illustrations. Original publisher 's cloth stamped in blue and black, decorated blue endsheets (some light rubbing); original publisher 's dust jacket (some light chipping, overall browning). FIRST EDITION, FIRST ISSUE with "I-B" on the copyright page in FIRST STATE DUST JACKET with $2.50 price on front flap and four blurbs for Stuart Little on the rear panel. White's children 's literary classic won the John Newbery Medal in 1953, the Horn Book Fanfare in 1952, the Laura Ingalls Wilder Medal in 1970, and the Massachusetts Children 's Book Award in 1984. Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
CORNUT, Jacques Philippe (1606-1651). Canadensium plantarum, aliarúnque nondum editarum historia cui adiectum est ad calcem enchiridion botanicum parisiense. Paris: Simon le Moyne, 1635. 4to (238 x 132 mm). 68 full-page etchings in text. (Some occasional pale spotting and browning.) Modern brown morocco. Provenance: Early inscription dated 1670 on title; occasional marginalia and titling of some plates; Edward Sandford Burgess (bookplate); Ashton Allis (bookplate); sold Swann Galleries, 28 October 1971, lot 111; Dr. Anita Peek Gilger (her sale, Christie's New York, 14 October 2003, Lot 34). FRIST EDITION OF THE FIRST CANADIAN FLORA, describing and illustrating approximately thirty Northeast American species for the first time. French physician Cornut never visited North America, but received plant specimens from the Robins family, who supervised the gardens of Henry IV and the garden of the Paris Faculty of Medicine, and the Morin family, who owned several Parisian commercial nurseries. Cornut also includes five South African bulb plants, again illustrated here for the first time. Cleveland Collections 190; Hunt 227; Nissen BBI 406.Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[MOSER, Barry, illustrator]. WILDE, Oscar (1854-1900). Salome. A Tragedy in One Act. Translated from the French by Joseph Don](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/7a05e11e-824e-4c03-8e51-adc2017a4f31/468x382.jpg)
[MOSER, Barry, illustrator]. WILDE, Oscar (1854-1900). Salome. A Tragedy in One Act. Translated from the French by Joseph Donohue. Charlottesville and London: University of Virginia Press, 2011. 8vo. Illustrated with 23 wood engravings by Barry Moser. Original cloth; dust jacket. FIRST TRADE EDITION illustrated by Moser, SIGNED by Moser on the title-page. Accompanied by the additional suite of plates printed at the Pennyroyal Press for the deluxe Pennyroyal issue, each signed by Moser.Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
EUCLID (fl. ca 300 B.C.). Euclidis Megarensis Mathematici Clarissimi Elementorum Geometricorum Libri XV"¦ Basel: Johann Herwagen, 1537. Folio (298 x 202 mm). Woodcut device on title-page, woodcut initials, woodcut illustrations. (Title torn crossing letters with old repair verso and lower corner renewed, closed tear on p.181 repaired, title slightly soiled). Contemporary vellum (endpapers renewed, slightly soiled). Provenance: Christen Sorensen Longomontanus (1562-1647), Danish astronomer (signature on title); Alexander Campbell (armorial bookplate). FIRST HERVAGIUS EDITION OF EUCLID IN LATIN, containing the complete works derived from Zanetti's 1505 translation, and including comments by Campanus, Hypiciles, and the rare preface by Philip Melanchthon, removed by censors in many copies. DANISH ASTRONOMER CHRISTEN SORENSEN LONGOMONTANUS'S COPY WITH HIS SIGNATURE. Longomontanus was Tycho Brahe's assistant at the astronomical observatory of Uraniborg in 1589. There, Brahe, Longomontanus and Kepler worked to try to develop a theory to predict longitude at oppositions with complete accuracy. He had good "skill at manipulating observational data, and he may have played an important role in Tycho's remarkable research on the lunar theory" (DSB). He visited Frauenburg, where Copernicus had made his observations, and took a master's degree at Rostock. He was elected in 1605 to a professorship in the University of Copenhagen, where we became chair of mathematics in 1607, a position he held until his death. Longomontanus developed Tycho's geoheliocentric model of the universe to public acceptance. When Tycho died in 1601, he had not yet completed his program for the restoration of astronomy. Though the observational aspects were complete, Longomontanus selected and integrated the data into accounts of the motion of the planets and presented the results, which he published in his Astronomia Danica of 1622. Though Kepler's Rudolphine Tables of 1627, based on Tycho's observations, are often believed to be more accurate than any previous tables, Longomontanus's tables, published in 1622, also based on Tycho's observations, were demonstrably more accurate. With several marginal annotations, presumably in Longomontanus 's hand. Adams H-974; Houzeau Lancaster 832.Selections from the Property of Dr. Eugene Vigil, Antiquariat BotanicumFor condition inquiries please contact lesliewinter@hindmanauctions.com
DARWIN, Charles (1809-82). On the Origin of Species by means of natural selection. New York: D. Appleton, 1860.8vo. Half-title; one folding letterpress table. (Some spotting or browning, small dampstain to upper corner of a few leaves.) Original blue blind-stamped cloth, spine gilt-lettered (Rebacked preserving original spine and endpapers, some light wear to corners). Provenance: C. F. Wreak (signature); S. B. Wakeman (signature); Liberal University Library (bookplate partially removed and struck through). FIRST AMERICAN EDITION, FIRST ISSUE with two quotations facing title-page. Darwin's work "marked a turning point, not only in the history of science, but in the history of ideas in general, for there is no field of human intellectual endeavor that has not been influenced by the thought and fact of evolution" (DSB III, p.571). Freeman 377.Property from the Collection of Dr. Brant MittlerFor condition inquiries please contact lesliewinter@hindmanauctions.com
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