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Lot 84
Robert Combas (born 1957) Le Rêve Paradis Plus Cauchemard Le rêve : Je te tiens dans mes bras mon amour et haut loin un beau bateau vogue sur l'azur.Le cauchemar : mais le bourreau veille et le Turc son copain se chope par-derrière en plus, je me prends un coup de hache dans la gueule 1988signéacrylique sur toilesignedacrylic on canvas246 x 195.5 cm.96 7/8 x 76 15/16 in.Exécuté en 1988.Footnotes:ProvenanceCollection particulière, FrancePuis par descendance au propriétaire actuelExpositionSète, Musée Paul Valery, Aquestecop ! Robert Combas, 1992, n.p., illustré en couleurLyrique, psychédélique et fascinant, le style sans concession de Robert Combas s'impose dans toute son œuvre, qui figure parmi les plus riches du mouvement néo-expressionniste depuis son émergence dans les années 1980. Membre fondateur du mouvement de la Figuration libre, étroitement aligné sur les Junge Wilde en Allemagne et la Downtown scene de New York, Combas crée des œuvres narratives uniques en leur genre, qui sont souvent des représentations personnelles de personnages qui semblent avoir été ensorcelés et ravis de l'être. Dans cette œuvre, Le Rêve Paradis plus Cauchemar, la théâtralité et le romanesque de la composition revêtent un caractère à la fois dramatique et ludique, et livrent également un portrait autobiographique de l'artiste et de sa compagne et muse, Geneviève Boteilla, que Combas a rencontrée en 1987. Peinture impressionnante, créée à l'apogée de l'une des décennies les plus fécondes de l'artiste, Le Rêve Paradis plus Cauchemar est non seulement une œuvre emblématique de la Figuration Libre mais également une œuvre maîtresse de Combas. Entre sa première exposition en solo à Montpellier en 1980, jusqu'à sa participation à l'exposition fondatrice 5/5 : Figuration Libre France/USA au Musée d'Art Moderne de la Ville de Paris en 1984 – qui comparait les œuvres de Combas, Remi Blanchard et François Boisrond, avec celles de Jean-Michel Basquiat, Keith Haring et Keny Scharf – les années 1980 ont été une période cruciale dans la carrière de Combas. Exposant chez les galeristes Chantal Crousel et Leo Castelli, éminents marchands d'art de l'époque, et travaillant avec eux, l'artiste a vu sa notoriété se répandre en Europe et en Amérique, et ses toiles expressives, inspirées de la BD, sont devenues plus raffinées, plus complexes et plus accomplies.Les passages intenses et spectaculaires qui caractérisent la technique picturale de Combas sont totalement originaux, mais le rapprochement avec le néo-expressionisme figuratif allemand est tentant et évident. Bien que la composition onirique de l'œuvre présentée aujourd'hui, qui fait fi des règles de la perspective, fasse écho à une toile de Chagall ou évoque même les couleurs kaléidoscopiques des vitraux de la Cathédrale Notre-Dame de Chartres, l'influence de Combas sur Haring, Scharf et Caroll Dunham est indéniable. Les œuvres du mouvement de la Figuration Libre, reconnaissables à leurs couleurs fortes, leurs lignes dures et les dimensions exagérées des visages et des personnages, se saisissent de toutes les sources d'inspiration, depuis l'art populaire et l'art outsider jusqu'à la peinture de la Haute Renaissance. Peu de tableaux reflètent un artiste à son zénith comme le fait Le Rêve Paradis plus Cauchemar, dont la liberté et l'interprétation insolente de la forme sont saisissantes.Bien qu'il ait fait l'objet de rétrospectives dans les plus grands musées pendant sa carrière, y compris au Musée des Beaux-Arts de Taipei à Taiwan, le Musée d'art moderne de la Ville de Paris et la Fondation Mudima à Milan, l'influence de Combas sur la génération des street artists et des peintres néo-expressionnistes qui ont suivi demeure encore largement sous-estimée. L'œuvre présentée aujourd'hui marie une représentation contemporaine et lyrique des personnages et des paysages avec l'expression profonde de thèmes narratifs transcendants chers à Combas, et l'ensemble produit une peinture de qualité exceptionnelle, qui est l'une des plus belles œuvres de l'artiste français et l'un des meilleurs témoignages de la Figuration Libre arrivant aujourd'hui sur le marché.Operatic, psychedelic, and compelling, Robert Combas' uncompromising style stands out as one of the richest bodies of work of the Neoexpressionist movement since its emergence in the 1980s. As the founding member of the Figuration Libre, a group that is aligned closely to the Junge Wilde in Germany and the Downtown scene of New York City, Combas' paintings are uniquely narrative and often personal depictions of figures enthralled and enraptured. In the present work, Le Rêve Paradis plus Cauchemar, the theatricality and romance of the composition is dramatic and playful, but equally revealing as an autobiographical portrait of the artist and his companion and muse, Geneviève Boteilla, whom Combas met in 1987. An impressive painting that represents the culmination of one of the most significant decades for the artist, Le Rêve Paradis plus Cauchemar is an exemplary piece of Figuration Libre and a masterwork of Combas' oeuvre. From his first solo show in 1980 in Montpellier, through his inclusion in the seminal exhibition 5/5: Figuration Libre France/USA at the Musée d'Art Moderne de la Ville de Paris in 1984 – that compared the works of Combas, Remi Blanchard, François Boisrond, with those of Jean-Michel Basquiat, Keith Haring, and Keny Scharf – the 1980s were a pivotal decade in Combas' career. Working and exhibiting with Chantal Crousel and Leo Castelli, the preeminent dealers of the period, the artist's notoriety flourished in Europe and America, and his expressive, cartoonish canvases became more refined, complex, and accomplished. Combas' intensive and dramatic passages of paint are completely original, yet the association to American figurative Neoexpressionism are tantalising and evident. Whilst the dreamscape and non-perspectival composition of the present work echoes a Chagall canvas or even the kaleidoscopic colours of the stained-glass windows of Cathédrale Notre-Dame de Chartres, Combas' influence on Haring, Scharf, as well as Carroll Dunham, are undeniable. Typified by bold colours, hard lines, and exaggerated faces and figures, the Figuration Libre seized upon all manner of source material, from folk and outsider art to high renaissance painting. Characterised by its freedom and brazen interpretation of form, few paintings capture an artist at his zenith quite like Le Rêve Paradis plus Cauchemar.The subject of major museum retrospectives over the course of his career, including the Taipei Fine Arts Museum in Taiwan; the Musée d'art moderne de la Ville de Paris; and the Fondation Mudima in Milan, Combas remains a largely underappreciated influence on the generation of street artists and neoexpressionist painters that followed. In the present work, the contemporary, lyrical manner of his figures and landscapes is matched by Combas' deep appreciation of transcendent narrative themes, producing a painting of exceptional quality and one of the finest works by the French artist and examples of the influential Figuration Libre to come to market.... For further information on this lot please visit Bonhams.com
Lot 30
Bernard Rancillac (born 1931)La Parole 4 l'Evangile selon Mao 1967 monogrammé; signé et daté 67 au revers acrylique sur toile (en huit parties)with the artist's monogram, signed and dated 67 on the reverseacrylic on canvas (in eight parts)Chaque: 100 x 80 cm.39 3/8 x 31 1/2 in.Dimensions totales: 200 x 320 cm.78 3/4 x 126 in.Footnotes:ProvenanceCollection particulière, France Puis par descendance au propriétaire actuelExpositionsParis, Musée d'Art moderne de la ville de Paris, Le monde en question, 1967Saint-Etienne, Musée d'Art et d'Industrie; Brest, Musée des Beaux-Arts, Rancillac, 1971Paris, Galerie du Centre culturel municipal, Rancillac, 1973Issoudun, Musée de l'Hospice Saint-Roch; Saint-Etienne, Musée d'art moderne et contemporain; Dole, Musée des Beaux-Arts, Bernard Rancillac Retrospective 1962-2002, 2003, p. 75, illustré en couleurLittératureSerge Fauchereau, Rancillac, Paris 1991, p. 99, n° 91, illustré en noir et blancChef de file d'une génération et l'un des membres fondateurs de la Figuration Narrative, Bernard Rancillac est une icône du Pop Art européen, dont l'héritage est inséparable de toute l'histoire culturelle du vingtième siècle. Nous présentons ici une œuvre qui saisit l'esprit du mondialisme après-guerre et révèle l'approche nuancée et critique que Rancillac a adoptée tout au long de sa carrière. La série de huit toiles intitulée La Parole 4 l'Évangile selon Mao (1967) représente une foule compacte de visages réjouis et de bras tendus en signe de salutation, rendue à traits vifs et en rouge selon la technique du pochoir, qui évoque la propagande et l'imagerie des régimes socialistes de la période, et la subversion des tropes du Pop Art qui est largement associée aux peintures d'Andy Warhol et de Roy Lichtenstein.Rancillac est un artiste dont les œuvres figurent dans les collections des plus grands musées mondiaux, y compris le MoMA, New York ; le Musée d'art contemporain de Barcelone (MACBA) ; et le Musée National d'Art Moderne, Paris ; l'importance de son travail a fait l'objet d'une reconnaissance constante depuis sa participation à l'exposition révolutionnaire The World Goes Pop à la Tate Modern en 2015, qui a ensuite été présentée au Walker Centre, Minneapolis. Rancillac a occupé une place centrale dans cette exposition qui ambitionnait de reconstituer et d'étendre l'histoire du Pop Art, traditionnellement considéré comme un phénomène purement anglo-américain. Il a affirmé, ce faisant, une présence avant-gardiste dans ces mutations profondes de la culture mondiale, et s'est imposé comme une figure majeure de l'art des années 1960.La Parole 4 l'Evangile selon Mao est une œuvre de qualité muséale, qui témoigne indéniablement de son époque : une image de la Chine de Mao un an après la Révolution culturelle de 1966, peinte un an avant que Rancillac ne participe personnellement aux événements de mai 1968, en prenant le contrôle des ateliers de lithographie de l'École des beaux-arts pour former l'Atelier Populaire. Chez Rancillac, les motifs artistiques et politiques sont alignés et occupent une large place dans son œuvre. L'ampleur et l'impact de cette grande œuvre impressionnante sont indéniables, et évoquent une énergie et une confiance intellectuelle dont l'observation est captivante. Peinte en utilisant un projecteur – selon un système qui a été mis au point pour la première fois par Illeana Sonnabend pour l'artiste français Daniel Pommereulle, puis introduit auprès des artistes du groupe Figuration narrative en 1964 – l'image photographique est transposée et reconstituée. Rancillac, en imitant les sérigraphies reproductibles de Warhol, mais en créant des œuvres délicatement peintes à la main et uniques, a réalisé une synthèse esthétique qui a constitué une critique des techniques autonomes du Pop Art tout en maintenant sa propre exigence politique.L'iconographie et les pochoirs des œuvres de protestation – dont les successeurs historiques incluent des artistes comme Christopher Wool et Banksy – recèlent une puissance artistique rarement vue dans la peinture traditionnelle. Rancillac est indubitablement l'un des artistes les plus importants et influents qui ont su capter l'énergie politique d'une décennie, et cette énergie est palpable et puissante dans La Parole 4 l'Evangile selon Mao. Sont également présentées à la vente des peintures de Rancillac de la série Cinémonde reconnaissables au premier regard – un épisode de sa carrière au cours duquel il a reproduit des photos publicitaires des starlettes hollywoodiennes les plus célèbres du vingtième siècle. Selon le co-curateur de l'exposition Mythologies Quotidiennes, véritable visionnaire, cette vente donne une occasion unique d'acquérir des œuvres importantes, emblématiques de l'apogée de l'illustre carrière de Rancillac.A leader of a generation and one of the founding members of the Figuration Narrative, Bernard Rancillac is an icon of European Pop Art, whose legacy is inseparable from the broader cultural history of the twentieth century. Presented here is a work that captures the spirit of post-war globalism and reveals the nuanced, critical approach that Rancillac pursued in his work. Executed over eight canvases, La Parole 4 l'Evangile selon Mao (1967) depicts a raucous crowd of cheering faces and arms in salutation, rendered in a typically sharp, red stencil that evokes the propaganda and imagery of the socialist regimes of the period, as well as a subversion of the tropes of Pop Art that is most widely associated with the paintings of Andy Warhol and Roy Lichtenstein. An artist whose work resides in global museum collections inlcuding the MoMA, New York; the Barcelona Museum of Contemporary Art (MACBA); and the Musée National d'Art Moderne, Paris, Rancillac's significance has seen ongoing appreciation since his inclusion in the ground-breaking exhibition The World Goes Pop at the Tate Modern in 2015, travelling to the Walker Centre, Minneapolis, subsequently. Taking centre stage in a show that sought to reconstitute and expand the history of Pop Art that has traditionally been seen as a British-American phenomena, Rancillac stands as a trailblazing presence who engaged deeply with global cultural shifts and emerged a prominent voice of the 1960s. La Parole 4 l'Evangile selon Mao is an institutional-quality piece that is unquestionably of its moment: an image of Mao's China one year after the Cultural Revolution of 1966, painted one year before Rancillac himself would participate in the events of May 1968, taking over the lithography studios of the École des beaux-arts to form the Atelier Populaire. In Rancillac, artistic and political motives are aligned and writ large. In this grand and impressive work, its scale and impact are undeniable, and evoke an energy and intellectual confidence that are captivating to observe. Painted using a projector – a device that was first procured for the French artist Daniel Pommereulle by Illeana Sonnabend, that then was introduced to the artists of the Figuration Narrative group in 1964 – the photographic image is transposed and reconstituted. Both mimicking the reproducible silkscreens of Warhol, but remaining fastidiously hand-painted and unique, R... For further information on this lot please visit Bonhams.com
Lot 45
JEAN-PIERRE RAYNAUD (born 1939)Mur 815 1968 signé et daté 1968 au reversassemblage de polyester, métal, tôle émaillée et peinturesigned and dated 1968 on the reversepolyester, metal, enamelled sheet metal and paint300 x 75 cm. 118 1/8 x 29 1/2 in.Footnotes:ProvenanceGalerie Mathias Fels, Paris Collection particulière, France (acquis auprès de celle-ci)Puis par descendance au propriétaire actuel ExpositionsParis, Musée des Arts Décoratifs, Peintres Européens d'Aujourd'hui, 1968, n.p., n° 78, illustré en noir et blancLausanne, Musée Cantonal, IIIe Salon International des Galeries Pilotes, 1970LittératureDenyse Durand-Ruel, Jean Pierre Raynaud. Catalogue Raisonné 1962–1973, Tome 1, Paris 1998, p. 112, n° 200, illustré en noir et blancJean-Pierre Raynaud est un véritable visionnaire, dont la trajectoire artistique, bien qu'alignée sur le Pop Art européen, est demeurée absolument unique et profondément liée au readymade de Duchamp, aux monuments modernistes de Brancusi et au Nouveau réalisme. Deux œuvres cruciales et de qualité muséale sont aujourd'hui proposées à la vente, qui sont représentatives de l'avant-garde française des années 1960 : l'une de ses pièces les plus célèbres et reconnaissables, le Grand Demi-Pot, de 1969 – une œuvre qui constitue indubitablement le couronnement artistique de sa série des Psycho Objets (1964-1968) – et Mur 815, l'un des premiers « murs » créés par Raynaud en 1968, témoin de son récent intérêt pour l'architecture et sa fonction en tant qu'art. Cette idée a cheminé dans son esprit au point de devenir un projet qui a occupé une longue période de sa vie : sa maison à La Celle Saint-Cloud, qu'il a minutieusement habillée de carreaux blancs pendant 25 ans, avant de la démolir finalement et de la reconstituer comme une œuvre d'art en 1993.Raynaud a fait des études d'horticulture et a exercé le métier de jardinier. Toutefois, c'est en 1962 qu'il a fait le « saut » conceptuel qui allait ensuite définir la suite de toute sa carrière artistique, en remplissant l'espace vide d'un pot de jardin afin de créer ce qui lui est apparu comme une forme sculpturale parfaite. Raynaud a trouvé dans le pot un totem capable de soutenir une multitude d'idées ; depuis le pot, conçu comme un vaisseau qui donne et abrite la vie, jusqu'à la forme inversée qui rappelle les angles aigus du Cubisme ou la grandeur des structures mayas antiques. Pot Rouge, qui mesure près de deux mètres de haut, frappe par son immensité et son audace. Son échelle, sa simplicité et sa perfection produisent un effet de dépaysement, accentué par le fait qu'il est coupé en deux et semble surgir tout naturellement du mur ou du sol.Initialement créé comme un pot entier par l'artiste, avant d'être coupé en deux pour les besoins de l'exposition de Raynaud à l'Hôtel George V, qui avait commandé des œuvres à Raynaud en 1969, Grand Demi-Pot était la pièce centrale de la présentation, où il trônait à l'horizontale dans la cour de cet hôtel parisien. C'était une installation spectaculaire, qui présentait non sans humour un pot de jardin surdimensionné dans un jardin ornemental, était monumentale et frappante, et évoquait une profonde sobriété pour Raynaud. Commentant son inspiration pour les œuvres présentées, l'artiste déclarait : « Le George V ressemble à un cimetière. À l'intérieur on y rencontre des vieilles femmes prêtes à mourir, qui se traînent dans les couloirs. Je me suis dit qu'il fallait continuer dans cette voie » (Marc Sanchez, 'Jean Pierre Raynaud; Chronologie 1939 – 1998', en ligne). L'œuvre présentée aujourd'hui reflète un sentiment de vulnérabilité et un sens profond de la condition mortelle de l'homme, le pot comme présage du cycle de la vie et de la mort. Scellé et rempli, coupé en deux, l'autre moitié étant mise au rebut puis partiellement enterrée dans le sol, Pot Rouge est devenu un objet de contemplation, doué d'une forte charge émotionnelle et empreint d'une beauté silencieuse.Mur 815 reprend les codes iconiques de l'œuvre de Raynaud. Dans cette œuvre réalisée dans le rouge iconique qui caractérise sa production au cours de cette période, l'artiste a associé au mur une échelle trouvée et des balances dont il a marqué chacune de ses œuvres consacrées au « mur ». Fragment de la réalité, comme tombé d'un immeuble, Mur 815 révèle les différences profondes et saisissantes entre le Pop Art américain et européen des années 1960. Chez Raynaud, le caractère ordinaire et banal de l'objet n'est que le point de départ de l'œuvre d'art, alors qu'il est pour Warhol l'essence même de sa démarche artistique. L'œuvre ici présentée s'inscrit parfaitement dans la lignée des autres « murs » de Raynaud. La comparaison avec ces autres œuvres révèle non seulement la continuité dans laquelle s'inscrit l'œuvre ici présentée, mais également la signification non dite de celle-ci.Raynaud a représenté la France à la Biennale de Venise en 1993, en plus d'être collectionné par des institutions majeures, parmi lesquelles le MoMA, New York, le Musée National d'Art Moderne, Paris et le Musée Hara, Tokyo. Autant dire que la postérité d'Erró, en tant qu'artiste majeur du Pop Art européen des 60 dernières années, est assurée. Les deux œuvres monumentales et sereines ici présentées sont deux pièces muséales, représentatives de la période de création la plus complexe et audacieuse de l'artiste, qui représentent des icônes de l'art français des années 1960.Jean-Pierre Raynaud is a true visionary, charting a career arc that, whilst aligned with European Pop Art, remained utterly unique and deeply connected to the Duchampian readymade, Brancusi's modernist monuments, and Nouveau réalisme. Presented here for sale are two seminal, museum quality works that embody the French avant-garde of the 1960s: one of his most celebrated and recognisable pieces, Grand Demi-Pot, from 1969 – a work that is undoubtedly the crowning artistic achievement of his Psycho Objets series (1964-1968) – and Mur 815, one of the first 'walls' that Raynaud made in 1968 that established his newfound interest in architecture and its function as art. This would be an idea that would grow into a lifelong project for Raynaud: his house in La Celle Saint-Cloud that he would fastidiously clad in white tiles for 25 years, before its ultimate destruction and reconstitution as an artwork in 1993. Raynaud himself studied horticulture and was a practicing gardener. However, it was in 1962 that he made the conceptual leap that would largely define his artistic career subsequently, filling the empty internal space of a garden pot to create what appeared to him a perfect sculptural form. In the pot, Raynaud found a totem that was able to sustain a matrix of ideas; from the pot as a vessel that gives and harbours life, to the inverted form that evinces the hard edges of Cubism or the grandeur of ancient Mayan struc... For further information on this lot please visit Bonhams.com
Lot 1
Aldus.- Statius (Publius Papinius) Statii Sylvarum Libri quinque Thebaidos libri duodecim Achilleidos duo...Orthographia et flexus dictionum graecarum omnium apud Statium..., 2 parts in 1, first Aldine edition, collation: a-z8 A-F8 G4 A-B8 C4; a-e8, lacking blank leaf i8 but with final leaf of woodcut printer's device, with C4 (second colophon at end of Achilleidos) misbound at end before printer's device and c3-6 of Orthographia misbound after C2 of Achilleidos, initial spaces with guide-letters (some supplied in ink in contemporary hand), some light browning or soiling, bookplate of James Lewis Knight Bruce of Roehampton, nineteenth century red straight-grain morocco with gilt fillet border, g.e., a little rubbed, spine slightly faded, [Adams S1670; Ahmanson-Murphy 61; EDIT 16 CNCE 36141; Renouard 35:7], 8vo (155 x 95mm.), Venice, Aldus Manutius, 1502.⁂ Handsome copy of the first Aldine edition, with colophons dated November and August 1502.
Lot 10
La Rochefoucauld (Francois, Duc de) Maximes et Réflexions Morales, half-title, engraved portrait (spotted), original blue boards, uncut, rubbed and stained, spine defective, A.Dulau & Co., 1799; Maxims and Moral Reflections, engraved portrait and title, contemporary sheep, for Lockyer Davis, 1791 § Aimé-Martin (L.) Examen Critique des Réflexions ou Sentences et Maximes Morales de La Rochefoucauld, large paper copy, engraved portrait, contemporary half morocco, Paris, 1822 § Chamfort (Sébastian-Roch Nicolas de) Oeuvres...recueillies et publiées par un de ses Amis, 4 vol., foxed, contemporary tree calf, spines gilt, some chipped, joints split, Paris, [1795] § Vauvenargues (Luc de Clapiers de) Oeuvres Complètes, 2 vol., mixed set, half-titles, foxing, contemporary roan-backed boards, vol.1 taller and rebacked, Paris, 1797 § Marottes a Vendre ou Triboulet Tabletier, first edition, half-title, final leaf with woodcut device and advertisement leaf, modern half calf, spine gilt, R.Triphoook, [1812]; and 2 others, 8vo et infra (12)⁂ The fourth includes the first edition of the author's famous Maximes et Pensées.
![Rainolds (John) De Romanæ Ecclesiæ idololatria [sic], in cultu sanctorum, reliquiarum, imaginum, aquæ, salis, olei, aliarumqu](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/36444cda-698c-4fcb-b31b-adc200f850c3/468x382.jpg)
Lot 108
Rainolds (John) De Romanæ Ecclesiæ idololatria [sic], in cultu sanctorum, reliquiarum, imaginum, aquæ, salis, olei, aliarumque rerum consecratarum, & sacramenti eucharistiæ, first edition, small woodcut ornament to title, woodcut decorative initials and tail-pieces, lacking initial blank with signature mark, small chip and short tear to margins of title, water-stained, mostly lightly browned throughout, some spotting, large bookplate removed from front pastedown, contemporary limp vellum, spine inked black and with 20th century paper title label, small piece missing from spine, some creasing and staining, [STC 20606; Madan, I, p.41], small 4to, Oxford, Joseph Barnes, 1596.⁂ An attack on Catholic saints and relics by one of the most puritanical scholars of the age.Provenance: 'Ex libris P. Bonnet...1676' (ink inscription to front pastedown).
Lot 11
Food & Drink.- Berchoux (Joseph) La Gastronomie, Poëme, fourth edition, half-title, engraved frontispiece and 3 plates, contemporary ink signature of D.Banks to head of title, attractive contemporary tree calf, gilt, spine gilt with musical motifs and red roan label, slightly rubbed at edges, small mark to lower cover, 12mo, Paris, Giguet e Michaud, 1805.⁂ Attractive edition of this poem on the delights of the table, first published in 1801. Berchoux coined the word "gastronomie".
Lot 112
Godwin (Francis, Bishop) Annales of England. Containing the Reignes of Henry the Eighth, Edward the Sixt. Queene Mary, translated by Morgan Godwyn, 3 parts in 1 vol., first edition in English, 2 titles within elaborate woodcut boarders (lacking title to second part, 2E1), woodcut portrait of Henry VIII (lacking other portraits), lacking M2 and 2V6 (blank), initial blank loose, small marginal mauve ink stain 2Q4-2Y4, some marginal soiling, some spotting, contemporary calf, upper cover near detached, lower coming loose, spine and corners worn, [STC 11947], A. Islip and W. Stansby, 1630 § Atkinson (James) and H. Wilson, A Compleat System of Navigation, 2 parts in 1 vol., 18 plates (mainly folding, 1 with moveable paper parts, 1 torn), B4 marginal defect with text loss, some small worm holes (mainly marginal but some affecting text), some spotting and marginal finger soiling, contemporary calf, worn, Dublin, Boulter Grierson, 1767 § Dati (Carlo) Prose Fiorentine Raccolte, vol. 1 (all published), half-title, ink stamp to title, Florence, Nuova Stamperia, 1661, bound with Della Casa (Giovanni) Due Orazioni per muovere i Veneziani, Lyon, Bartholomew Martin, [1716], together 2 works in 1, some light spotting, vellum, spine toned; and c.115 others, mainly literature and history C17th-19th (c.120)
Lot 113
Bacon (Sir Francis) Operum Moralium et Civilium, first edition, first issue, engraved portrait frontispiece, printed titles with small woodcut device, woodcut head-pieces and decorative initials, A4 and 2E6 blank, spotting, some staining / water-staining, lightly browned, contemporary calf, rebacked, preserving original chipped gilt backstrip in compartments with new red morocco label, some gilt new, corners worn, rubbed, [Gibson 196; Wing 1109], folio, Excusum typis Edwardi Griffini [and John Haviland]; prostant ad Insignia Regia in Coemeterio D. Pauli, apud Richardum Whitakerum [and John Norton], 1638.⁂ The first issue (without the 'Novum organum' at end) of the first collected works in Latin.Provenance: 'Ex libris Rob. Thorp' (18th ink inscription to head of title); 'Miss Dickson from Miss Thorp Sale 1869, bought again 1879' (ink inscription to front free endpaper).
![[Laud (William, Archbishop)] The History of the Troubles and Tryal of ... William Laud, Lord Arch-Bishop of Canterbury, first](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/f108d65f-e92c-4f9d-94fc-adc200f854bb/468x382.jpg)
Lot 117
[Laud (William, Archbishop)] The History of the Troubles and Tryal of ... William Laud, Lord Arch-Bishop of Canterbury, first edition, engraved portrait frontispiece, title in black and red, faint off-setting, faint marginal stain (L4), small loss to bottom edge (3T2) not affecting text, 2pp. publishers advertisements at end, strengthened hinges, previous owner's ink inscription, near contemporary calf, rebacked and recornered, a little rubbed, [Wing L586], folio, for Ri. Chiswell, 1695.⁂ Provenance. Ink inscription reads, "This book belonged to Dr. William Holden Hutton, Dean of Winchester 1919-1930 and came to me under his Will."
Lot 118
Britain.- Memoirs of the antiquities of Great-Brittain, relating to the reformation, &c. Containing, the first institution of the order of the Grey-Friers, with the life of St. Francis: some remarks upon Wolsey, Cromwel, and the holy Maid of Kent, title in red and black, engraved frontispiece and 4 plates, woodcut head- and tail-pieces, sigs. A and B misbound within each other, but complete, plates lightly browned, closely trimmed at head, just touching the odd headline, occasional spotting, contemporary sheep, covers detached, spine ends worn, rubbed, 12mo, Printed and sold by H. Tracy, at the Three Bibles on London-Bridge, 1723.⁂ Rare in commerce. Includes the dissolution of the monasteries, with 'An account of church plate, sums of money...jewels deliver'd to King Henry the VIIIth'.
![NO RESERVE [Young (Edward)] The Universal Passion. Satire I [- Satire III], 3 parts only (of 7), first editions, half-titles,](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/766e6916-a375-4f9a-aec0-adc200f915ac/468x382.jpg)
Lot 120
NO RESERVE [Young (Edward)] The Universal Passion. Satire I [- Satire III], 3 parts only (of 7), first editions, half-titles, titles with woodcut ornaments, woodcut initials and headpieces, occasional browning, some creasing and fraying, unbound, J. Roberts, 1725; and a quantity of others, mostly 20th century pamphlets and other ephemera, v.s. (qty.)
![Law.- Blackerby (Samuel) The first [-second] part of the Justice of peace his companion; or, a summary of all the Acts of Par](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/c9b5ae3f-dae5-44a3-8ca2-adc200f816e0/468x382.jpg)
Lot 121
Law.- Blackerby (Samuel) The first [-second] part of the Justice of peace his companion; or, a summary of all the Acts of Parliament, Whereby One, Two, or more Justices of the Peace, are authorized to act, 2 parts in 2 vol., second part with initial advertisement f., second part water-stained and with some other staining and marking, not uniform contemporary calf, vol.1 spine ends chipped, vol. 2 joints starting, but holding firm, water-stained, corners worn, both vol. rubbed and scuffed, large 12mo, Printed by E. and R. Nutt, and R. Gosling (assigns of E. Sayer, Esq;) for J. Walthoe, 1734.
Lot 130
Napoleonic Wars.- Talma (J.) A Chronological Account and Brief History of the Events of the French Revolution ..., half-title, list of subscribers, scattered faint spotting, ?lacking final leaf (?blank), abrasion mark to front pastedown where label removed, later half-morocco, gilt, lightly rubbed joints, for the Author, and sold by G. Sael, [1795] § Camden (Theophilus) The History of the War in Spain and Portugal ..., engraved portrait frontispiece, additional engraved title, 7 plates, 4 folding maps or plans, previous owner's ink and pencil inscriptions, scattered faint spotting, new endpapers, contemporary half-calf, rebacked, a little rubbed, 1813, 8vo (2)⁂ The first is scarce with only 5 copies on Library Hub, of which only 2 are in the UK.
Lot 132
Bloomfield (Robert, poet, 1766-1823).- The Monthly Mirror, vol. XI only, Robert Bloomfield's copy with his ink signature on front pastedown, engraved frontispiece, title slightly marked, slightly browned, contemporary half calf, rubbed, upper joint splitting, 1801 § Mill (John Stuart) Autobiography, advertisements leaf at end, endpapers foxed, pencil signature of Gerhard Boerlin on fly-leaf and his pencil notes at end, gilt spine, 1873 § Huxley (Leonard) Life and Letters of Thomas Henry Huxley, 2 vol., frontispiece portraits, advertisements at end of each vol., tissue guards, slightly browned, bookplate of Humphrey Marten on front pastedowns, later ink signature, gilt spines, cloth partially faded, small tears at head of spines, edges uncut, 1900, all but the first first editions, original cloth; and 5 others, 8vo (9).
Lot 133
Repton (Humphry) Odd Whims and Miscellanies, 2 vol., first edition, half-title (vol. 1 only), vignette titles, 10 hand-coloured aquatint plates, occasional faint marginal soiling, faint abrasion marks to front pastedowns, contemporary calf, rebacked, gilt, housed in a modern slip-case, 8vo, 1804.
Lot 138
Pepys (Samuel) Memoirs of ... comprising His Diary from 1659 to 1669 ... and a selection from his Private Correspondence, 2 vol., first edition, without half-titles, engraved portrait frontispiece, 7 engraved plates, 2 tables, 1 facsimile, 1 double-page map, off-setting, occasional spotting, contemporary half-straight grain morocco, gilt, a little rubbed, 4to, 1825.
Lot 139
Anglo-Saxon period.- Palgrave (Sir Francis) The Rise and Progress of the English Commonwealth, 2 parts in 2 vol., first edition, Sir Robert Harry Inglis Palgrave's set (inscription to head of titles), occasional spotting, later half calf, gilt spines in compartments and with double morocco labels, stained and rubbed, John Murray, 1832; and 2 vol. Walter Landor Savage in Rivière bindings, 4to & 8vo (4)
Lot 142
Cleaning the City of London.- First Report on the Street-Orderly System, Now in Operation Within the City of London, printed sheet, wood-engraved illustration at head, small piece of corner torn away not affecting text, a few other small tears in margins, another corner creased, browned, laid down on card, 442 x 265mm., 1851.⁂ Cleaning the "Ordure-Sodden, fever-haunted, Metropolis". A plan to remove horse dung from the streets of the City of London.
Lot 143
NO RESERVE Chilean binding.- Stowe (Harriet Beecher) Uncle Tom's Cabin, first edition, later printing, with "153,000-306,000 volumes" to title, foxing and browning, ink ownership inscription to title and endpaper, 19th century half morocco, gilt, by Andres G. Stenwall of Valparaiso, Chile, with his ticket to pastedown, spine gilt in compartments, rubbed, 8vo, Boston, 1852.
![[Brontë (Anne)] "Acton Bell". The Tenant of Wildfell Hall, third edition, ink ownership inscription to title, lacking half-ti](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/4f4859ae-16d7-476b-a416-adc200f8726e/468x382.jpg)
Lot 147
[Brontë (Anne)] "Acton Bell". The Tenant of Wildfell Hall, third edition, ink ownership inscription to title, lacking half-title and single page advertisement at rear, occasional light finger soiling, lower hinge starting, contemporary half calf, rubbed, 1854 § Melmoth (William) The Works of Homer, 40 plates, 1 folding map, light offsetting, occasional spotting, contemporary half calf, rebacked, corners worn, [1780] § Shaw (Bernard) The Intelligent Woman's Guide to Socialism and Capitalism, first edition, original pictorial cloth, joints and extremities lightly scuffed, t.e.g., 1928; and c.105 others, mainly C18th-20th, v.s. (c.110)
Lot 148
NO RESERVE Palmer (William), "The Rugeley Poisoner".- Illustrated Life, Career, and Trial of William Palmer of Rugeley, wood-engraved portrait, double-page facsimile of Palmer's diary entry featuring his victim Cook's death, illustrations, 1856 § Illustrated and Unabridged Edition of The Times Report of the Trial of William Palmer, for Poisoning John Parsons Cook, at Rugeley, large folding wood-engraved frontispiece of the courtroom (tear to inner edge), wood-engraved title-vignette and illustrations, 1856, together 2 works in 1 vol., title of the first browned, some soiling, original cloth, rubbed and marked § [Paltock (Robert)] The Life and Adventures of Peter Wilkins, a Cornish Man...By R.S. a Passenger in the Hector, 2 vol. in 1, 5 engraved plates, ink signature to title, plates browned, contemporary roan-backed boards, rubbed, 1816; and another, 8vo et infra (3)⁂ William Palmer (1824-56) or the "Rugeley Poisoner" was a doctor, racehorse owner and gambler who was convicted and hanged for poisoning his friend John Parsons Cook, after Cook's horse had won a race at Shrewsbury in 1856, rather than Palmer's. Some thirty thousand spectators watched him hang at Stafford Gaol at 8am on 14 June 1856. Charles Dickens called him, "The greatest villain that ever stood in the Old Bailey".The second item is a novel of 1750 inspired by both Robinson Crusoe and Gulliver's Travels concerning a man shipwrecked on an island who encounters a race of flying people.
Lot 150
NO RESERVE Printed Fan.- Philadelphia, PA.- Exhibition International Horticultural Hall 1776 - 1876, printed fan, on paper, hand-coloured by stencil, some small chips and tears at folds along outer edge, mounted on plain wooden sticks, stamped 'Patented June 6th 1875' and 'Registered June 8th 1875', slightly rubbed, length: 280 mm., 1875.⁂ Commemorative fan celebrating the Centennial International Exhibition, which ran in Philadelphia from May to November 1876. It was hosted there to celebrate the 100th anniversary of the signing of the Declaration of Independence in Philadelphia in July 1776, and was the first official World's Fair to be held in the US. One side of the fan features Horticultural Hall, the enormous and ornate glasshouse completed in April 1876, where the Exhibition was hosted, and which was demolished in the 1950s. The other side features a design of crossed American flags and the symbolic bald eagle in flight aloft, above a banner bearing '100 years'.
![Churchill (Winston S.) My African Journey, [2 copies] first edition, 61 black and white photographic illustrations, 3 maps, s](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/d5562e92-05ec-4279-b162-adc200f89f9e/468x382.jpg)
Lot 156
Churchill (Winston S.) My African Journey, [2 copies] first edition, 61 black and white photographic illustrations, 3 maps, some foxing, including to title, original pictorial cloth, upper cover very lightly soiled, spine slight sunned, 1908; A History of the English-Speaking Peoples, "Chartwell edition", first printing, half-titles, black and white plates and illustrations, presentation inscriptions to front endpapers, foxing to endpapers and half-titles, original cloth, gilt spines with red morocco labels, lightly scuffed, 1956-58; and 2 others by or related to Churchill, 8vo (5)
Lot 157
NO RESERVE Lewis (Wyndham) Blasting and Bombardiering, frontispiece and plates, original cloth, light wear to corners, dust-jacket, darkened, spine ends and corners chipped and creased, rubbing to extremities, 1937 § Hersey (John) The Wall, original cloth, dust-jacket by Barnett Freedman, chipping and creasing to head and foot, extremities rubbed, 1950 § Moore (George) Aphrodite in Aulis, limited edition signed by the author, original boards, gilt, slip-case (rather marked and worn), 1930, first or first English editions; and a large quantity of others, modern literature, v.s. (12 boxes)
Lot 160
NO RESERVE Spark (Muriel) The Prime of Miss Jean Brodie, jacket spine ends and corners a little chipped and creased, short tear and some creasing to head of panels, light surface soiling to rear panel, 1961 § Smith (Dodie) The Starlight Barking, illustrations, jacket with rubbing to spine tips and corners, 1967, first editions, original cloth, dust-jackets; and a large quantity of others, v.s. (12 boxes)
![Durrell (Lawrence) Monsieur [3 copies], signed by the author, 1974; Livia, signed by the author, jacket with short tear to fo](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/b004542e-3278-40bc-bc9a-adc200f8379a/468x382.jpg)
Lot 164
Durrell (Lawrence) Monsieur [3 copies], signed by the author, 1974; Livia, signed by the author, jacket with short tear to foot, 1978; Constance, 1982; Sebastian [3 copies], 1983, first editions, original boards, dust-jackets, some light toning to spines, light rubbing to head and foot; and 2 others, Avignon Quintet, 8vo (10)
Lot 165
Hemingway (Ernest) The Fifth Column,original cloth, some staining to spine head and foot, dust-jacket, defective at spine head and foot, spine lightly toned, folds a little rubbed, 1939 § Coward (Noel) To Step Aside, original cloth, spine sunned, dust-jacket, small chips and tears at extremities, some toning, especially to spine, 1939 § Chesterton (G. K.) The Incredulity of Father Brown, ink ownership inscription to front endpaper, very occasional light spotting, original cloth, spine head and foot worn, 1926, all first editions; and c.100 others literature, mainly C20th, 8vo, (c.100)
![Wodehouse (P.G.) Ukridge, very occasional light foxing, original pictorial cloth, spine head and foot lightly bumped, [1924]](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/17424334-3231-4291-8cea-adc200f8d890/468x382.jpg)
Lot 167
Wodehouse (P.G.) Ukridge, very occasional light foxing, original pictorial cloth, spine head and foot lightly bumped, [1924] § Wilson (Colin) Ritual in the Dark, original cloth, dust-jacket, spine toned, very small chips to spine head and foot and folds, 1960 § Remarque (Erich Maria) A Time to Love and a Time to Die, original cloth, dust-jacket, spine very lightly toned, folds a little rubbed, 1954, all first editions; and c.110 others literature and history, mainly C20th, v.s. (c.110)
Lot 168
NO RESERVE Lang (Andrew, editor) The Orange Fairy Book, first edition, plates and illustrations by H.J.Ford, 8 colour, endpapers lightly spotted, ink inscription to front pastedown, original pictorial orange cloth, g.e., a little rubbed and soiled, slight cockling to upper cover, spine faded, 8vo, 1906.
Lot 17
Wild (Robert) Iter Boreale. With large Additions of several other Poems..., first complete edition, variant with 120pp. text and 4pp. Table, lacking initial and final blanks, text browned, ?title supplied from another copy, cropped affecting pagination, a few minor marginal tears, later half calf, worn, upper cover detached, [Wing W2136a], for the Booksellers in London, 1668 § Cowley (Abraham)The Works, first collected edition, engraved portrait by W.Faithorne trimmed close to plate-mark at fore-edge, woodcut device on title, contemporary panelled calf, a little worn, [Wing C6649], by J.M. for Henry Herringman, 1668; and 5 others, v.s. (7)⁂ The title poem of the first celebrates the Restoration. The work includes 'The recantation of a penitent Proteus' and 'The fair quarrel', each with separate dated title page.
Lot 179
NO RESERVE Brock (Charles E.).- Hood (Thomas) Humorous Poems, Macmillan & Co.,1893 § Farnol (Jeffery) The Amateur Gentleman, 1916 § Goldsmith (Oliver) The Vicar of Wakefield, 1904 § Mitford (Mary Russell) Our Village, 1904 § Manning (Anne) The Household of Sir Thomas More, 1906 § Chesterton (G.K.) The Coloured Lands, first edition, illustrations by the author, some colour, original cloth-backed boards, 1938, all but the last with plates or illustrations by Charles E.Brock, some colour, some foxing, original pictorial or decorated cloth, gilt, a little rubbed, the first with slight wear to spine ends, the fourth with faint staining to upper cover, the last three J.M.Dent & Co.; and c.15 others, mostly illustrated by C.E. or H.M.Brock, 8vo (c.20)
Lot 18
Meteorology.- Bohun (Ralph) A Discourse Concerning the Origine and Properties of Wind. With an Historicall Account of Hurricanes, and other Tempestuous Winds, first edition, with initial blank but for "A" within 2 rows of ornaments, blank [pi]2 (misbound before initial blank) and final leaf but lacking blank [pi]7 following Contents and also 4pp. Preface, 3 engraved illustrations in text including one full-page of tornado, modern calf ruled in blind, roan label, spine slightly faded, [Madan III 2881; Sabin 6146; Wing B3463], 8vo, by W. Hall for Tho. Bowman, 1671; sold not subject to return⁂ One of the earliest works on winds in English. In compiling the text, Bohun gathered information from sea-captains and other travellers; it Includes references to the West Indies, Virginia, Florida and Guiana.
Lot 185
Africa.- Livingstone (David) Missionary Travels and Researches in South Africa, first edition, folding wood engraved frontispiece (with light spotting) and 23 plates, 1 folding table, 1 folding map only (of two), black and white illustrations, occasional light spotting, upper hinge cracked, lower starting, staining from earlier tape restoration, original cloth, spine gilt, spine head defective, foot a little worn, 1857 § Park (Mungo) The Journal of a Mission to the Interior of Africa, folding map, bookplate to upper pastedown, spotting, paper restoration to front endpaper, upper hinge broken, lower weak, original half calf, book plate to upper cover, worn, uncut, 1815 § Burton (Isabel) The Life of Captain Sir Richard Burton, black and white plates, book label to front pastedown, occasional spotting, hinges cracked, original pictorial cloth, some staining, small tears to joints, spine head and foot rubbed, 1898; and 36 others travel and topography, v.s. (39)
Lot 188
First Australian Bible Society.- Broadside.- Auxiliary Bible Society of New South Wales, 228 x 190mm., a few pencil numbers and letters, lightly stained, Sydney, 1825; and another seemingly unrecorded work on the state of the church in NSW, 1837 (Webster Collection 2617), folio (2)⁂ Unrecorded. The Bible Society NSW was the first of its kind to be formed in Australia (Act of the Parliament of NSW, 1817). Provenance: Webster Collection, 3895 (small ink stamp to verso).
Lot 19
Burnet (Gilbert) Some Passages of the Life and Death of...John, Earl of Rochester, first edition, third issue, engraved portrait, lacking initial and final blanks but with 4 advertisement leaves at end, a little browned, some pencil markings and annotations, old calf, rubbed, rebacked, [Wing B5922], for Richard Chiswell, 1680 § Brown (Thomas) The Works..., 4 vol., fourth edition, 1715; The Remains..., first edition, 1720, together 5 vol., titles in red & black, engraved frontispieces and plates, some browning, contemporary calf (vol.1-4 panelled), for Sam.Briscoe § [Dunton (John)] Athenian Sport: or, Two Thousand Paradoxes Merrily Argued, To Amuse and Divert the Age, first edition, lacking half-title, modern half calf, B. Bragg, 1707 § [Hill (Aaron) & Marshall Smith, editors.] The British Apollo, third edition, engraved frontispiece, modern calf-backed boards, for John Isted...and Richard King, 1718, rubbed; and c.30 others, literature etc., 8vo et infra; sold not subject to return (c.35)
Lot 190
NO RESERVE Middle East.- Marigny (François Augier, l'Abbé de) Histoire des Arabes sous le gouvernement des califes, 4 vol., first edition, titles with woodcut ornament, woodcut head- and tail-pieces and decorative initials, lacking half-titles, a few short marginal tears and a hole, occasional spotting and light staining, lightly browned, engraved armorial bookplates of Robert, Earl of Holderness, modern bookplates of J. Perdios, contemporary speckled calf, gilt spines in compartments and with red and black leather labels, joints starting, but holding firm, spine ends and corners worn, rubbed, Paris, Widow Estienne & Son [& others], 1750; and 2 others, Saladin, 1758 (lacking maps), 12mo (6)
Lot 191
Rosetta Stone.- Silvestre de Sacy (Antoine Isaac, Baron de) Lettre au Citoyen Chaptal, Ministre de l'Interieur . . . au sujet de l'inscription Égyptienne du monument trouvé a Rosette, first edition, 2 engraved plates, of which 1 folding, Paris, Printers of the Republic, 1802 bound with Akerblad (Johan David) Lettre sur l'inscription egyptienne de Rosette, adressee au citoyen Silvestre de Sacy, professeur de langue arabe a l'ecole speciale des langues orientales vivantes, first edition, half-title, 2 folding engraved plates, Paris, Printers of the Republic, 1802, together 2 works in 1 vol., occasional spotting, lightly browned, contemporary mottled calf, gilt, spine ends chipped, lower joint splitting, but holding firm, corners worn, rubbed, 8vo⁂ One of the first attempts to decipher the hieroglyphics on the Rosetta Stone after its discovery in 1799. The author identified a few proper names, 'Alexandria' and 'Arsinoe', but had largely to admit failure. His work was taken up by his student Akerblad, who managed to identify all proper names in the demotic text within two months. He could also make out words like 'Greek', 'temple' and 'Egyptian'. However, he wrongly believed the demotic hieroglyphs to be entirely alphabetic. Both works are rare in commerce.
Lot 194
Britain.- Howitt (William) Visits to Remarkable Places, 4 vol. comprising first and second series, extra illustrated, 219 engraved and lithographed plates, most mounted, 2 maps, scattered off-setting and soiling, occasional marginal pencil notes, contemporary morocco, gilt, a little rubbed, 8vo, 1840-42.
Lot 196
Derby.- Hutton (William) The History of Derby, first edition, folding engraved frontispiece 'East Prospect of Derby', folding engraved plan and 17 plates, errata/advertisement leaf, extra-illustrated with c.60 additional prints and drawings, mostly engraved but including a few watercolours, one or two folding, some portraits, some bound in, others trimmed and mounted on blank leaves, occasional spotting, contemporary sheep-backed boards, worn, broken and loose, 8vo, J.Nichols, 1791.⁂ The additional items include a folding engraved pictorial perspective map of Derbyshire north from London by G.Bickham, 1753, 3 watercolour views of a man and a donkey sliding down a rope from a church tower as described in the text (pp.245-250), an etching and a watercolour version of Patrick O'Brien the Irish Giant, and an engraving and a watercolour of Thomas Topham the Strong Man.
Lot 198
England.- Fuller (Thomas) The History of the Worthies of England, first edition, engraved portrait frontispiece, lacking A1, E4 & K4 (blanks), rust stain in shape of key (v3), one or two tiny rust holes affecting odd letter, occasional faint spotting, bookplates, later morocco, gilt, g.e., slight rubbing to spine extremities, [Wing F2440], folio, by J.G.W.L. and W.G., 1662.⁂ Without the 18th century index, which is frequently found bound at the end of this work.
Lot 199
England.- Stockdale (John) Annales Caermoelenses: or Annales of Cartmel, first edition, engraved frontispiece, half-title, previous owner's ink inscription, scattered spotting, original cloth,. gilt, sunned spine, chipping to corners and spine extremities, Ulverston, William Kitchin, 1872 § Garnett (Frank W.) Westmorland Agriculture 1800-1900, pencil inscription and signature by author, frontispiece, plates and illustrations, maps, scattered spotting, previous owner's signature to front pastedown, original boards, a little rubbed, slight bumping to spine extremities, Kendal, Titus Wilson, 1912 § Atkinson (George) The Worthies of Westmorland, 2 vol., frontispiece, scattered spotting, near contemporary calf by Riviere, gilt, slight bumping to spine extremities, 1851 § Pearsall (W. H.) & W. Pennington, The New Naturalist. The Lake District, first edition, plates, occasional marginal pencil marks, original cloth, dust-jacket, 1973; and others similar, v.s. (22)
Lot 2
Mexia (Pedro) Silva de varia lecion..., collation: a-b8 A-Z8 Aa-Pp8, title within woodcut architectural border, woodcut initials and printer's device on verso of b8 and otherwise blank final leaf, contemporary ink annotations and tracing of device on final leaf, title soiled, contemporary limp vellum, yapp edges, lacking ties, rubbed and stained, [Not in Adams], 8vo (140 x 95mm.), Antwerp, Martin Nutius, 1550.⁂ Popular miscellany of writings from a variety of sources, some of which inspired Shakespeare, Cervantes and others. It was first published in 1540 in Seville but was issued in many editions and translations over the next hundred and fifty years.
Lot 20
Aesop & others. Fables...with Morals and Reflexions. Part I, edited by Sir Roger L'Estrange, fourth edition, lacking engraved portrait but with plate of Aesop surrounded by animals (torn & trimmed, mounted on blank leaf and loosely inserted), for R.Sare [& others], 1704; Fables and Storyes Moralized. Being a Second Part of the Fables of Aesop, edited by Sir Roger L'Estrange, first edition, with the final advertisement leaf, browned, [Wing L1247], for R.Sare, 1699, together 2 works in 1 vol., contemporary panelled calf, worn, upper cover detached, folio
Lot 205
Kent.- Harris (John) The History of Kent. In five Parts ..., first edition, engraved portrait frontispiece, trimmed and laid down, 41 engraved plates, all but 3 double-page, 3 with tears and neat repairs, several trimmed to plate mark, 3 double-page maps and 1 large folding double-page map, title trimmed with loss to one rule border, list of subscribers, previous owner's ink signature to title, occasional water-staining and spotting, occasional marginal notes and underlining, front free endpaper detached, contemporary calf, neat repair to spine foot, a little rubbed. folio, D. Midwinter, 1719.
Lot 206
Kent.- Philipott (Thomas) Villare Cantianum: or Kent Surveyed and Illustrated, first edition, large folding double-page map hand-coloured in outline, engraved illustrations, corrections inserted by hand, one or two ink annotations in various hands, bookplate, manuscript notes loosely inserted, Z1 with small hole affecting odd letter, contemporary calf, gilt, a little rubbed, [Wing P1989], small folio, by William Godbid, 1659.
Lot 207
Lake District.- Green (William) Forty Etchings from Nature, Old Buildings situate in the Mountainous District of the North of England, first edition, 40 etched plates, proof impressions, some minor foxing and soiling, original paper title label from wrapper pasted to front free endpaper, later green half morocco, gilt, small paint mark to lower cover, oblong folio, n.p., [c.1820].⁂ Rare suite of plates, mostly of cottages and houses in the Lake District. Only one copy traced at auction, which mentioned an advertisement leaf, not present here.
Lot 208
Lake District.- Walker (Adam) Remarks made in a Tour from London to the Lakes of Westmoreland and Cumberland, first edition, lacking half-title, contemporary calf, gilt, a little rubbed, upper joint cracking, 1792 § Briggs (John) Poems, on various subjects, first edition, half-title, list of subscribers at end, 2ff. working loose, contemporary half calf, spine a little rubbed and faded, Ulverston, Printed for the author by J. Soulby, 1818; and 4 others related, 8vo and 12mo (6)
Lot 209
Lake District.- Wordsworth (William) A Description of the Scenery of the Lakes in the North of England, fourth edition, folding engraved map frontispiece (foxed), contemporary half calf, joints cracked, extremities worn, 1823 § Leigh (Samuel) Leigh's Guide to the Lakes, Mountains, and Waterfalls of Cumberland, Westmorland & Lancashire, fourth edition, folding engraved map with outline hand-colouring, a little browned at some folds and with one tear, 4 hand-coloured engraved maps, original cloth, soiled, 1843 § Green (William) A Description of Sixty Studies from Nature, text guide only, foxed, contemporary half calf, foot of spine worn, rubbed, Printed for the author, 1810 § Briggs (John) The Remains of..., first edition, half-title, list of subscribers at end (including Wordsworth and Southey, contemporary half calf, rubbed, Kirkby Lonsdale, 1825; Letters from the Lakes, first separate edition, half-title, later buckram, sunned and spine faded, Kirkby Lonsdale, 1825, 8vo and 12mo (5)
Lot 21
Browne (Sir Thomas) Posthumous Works, engraved portrait, 22 engraved plates, some folding, with an additional later engraved view of Norwich bound as frontispiece, lightly browned, later bookplate of John M.Cameron, contemporary calf, rebacked with gilt spine, for E. Curll, 1712 § Asser (John) Annales rerum gestarum Aelfredi magni..., edited by Francis Wise, first edition, engraved portrait, title-vignette, head-pieces and folding plate, presentation copy from Nathaniel Bliss (later Astronomer Royal) to Martin Ffolkes (astronomer and President of the Royal Society) inscribed on front pastedown and with Bliss's signature to title, with later note of acquisition (Sotheby's Sale of the Wyndham library 1872 lot 67) and notes on front free endpaper, contemporary panelled calf, worn and slightly wormed, Oxford, 1722 § Brand (John) Observations on Popular Antiquities, first edition, engraved title-vignette, errata leaf at end, foxed, contemporary half calf, Newcastle upon Tyne, 1777 § Hindmarsh (Robert) A Key to the Spiritual Signification of Numbers in the Holy Word..., first edition, contemporary half russia, spine gilt, Manchester, 1820, all rubbed; and 8 others, v.s. (12)
![Lake District.- [West (Thomas)] A Guide to the Lakes, in Cumberland, Westmorland, and Lancashire, third edition, half-title,](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/f98b158c-cd8b-4f6f-95ab-adc200f92517/468x382.jpg)
Lot 210
Lake District.- [West (Thomas)] A Guide to the Lakes, in Cumberland, Westmorland, and Lancashire, third edition, half-title, engraved frontispiece, folding map and 4 additional folding maps bound in, head of title and margin of maps inscribed "Lord Borwick", advertisement leaf at end, contemporary tree calf, spine gilt, 1784; another edition, fifth edition. engraved frontispiece, folding map and one plate, uncut in original boards, printed spine a little rubbed and cracked, 1793; another edition, sixth edition, half-title, folding engraved map, 2 engraved plates and 16 aquatint plates, some light offsetting, contemporary tree calf, gilt, head of spine nicked, 1796 § Hutchinson (W.) An Excursion to the Lakes, first edition, 19 folding engraved plates, a few with tears at folds, some foxing and soiling, contemporary calf, rebacked, corners repaired, 1776; and 3 others similar, 8vo (7)
Lot 211
London.- Ackermann (Rudolph) The History of the Abbey Church of St. Peter's Westminster, 2 vol., first edition, half-titles, 81 hand-coloured aquatint plates including additional vignette title, engraved plan and portrait, list of subscribers, occasional spotting and faint off-setting, later straight-grain morocco by Roger de Coverly, neat ?repair to lower joint (vol. 2 only), gilt, a.e.g., small stain to lower boards, folio, for R. Ackermann, 1812.
Lot 213
NO RESERVE London.- Shepherd (Thomas Hosmer) London and its Environs in the Nineteenth Century, first edition, engraved title and 80 plates, lacking text pp.71-116, 1829; Metropolitan Improvements; or London in the Nineteenth Century, additional engraved title and 80 plates, title, plate and engraved title detached and loosely inserted, lacking majority of text, faint water-staining, 1829, previous owner's ink inscriptions, original labels pasted to front pastedowns, occasional spotting, later cloth, rubbed, chipping and small loss to spines, 4to; sold not subject to return (2)
Lot 215
Rutland.- Wright (James) The History and Antiquities of the County of Rutland, first edition, engraved double-page map, engraved and woodcut illustrations, title in red and black, odd word scored out by a previous owner, O4 with small rust hole affecting odd letter, P3 with short tear at inner margin not affecting text, scattered finger soiling, new endpapers, contemporary calf, spine ends and upper joints neatly repaired, a little rubbed, [Wing W3696], folio, for Bennet Griffin, 1684.
Lot 22
Walpole (Robert, 1st Earl of Orford) A Report from the Committee of Secrecy...relating to the late Negotiations of Peace and Commerce, initial imprimatur leaf, contemporary ink inscription "Francis Boycott of Drs. Commons London 1715" to title, modern half calf, slightly rubbed, Jacob Tonson [& others], 1715 § Macky (Spring) Memoirs of the Secret Services of John Macky Esq, first edition, with final blank, bookplate of Edward Montagu Stuart Granville, Earl of Wharncliffe, contemporary calf with gilt arms to upper cover, rubbed and scuffed, rebacked with gilt spine, 1733; and 5 pamphlets, v.s. (7)⁂ The first item concerns the Treaty of Utrecht of 1713 which ended the War of the Spanish Succession and Walpole, a Whig, was appointed chairman of a secret committee to investigate the Tory negotiations leading to the treaty. John Macky of the second item was a Scottish spy who informed British authorities of the intended invasion of James II in 1692.
Lot 221
NO RESERVE Cricket.- Nottingham Forest Amateur Cricket Club. Records: 1877 to 1901, frontispiece, plates, occasional marginal water-staining, original paper wrappers bound-in, abrasion mark to front free endpaper where labels removed, ex-library with label and occasional ink-stamps, later cloth, gilt, paper label to upper covers, a little rubbed, [Padwick 2490], Nottingham, 1902 § [Richards (Charles Henry)], Nottinghamshire Cricket Scores and Biographies from 1838. (Opening of the Trent Bridge Ground) ... 1888 to 1900, 2 vol., photographic team plate (vol. 1), plates, illustrations, title and index laid on tissue (vol. 2), one or two areas of loss to margins, most with expert tissue repairs (vol. 2), abrasion mark to front free endpapers where labels removed, ex-library with occasional ink-stamps, vol. 1 in contemporary half-morocco, rubbed and worn, vol. 2 in modern cloth, [Padwick 2517], Nottingham, 1888-1903, 8vo (3). ⁂ The first is very rare with no copies on Library Hub.
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