* JOHN HALLIDAY (SCOTTISH b 1933 - ), PARACHUTE JUMPING IN THE PARK oil on board, signed and dated '74 49cm x 75cm Framed Provenance: Acquired by the vendor at the Fine Art Society exhibition 1974. Private Edinburgh collection. Note: Born in Kirkcudbright's Atkinson Place in 1933, John Halliday now lives, nearly ninety years on, two doors along from the house in which he was born. In the intervening decades, his restless life has been one of exploration: creatively, culturally, geographically and personally. Born into a family background where a career in art was not a likely or realistic prospect, Halliday found himself leaving Kirkcudbright Academy at the age of sixteen to take up work as a trainee on the local Galloway News. And there the story might well have ended. But a benign fate, never far away in the Halliday life story, began to take a hand in events. In 1948, Cecile Walton, daughter of the celebrated E.A. Walton, had decided to settle permanently in Kirkcudbright. Although in straitened financial circumstances, she was a woman of some style and flair which extended beyond her art and into her lifestyle. Introduced to Halliday at an Arts Council touring exhibition in St Cuthbert's Hall, Cecile took an interest in the talented teenager. Along with Jean Menzies, John's art teacher at school, Walton worked hard to have him accepted at the Glasgow School of Art despite his lack of formal educational qualifications. But Walton's influence did not end with Halliday's entrance to art school in 1949. Life in Cecile's Millburn studio was a far cry from the more humdrum life-style of Atkinson Place. Despite a lack of money, Cecile did not lack glamour in young John's eyes: "It was a magical place, with its old pot-bellied stove. I remember the furniture, particularly a big bureau, and the chairs were William Morris. She seemed to entertain everybody there, great Sunday lunches in particular, with all kinds of interesting guests from all the arts. And she managed to bring it all off in a single-end in the Millburn." (Tales of the Kirkcudbright Artists: Gordon, 2006). This passion for style and sparkling company left its mark on the young man. His life has been marked by enrichment through association with beautiful objects and with people who have made their mark on the world of the arts and society in general. 1949 was a good year to be arriving at the Glasgow School of Art. Teaching giants such as William and Mary Armour, Geoff Squire and John Miller greatly impressed the young but impecunious Halliday. His digs in a theatrical boarding house adjacent to the School of Art meant he spent more time than most students in the School, drawing every ounce of input from the learning experience before eventually finding himself a tiny studio in the city centre. In his final year at art school, he won two Royal Scottish Academy Awards: the Chalmers Bursary and the award for outstanding Diploma show. Output from this period featured in an exhibition, largely organised by Cecile Walton, in a Castle Douglas gallery shortly after graduation. Here again, fate took a hand. The largest canvas in the exhibition was bought by Douglas Lorimer, managing director of North British Locomotives, who financed Halliday for a year to 'see the world', as he put it. Lorimer's help, together with money form his awards saw John setting out with his friend and experienced traveller, Gerald Ashton, for his first trip abroad - to Sicily. It was a seminal experience, the beginning of a life-long love of this location to which he has returned countless times. An introduction to Glasgow architect Jack Notman led, over the years, to a series of over 70 mural commissions. Ten of these were for panels of famous Scots at Prestwick Airport, others for the Clydesdale Bank, the Bank of Scotland, the Marquis of Bute, Hope Scott, the National Trust for Scotland, Scottish and Newcastle Breweries, Glenfarclas whisky, to name only a few. In many of them his love of architecture, symmetry and the baroque technique of trompe l'oeil was fully explored. It is, however, to Whistler, friend of his own patron, Cecile Walton, that his own work is most often compared, a comparison with which Halliday is not unhappy. " It is his half-tones and quarter tones which I really love and these play an important part in my work also. The light in the early morning or evening can only be realised through them. People talk a lot about my preoccupation with light but it is to those tones that I am really referring," he remarks. New York-based Clare Henry, doyenne of international art critics, is among those happy to make the comparison: "Landscape is Halliday's real love, be it a damp day by the Tweed or noon in Sicily...while studies of ancient facades in Venice are positively Whistlerian." (The Herald, 25th November 1998). Richard Jacques in The Scotsman has seen similar parallels: "Specially rewarding are those Whistlerian images of Kirkcudbright and Galloway in which the elements of landscape are seen in a penumbral create an almost magical effect." (The Scotsman, 18th November 1991). Some might also see a parallel closer to home. In his love of penumbral light and muted tones and outlines, Halliday at times forays into the concerns, if not the palette, of another Kirkcudbright artist, Macaulay Stevenson. John Halliday remains, however, very much his own man with a vision of Galloway to which he has been drawn irresistibly throughout a long career. Travels throughout Europe, homes across Scotland have resulted in glorious oils, gouache and crayon images from all parts: from Calabria to Coldstream, from the baking sun of Sicily to wintry scenes in Edinburgh. For many, however, the strongest canvases may be those who see the art of decades distilled into that limpid clarity of light which caresses the gentle landscapes of the Dee, Corsock or Glenton, where the land melts into the light. And the light and land are one.
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Constantinos Parthenis (Greek, 1878-1967)Mountaneous Landscape, Macedonia signed and inscribed 'PARTHENIS/MACEDOINE' (lower right)oil on canvas18 x 18 cm. Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)Dreamy landscape signed and dated 'C.P./903' (lower right)oil on canvas laid on card 33 x 28 cm.Footnotes:ProvenanceGiven as a gift from the artist to Sofia Laskaridou and thence by descent to the present owner.Following his seven-year stay in Vienna, Parthenis came to Athens for the first time in the summer of 1903 to participate in the Athens International Exhibition, where he was awarded a silver diploma. His first Greek landscapes date from that time. The next year he travelled for four months in the region of Macedonia, which was still under Ottoman rule, perhaps due to his father's Macedonian roots. There, he made many landscape pictures, including views of Mount Pangaion, in a neo-impressionist style.1In a 1904 issue of the Pinakothiki journal we read: 'The music of colours, first introduced by Klimt, was taken up only by Parthenis among Greek artists.'2 In these enchanting landscape gems, the poetic atmosphere, subtle colour harmonies, absence of human figures, solemn remoteness and sharp brushstrokes that transform the canvas into a gleaming tapestry of colour touches, leave no doubt that Parthenis had assimilated the achievements of the great Viennese symbolist.During his spell in Vienna (1895/6-1903), the artist probably travelled to Paris in 1900 on the occasion of his participation in the Exposition International Universelle,3 and met the young painter Sophia Laskaridou (1882-1965), who was studying at the Académie Julian (1900-1901). In his first solo exhibition in Athens in 1901, Parthenis showed a series of remarkable portraits of beautiful Sophia, whom he was possibly in love with.41 See Pinakothiki journal, December 1904, p. 198. See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 4; The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, pp. 14, 19, 29; E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, p. 36. 2 'Painting' [in Greek], Pinakothiki journal, January 1904, p. 224.3 See E. Mathiopoulos, 'Costis Parthenis' [in Greek] in Costis Parthenis, Epta Imeres - Kathimerini weekly magazine, July 27, 1997, p. 3,4 D. Iliopoulou-Rogan, Sophia Laskaridou (1882-1965) [in Greek], Livanis editions, Athens 2007, pp. 36, 47. This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Constantinos Parthenis (Greek, 1878-1967)Harmony signed 'C.Parthenis' (lower left)oil on canvas125 x 50 cm.Painted c. 1940-41.Footnotes:The artwork bears the artist's son signature on the reverse and the date 26/7 on the stretcher.ProvenanceN. Parthenis collection, Athens.Private collection, Athens.LiteratureL'Art Contemporain et le Monde Grec, Actes du XVIIIe Congres de l'Association Internationale des Critiques d'Art (AICA), Athens 1984, p. 151 (mentioned).A. Kotidis, On Parthenis, University Studio Press, Thessaloniki 1984, p. 36 (mentioned).A. Kafetsi, Drawings by Constantinos Parthenis in the National Gallery, exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 1989, p. 58 (mentioned).E. Mathiopoulos, The Life and Work of Costis Parthenis, K. Adam editions, Athens 2008, no. 283, p. 427 (catalogued), p. 343 (illustrated).In 1939, the Minister-Governor of Athens Kostas Kotzias and Mayor Ambrosios Plytas, wishing to complete the City Hall's decoration program, decided to commission the great Parthenis to decorate the spacious southwest room on the first floor. The painter negotiated and agreed to be paid 800,000 drachmas—a huge amount for the time. Following a vote by the city council, the contract was signed on April 18, 1940, providing a period of twenty months for the delivery of twelve independent canvases. While Parthenis kept his end of the agreement, the Municipality of Athens, due to the outbreak of the Greek-Italian war and the German occupation that followed, was unable to honour the contract. After the war, in the early 1950s, the Municipality of Athens, under Mayor Kostas Kotzias, showed a renewed interest in acquiring the canvases at the cost agreed before the war. However, especially after the dramatic devaluation of the drachma on April 9, 1953, the agreed upon amount had lost almost all of its real value. Parthenis saw the proposed deal as a mockery of his work and turned it down without hesitation. As a result, the works remained in his workshop and out of public view until the artist's passing in 1967. 1Translated into evocative symbols, these highly idealised and allegorical works are absorbed in a world purified of any kind of brutality, a world that soars loftily in the heights of ideals, while their sensitive lines, translucent colours and abstractive formal vocabulary endow them with a highly poetic and spiritual content. Through a sophisticated formulation of style, which fully utilised the entire Greek aesthetic tradition while reading elegantly like a piece of undiscovered mythology, Parthenis managed to create a work of visual poetry, a world as much Greek as universal. Harmony2 is personified by a young woman in a knee-length dress and pleated cape standing on a short pedestal like an ancient Greek kore and playing the violin against a starry night sky. Her body posture and overall compositional design echo Maurice Denis's La Damoiselle élue, a 1892 work inspired by the namesake cantata by Claude Debussy and based on a text by Pre-Raphaelite poet and painter Dante Gabriel Rossetti.3 Once in close contact with symbolist circles, Parthenis was thoroughly familiar with the work of Puvis de Chavannes, Gustave Moreau, Odilon Redon and, especially, Maurice Denis, who sought to reinvest art with a deeper, more spiritual meaning. The idealistic atmosphere of the French painter's works, and the highly stylised rendering of the human figure, had a strong impact on Parthenis throughout his career.In this evocative setting, the young violin4 player takes on an allegorical meaning, identified with the idea of music as a symbol of universal order, harmony and peace. As noted by Z. Papantoniou, 'by dematerialising form and giving shape to ideas, Parthenis creates a musical quality; in other words he lifts painting to the realm of music, the most immaterial of all arts.5 Parthenis himself was an ardent lover of classical music and, accompanied by his wife, he often attended Sunday concerts and recitals by great performers at the Municipal Theatre, the Olympia and the Kentrikon music halls.61 See E. Mathiopoulos, The Life and Work of Costis Parthenis [in Greek], K. Adam editions, Athens 2008, pp. 91, 97-98; A. Kotidis, On Parthenis [in Greek], University Studio Press, Thessaloniki 1984, pp. 21-22; A. Kotidis, 'The Dialectic of Power in the Case of Costis Parthenis' [in Greek] in Constantinos Parthenis (1878-1967), exhibition catalogue, Vafopouleio Cultural Centre, Thessaloniki 1984, p. 43; A. Kotidis, 'The Influence of Hellenic Art in the Work of C. Parthenis', L'Art Contemporain et le Monde Grec, Actes du XVIIIe Congres de l'Association Internationale des Critiques d'Art (AICA), Athens 1984, p. 151.2 A pencil drawing in the collection of the National Gallery - Alexandros Soutzos Museum, Athens (no. 7843).3 See A. Kafetsi, Drawings by Constantinos Parthenis in the National Gallery [in Greek], exhibition catalogue, National Gallery - Alexandros Soutzos Museum, Athens 1989, p. 66.4 Compare Dawn (Aurora), Bonhams Greek Sale, May 19, 2009, lot 29, and Still life with violin, Bonhams, Greek Sale, December 12, 2006, lot 85.5 Z. Papantoniou, 'The Art of Parthenis' [in Greek], Patris daily, January 19, 1920.6 K. Iliadis, The World of Art in the Period Between the Wars [in Greek], Athens 1978, p. 101.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Yiannis Moralis (Greek, 1916-2009)Erotic signed, inscribed in Greek and dated '1977' (lower right); signed and dated 'Yannis MORALIS/Athènes-Grèce/1977' (on the reverse)acrylic on canvas147 x 124 cm.Footnotes:ProvenanceZoumboulakis Galleries, Athens.Private collection, Athens.Bonhams, The Greek Sale, 10 November 2008, lot 90.Acquired from the above by the present owner.ExhibitedAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 14 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April - June 5, 1988, no. 89, possibly (listed in the exhibition catalogue, p. 67). Athens, Benaki Museum, Yannis Moralis, September 20, 2018 - February 10, 2019.Literature Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 242, p. 241 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 168 (illustrated)Y. Bolis, Yannis Moralis, Adam editions, Athens 2005, p. 99 (illustrated).Y. Bolis, Yannis Moralis, Ta Nea editions, Athens 2007, p. 81 (illustrated).Axia newspaper, November 1, 2008, p. 7/58 (illustrated).Kathimerini newspaper, December 25, 2009, Arts and Letters, p. 8 (illustrated).Archaiologia & Technes magazine, no. 111, June 2009, p. 28 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Yannis Moralis Works, p. 3 (illustrated).'In Moralis's work, the earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship.'Odysseus Elytis1 Painted on the island of Aegina2 in the summer of 1977, Erotic demonstrates a striking balance between erotic passion, lyrical feeling and intellectual thought. True to his classical Greek heritage and yet utilizing a formal vocabulary perfectly balanced to the scale of modern sensitivity, Moralis sought the realization of a classical ideal, the discovery of a universal measure for logos and pathos. 'The erotic encounter of two people, life's greatest mystery, stripped from any external element that threatens to alienate it, is depicted in a simple and, therefore, essential way. The figures are broken down to their constituent parts and then reassembled; as a result, the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. Any dryness or harshness that could result from such an austere, constructivist approach, is avoided due to the artist's sensitivity.'3Imbued with the eroticism of the curved line, Erotic reflects the artist's long preoccupation not only with the suggestively rendered female form, but also with the inner rhythm and musical resonance generated by the combination of varied types, shapes and colours. He used abstraction to isolate the core of human existence, to create a symbolic language of evocative forms that echo age-old memories, freed from the burden of their physical existence.4 As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.'5 Reviewing the artist's work from the late 1970s, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, incisively noted: '1976 marks the beginning of a period devoted exclusively to geometric abstraction. His forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form—only vaguely reminiscent of nude human figures—take anything away from their graceful tenderness, lyrical quality and richness.'6 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by the classical sense for human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. 1 Preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Gallery, Athens 1972. 2 In the summer afternoons in the artist's island studio, some close friends had the privilege to first see his latest works. 'Though daylight started to wane, another glow lit the atmosphere, tenderly embracing his 'doric' paintings.' See C. Capralos, Autobiography [in Greek], Athens 2001.3 V. Karaiskou, 'An Attempt to Approach Yannis Moralis's Work' [in Greek], Sima magazine, no. 7, March-April 1992, p. 20.4 See Y. Bolis, Yannis Moralis [in Greek], Ta Nea ed., Athens 2007, p. 79.5 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992. 6 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, (exh. cat.), Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Puritanism.- Marprelate controversy.- Marprelate (Martin, pseudonym) Oh read over D. John Bridges for it is a Worthy worke: Or an epitome of the fyrste booke of that worshipfull volume written against the Puritans, first edition, black letter, title holed and repaired with loss to a few letters of text, E4 with portion of loss to upper margin with loss to headline but not affecting text, E3-G2 with some light repair and restoration with occasional loss to 2 or 3 letters of text, G3&4 with loss to several words of text, partly supplied in pencil, fore-margins closely shaved, occasionally touching printed side-notes, occasional light staining, ink inscriptions to endpaper, manuscript notes loosely inserted, bookplate to pastedown, 19th century half calf, upper joint cracked, extremities rubbed, [STC 17453], Printed oversea, in Europe [but East Molesey, Surrey, by Robert Waldegrave], [October 1588]; and another copy, lacking the title page, small 4to (2)⁂ The first of the secretly-printed Martin Marprelate tracts, rare. The Marprelate controversy was a pamphlet war between the pseudonymous Martin and defenders of the Established Church. The Marprelate pamphlets were printed at a secret press established by John Penry, a Welsh puritan, for the issue of forbidden puritan literature. The press was first established at East Molesey before being moved to Fawsley, near Northampton, on to Coventry, and finally to Manchester, where it was seized. Penry was later apprehended in London, charged with inciting rebellion, and hanged. The authors are now widely believed to have been Penry alongside the Warwickshire MP Job Throckmorton (see also lot XXXX). Provenance: Provenance: M. H. Bloxham (bookplate and inscription).
Middle East.- Niebuhr (Carsten) Voyage en Arabie & en d'autres Pays circonvoisins, 2 vol., first edition in French, half-titles, engraved vignette titles, large folding map of the Yemen hand-coloured in outline and 124 engraved maps, plates and plans, many folding, 1776-80; Description de l'Arabie, second edition in French, half-title, engraved vignette title, 25 engraved maps and plates, some folding including a large map of the Yemen hand-coloured in outline and 2 plates of Arabic scripts with partial-hand-colouring indicating vowel sounds (one folding), folding letterpress table, errata leaf at end but lacking list of plates, 1774 § Michaelis (J.D.) Recueil de Questions, proposées à une Société de Savants, qui par ordre de Sa Majesté Danoise font le Voyage de l'Arabie, first edition, half-title, 1774, together 3 works in 4 vol., uniform contemporary half red morocco over boards, spines gilt, uncut, rubbed, vol.1 with spine torn at head, vol.2 split to upper joint, vol.3 with spine torn and upper half detached, lower cover also detached, 4to, Amsterdam, S.J. Baalde, & Utrecht, J. van Schoonhoven⁂ Frederick V of Denmark commissioned a Danish expedition to Arabia in 1761-63. The second mentioned work in this set is an account of the expedition on which all but Niebuhr died, the first describes his return journey overland through Persia and Turkey. The final volume is a list of questions and objectives for the expedition, set by J.D.Michaelis, a noted German orientalist, concerning dialects, natural history etc. The Description contains important maps of the region including Oman, the Arabian Gulf and the first reliable map of the Nile delta; there are also views of Mecca and Medina. The Voyage includes a visit to Persepolis.
Cervantès Saavedra (Miguel de) The History of the most Renowned Don Quixote of Mancha: and his Trusty Squire Sancho Panza, translated by J[ohn] P[hillips], first illustrated edition in English, engraved frontispiece, 8 plates or full-page illustrations (each with two illustrations), lacking the 3pp. verse and errata at end, frontispiece laid down and with some marginal loss touching image, title with perforated blindstamp and ink inscription to verso, some closed tearing and occasional chipping to margins, Q4, 2S3 and 3O1 with tears running into text, 4D1 and 4H3 with small hole or rust-hole to text, soiling and light staining, bookplate, contemporary calf, rebacked, joints cracked at head, corners worn, rubbed, [Wing C1774A], folio, by Tho. Hodgkin, and are to be sold by John Newton, at the three Pigeons over against the Inner-Temple Gate in Fleet-street, 1687.Provenance: Phillis Cull her Book (ink inscription dated 1805); W. C. (perforated blindstamp); M. H. Bloxam (bookplate).
Italy.- Smyth (Capt. William Henry) Memoir...of Sicily and its Islands, first edition, lacking half-title, with folding engraved map, 16 fine aquatint views on 13 plates by William Daniell, foxing to map and a few plates, contemporary calf, rubbed, rebacked, gilt spine very worn, upper cover detached, [Abbey, Travel, 263], 1824 § [Knight (Cornelia)] A Description of Latium, or La Campagna di Roma, engraved map, 20 etched plates after the author with pale yellow wash, errata slip tipped in at beginning, manuscript note to one leaf, foxing to map and text, plates clean, original boards, uncut, crudely rebacked in sheep, worn, lacking backstrip, broken and loose, 1805; and another, 4to (3)
Naunton (Sir Robert) Fragmenta Regalia, first edition, first issue with "father" for "mother" on verso of second f. (corrected in pen), title with woodcut decoration, E4 and G1 with some restoration to lower margin, not affecting text, scattered spotting, book label to pastedown, 19th century half calf by Hering, rubbed and scuffed, [Wing N249 & N250A], small 4to, 1641.⁂ A good account of Queen Elizabeth's courtiers, including Sir Robert Cecil, Sir Walter Raleigh and Sir Philip Sydney. Provenance: Alexander Beresford Hope (1820-1887, author and Conservative politician, book-label).
Britain.- Rowlands (Henry) Mona Antiqua Restaurata. An Archaeological Discourse on the Antiquities...of the Isle of Anglesey, half-title, title in red & black, list of subscribers, 10 engraved plates, a little browned, with folding engraved map of Anglesey by Speed tipped in at beginning (foxed), contemporary calf, rebacked, joints split, Dublin, 1723 § King (Edward) Munimenta Antiqua; or, Observations on Ancient Castles..., vol.1 & 2 only (of 4), half-title in vol.2 only, 4 engraved frontispieces and 64 plates, some aquatints, 4 folding and/or double-page, 3 hand-coloured or partly so, some spotting, contemporary panelled calf, gilt, spines slightly defective, printed by W.Bulmer & Co. for G.Nicol, 1799-1801 § Strutt (Joseph) The Regal and Ecclesiastical Antiquities of England, first edition, 60 engraved plates in sepia, list of "encouragers" at end, light foxing, contemporary mottled calf, for the Author by J. Thane, 1773 § Reynolds (Rev. Thomas) Iter Britanniarum; or that Part of the Itinerary of Antoninus which Relates to Britain, 2 folding engraved maps hand-coloured in outline (offsetting), engraved dedication, contemporary half calf, joints split, Cambridge, by J.Burges, 1799, first editions, all with bookplate of M.H.Bloxam, worn, some covers detached; and 10 others, mostly antiquities of Britain, v.s. (15)
Lorrain (Claude).- Liber veritatis or a collection of prints after the original designs of Claude le Lorrain, 3 vol., 2 mezzotint portraits and one stipple-engraved portrait, 300 etched and mezzotint plates by Richard Earlom, printed in bistre, some foxing, largely restricted to title and plate margins, ink gift inscription to vol.1 & 2, 20th century library morocco-backed cloth, [cf. Abbey, Life 200 (first edition)], folio, Messrs. Boydell and Co [vol.1 & 2], Hurst, Robinson and Co. [vol. 3], 1819.⁂ "A landmark in the history of the reproduction of master drawings" - Abbey.Provenance: Ann Everard, the gift of her uncle D. Everard (inscription).
Aeschylus. Tragoediae VII, edited by Piero Vettori & Henri Estienne, first complete edition, collation: a-f4 g-z8 A-B8 C-I4, title in Greek and Latin, text in Greek, woodcut printer's device to title, initial spaces with guide-letters, final leaf blank, some water-staining, occasional spotting, 18th century red morocco, gilt, spine in compartments, spine darkened and with ends chipped, corners worn, rubbed, small 4to (216 x 148mm.), [Geneva], Henri Estienne, 1557.⁂ First complete edition, with the Agamemnon published here in full for the first time, having been found in a manuscript in Florence by two of Vettori's pupils in around 1552.Provenance: Rev. G. Loggins, a gift from his pupil Francis P. Hulme. The volume was placed in the school library upon the death of Loggins by the order of Headmaster Dr. Wooll (ink inscriptions to front free endpaper). Literature: Adams A265bis; Gruys 6; Renouard, Estienne, 116:5; Schreiber, The Estiennes, 145.
Sweet (Robert) Flora Australasica, first edition, 56 hand-coloured engraved plates by S. Watts after E.D. Smith, occasional foxing, small ink stamp to title, modern calf-backed cloth, [Great Flower Books p.143; Ferguson 1144; Nissen BBI 1924], 8vo, 1827-28.⁂ The third illustrated work devoted to the botany of Australia, and the first with illustrations taken from live specimens rather than dried plants or field sketches. It is written from the perspective of Sweet the horticulturalist rather than that of a botanist and is concerned with the cultivation of exotic plants for British gardens and hot-houses, as he himself grew in his nurseries.
Antiquities.- Winckelmann (Johann Joachim) Storia delle Arti des Disegno presso gli Antichi, translated and edited by Carlo Fea, 3 vol., half-titles, engraved frontispiece, 2 portraits, title-vignettes and 61 plates, a few folding, engraved head- & tail-pieces, a few leaves lightly browned, stain to lower margin of I2 in vol.3, contemporary vellum, a little rubbed and soiled, Rome, Pagliarini, 1783 § Leonardo da Vinci. Trattato della Pittura, 2 vol. including plate vol., engraved portrait and 22 plates, light foxing and soiling, mostly marginal, ink stains to first two plates, contemporary vellum, spines gilt with red roan labels, a little soiled, Rome, 1817; and another, 4to (6)⁂ The first is the enlarged second Italian edition of Winckelmann's Geschichte, first published in 1764.
Thoreau (Henry David), Ralph Waldo Emerson and Nathanial Hawthorne.- Peabody (Eleanor P., editor) Aesthetic Papers, Boston, 1849 bound after Congreve (Richard) India, final f. addressed on verso "Miss F. Nightingale/ Bury House/ Great Malvern" with ink and postage stamps, light surface soiling to title, 1857 and Muller (Max) Buddhism and Buddhist Pilgrims, 1857 and Scott (Rev. Robert) The Athenian Ballot and Secret Suffrage, Oxford, 1838 and The Opening of the Ganges Canal, Cambridge, 1855 and Canals of Irrigation in India, Cambridge, 1853 and Grant (Alexander) Two Essays on the Ethics of Aristotle, half-title, [1856], together 7 works in 1 vol., occasional scattered foxing and some light finger-soiling, 19th century half calf, rebacked, retaining original backstrip, spine darkened, rubbed, 8vo.⁂ A good group of pamphlets many focusing on India and eastern philosopher including the cornerstone transcendentalist anthology Aesthetic Papers which contains the first publication of Thoreau's "Resistance to Civil Government" later famous as "Civil Disobedience", as well as Ralph Waldon Emerson's "War" and Nathanial Hawthorne's "Main-Street". "Civil Disobedience", born out of Throeau's disgust at the institution of slavery and the Mexican-American War, is a landmark discussion of the role of citizens' complicity in the immoral actions of their governments and how best to both resist that role, it has influenced leaders and thinkers from Mahatma Gandhi and Martin Luther King Jr. to Yeats, Proust and Hemingway. Florence Nightingale travelled to Malvern in 1857 and 1858 during which time she stayed at Bury House to take the water cure to treat her illness and exhaustion following her exertions during the Crimean War.
Vega Carpio (Lope de) El Peregrino en su Patria, first Brussels edition, title with woodcut typographic ornament, woodcut head-pieces and historiated initials, errata at end, some water-staining and spotting or light foxing, contemporary limp vellum, crudely rebacked at an early date, rather worn, but holding firm, [Peeters Fontainas 1351; Palau 356343], Brussels, Roger Velpius, 1608; and 3 others, Spanish, v.s. (4)
Africa.- Bruce (James) Travels to Discover the Source of the Nile, in the years 1768, 1769, 1770, 1771, 1772, and 1773, 5 vol., first edition, half-titles, engraved title-vignettes and coat-of-arms at head of dedication, 3 folding engraved maps, 58 engraved plates (most of natural history but including 3 engraved battle plans, each with explanatory leaf of text), many with tissue guards, 4 letterpress leaves of Ethiopian dialects in vol.1, list of plates at end of vol.5, lacking final blank in vol.2, occasional light spotting (mostly to text or tissue guards) but generally very clean, short tear to inner margin of half-title and title of vol.2 (repaired), light stains to signature C and Ss2 in vol.3, contemporary calf with borders in gilt and blind, slightly rubbed with a few minor scratches, rebacked and lower board of vol.1 recovered, [Blackmer 221; Nissen ZBI 671], 4to, Edinburgh, J.Ruthven, for G.G.J. & J.Robinson, 1790.⁂ A good set of Bruce's account of his search for the source of the Nile. Much of the work concerns Egypt and Abyssinia, the latter being where he found the source of the Blue Nile although this was disputed on his return to Britain.
Armour.- Meyrick (Sir Samuel Rush) A Critical Inquiry into Antient Armour..., 3 vol., first edition, half-titles, additional engraved vignette titles, 76 aquatint plates only (of 80, lacking plates 12, 13, 14 & 42), 70 finely hand-coloured, many heightened with gold, tissue guards, fine hand-coloured initials to chapters heightened with gold or silver (silver tarnished), titles foxed, some other light spotting or soiling, mostly marginal, plate 35 becoming loose, B1 to vol.2 with small tears to outer margin, contemporary half calf, rubbed, some wear to boards, folio, 1824 § (Meyrick (Sir Samuel Rush) and Joseph Skelton. Engraved Illustrations of Antient Arms and Armour, from the Collection at Goodrich Court, Herefordshire, 2 vol., engraved frontispieces, additional vignette titles, portrait and 150 plates, tissue guards, some foxing, bookplate of M.H.Bloxam, contemporary half russia, worn, spines defective, most covers detached, 1830, folio (5)
Shakespeare (William) Comedies, Histories, & Tragedies, second edition, 'To the Reader' leaf, title, 7 preliminary leaves, A1 and A3 (pp.1/2 and 5/6 of The Tempest) and final leaf ddd4 (last leaf of Cymbeline) supplied in facsimile from the first folio edition, 2ff. (n3 and n4) from Henry VI part 1 and 2 supplied from a smaller copy, p4 with lower margin trimmed, a few other neatly repaired tears, a couple of small holes, a few leaves in Anthony and Cleopatra with minor worming but no loss of text, some light foxing and age-toning but generally crisp and clean, letters from bookseller A.R. Smith and inscriptions from M.H. Bloxham at beginning, later full dark brown morocco, gilt, g.e., corners and joints slightly rubbed, [STC 22274; Pforzheimer 906], folio, [by Tho. Cotes, for Robert Allot, 1632].⁂ Despite the dozen missing leaves, a handsome and large copy of the second folio, measuring 334 x 216mm.
Russia.- Krasheninnikov (Stepan Petrovich) The History of Kamtschatka, and the Kurilski Islands..., translated by James Grieve, first edition in English, errata leaf, 2 folding engraved maps by Thomas Jefferys, 5 engraved plates, 2 folding, tear to outer margin of Mm3 just extending into text but no loss, some very slight offsetting but a good clean copy, bookplate of M.H.Bloxam, contemporary sprinkled calf, spine gilt with red morocco label, rubbed, lower cover sunned, spines ends and corners worn, spine broken, [Hill 948; Sabin 38301], 4to, Gloucester, R. Raikes for T.Jefferys, London, 1764.⁂ Krasheninnikov joined Bering's second expedition. Chapter IV, on America, is one of the earliest printed narratives in English relating to Alaska and the Aleutian Islands.
![[Camden (William)] Tomus alter, & idem: or The historie of the life and reigne of that famous princesse, Elizabeth, first](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/eb80391e-751a-41a9-ad5e-ac5d011b984c/468x382.jpg)
[Camden (William)] Tomus alter, & idem: or The historie of the life and reigne of that famous princesse, Elizabeth, first edition in English, lacking frontispiece and initial blank f., woodcut portrait to title verso, woodcut initials and headpieces, occasional dampstaining, engraved illustrations trimmed and laid down to front and rear endpapers, contemporary calf, gilt, joints cracked, extremities rubbed and a little worn, [STC 4498], Thomas Harper, 1629 § Strange Newes from Warwicke which hapned 17 Nov., 1642, manifesting how Jeremiah Stone, a Corporal of Dragoons (in the Civil War) being wounded at the Battell at Keynton came to the Anchor at Warwick, 1 of 20 copies, presentation inscription from the editor, contemporary half roan, extremities rubbed, 1826; and 12 others, similar, v.s. (14)⁂ The second mentioned a reprint of a tract with only 1 copy listed on ESTC.
Puritanism.- Short dialogue (A) proving that the ceremonyes, and some other corruptions now in question, are defended, by none other arguments then such as the Papists have heretofore used, first edition, typographic decorations, title and A2-B4 with loss to upper corner, mostly marginal but causing loss to a few letters of title and a few words of text, staining, wormhole to text, early ink inscriptions to title, bookplate, 19th century half calf, [STC 6814], small 4to, [at W. Jones's secret press], 1605.⁂ Rare, we can trace only 2 copies at auction. Provenance: G. V. Mylne, gifted by Robert Mylne (ink inscription to title); M. H. Bloxam (bookplate).
Voyages.- Valentia (George Annesley, Viscount) Voyages and Travels to India, Ceylon, the Red Sea, Abyssinia, and Egypt, in the years 1802, 1803, 1804, 1805, and 1806, 3 vol., first edition, presentation copy with inscription to front free endpaper, half-titles, 3 engraved vignette head-pieces and 69 engraved plates, maps and plans, 12 folding, advertisement leaf at end of vol.3, some plates a little foxed and offset, mostly in vol.1, the rest generally very clean, contemporary tree calf, rubbed, rebacked preserving old red roan labels (slightly chipped), corners and upper edge of rear board repaired, a good copy, [cf.Abbey, Travel 515], 4to, 1809.
NO RESERVE Malvasia (Carlo Cesare) Aelia Laelia Crispis non nata resurgens in expositione legali, half-title, engraved plate, woodcut illustrations in text, occasional spotting and finger-marking, contemporary speckled calf, richly gilt spine in compartments, narrow split at foot of spine, extremities little worn, rubbed, a wide-margined copy, Bologna, Domenico Barbieri, 1683 § Wesselingius (Petrus, editor) Vetera Romanorum itineraria, sive Antonini Augusti Itinerarium, cum integris Jos. Simleri, Hieron. Suritae, et And. Schotti notis. Itinerarium Hierosolymitanum, et Hieroclis Grammatici Synecdemus, half-title, engraved frontispiece, title in red and black and with engraved device, occasional spotting, some light browning, contemporary blind-stamped vellum, spine darkened, little soiled, Amsterdam, J. Wetstein, G. Smith,1735; and a defective 17th century work on the Sibylline Oracles, v.s. (3)⁂ The first mentioned, which is dedicated to the French statesman Jean-Baptiste Colbert, concerns a curious sixteenth century Bolognese tombstone, which purports to have hermetic inscriptions. It has been the subject of much conjecture over the centuries by the likes of Jung, Walter Scott and Gérard de Nerval.
![Vane (Sir Henry).- [Sikes (George)] The Life and Death of Sir Henry Vane, Kt, first edition, final errata f., [Sabin 80993; S](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/c4f99172-4e82-4353-828b-ac5d011b84e5/468x382.jpg)
Vane (Sir Henry).- [Sikes (George)] The Life and Death of Sir Henry Vane, Kt, first edition, final errata f., [Sabin 80993; STC S6323C], 1662 bound with Vane (Henry) Two Treatises: viz. I. An Epistle General; II. Face of the Times, first collected edition, small chip to lower corner of title, [Wing V80], 1662 and The Tryal of Sir Henry Vane, Kt., first edition, rust-hole to G1 affecting 1 or 2 letters of text, P8 lower corner torn away, touching text, [Sabin 98500; Wing T2216], 1662, together 3 works in 1 vol., foxing and browning, contemporary calf, rebacked, covers detached, small 4to.⁂ Three works by or about Henry Vane (1613-62), parliamentarian who helped draw up the Solemn League and Covenant with the Scots and one-time governor of Massachusetts. Following the Restoration he continued to espouse his anti-monarchist views and was executed at Tower Hill. Pepys was present and recorded the execution in his diaries.
Birds.- Rowley (George Dawson, editor) Ornithological Miscellany, 3 vol., first edition, lithographed frontispieces, 3 maps and 133 lithographed and wood-engraved plates after J. G. Keulemans and J. Smit, many hand-coloured, half-titles, occasional light foxing, contemporary green half morocco, gilt, spines scuffed, original upper wrappers, plates lists and titles for parts bound in at rear, [Anker 432; Fine Bird Books p.137; Nissen IVB 798], 4to, Brighton, [1875-]1876-78.⁂ Includes articles by H. E. Dresser, Alfred Newton, O. Salvin, P. L. Sclater, H. Seebohm, R. B. Sharpe and others. There is some discrepancy surrounding the plate count, our copy lacks the plate to face p.75 in vol.2 (which may never have been issued) but appears to be otherwise complete.
Baker (Sir Richard) A Chronicle of the Kings of England, sixth edition, engraved frontispiece portrait of Charles II (laid down), engraved additional title, the odd rust-hole, light foxing and browning, library morocco-backed cloth, [Wing B507], for George Sawbridge and Thomas Williams, 1674 § [Frankland (Thomas)] The Annals of King James and King Charles the First, lacking initial errata f., laid engraved portrait of Jamies I laid down facing title, title trimmed and laid down, a1 corner repaired, 3G4 torn and repaired, the odd rust-hole, light foxing and browning, contemporary calf, rebacked, corners repaired, [Wing F2078], by Tho. Braddyll, for Robert Clavel, at the Peacock in St. Paul's Church-yard, 1681; and 13 others chronicles and histories, folio & 4to (15)
![Beardsley (Aubrey).- Malory (Sir Thomas) [Le Morte Darthur] The Birth, Life and Acts of King Arthur, number 198 of 300 deluxe](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/fc9abfac-66f5-4cbe-9e52-ac5d011c58a1/468x382.jpg)
Beardsley (Aubrey).- Malory (Sir Thomas) [Le Morte Darthur] The Birth, Life and Acts of King Arthur, number 198 of 300 deluxe copies on Dutch handmade paper, from an edition limited to 1800, printed in red and black, 2 photogravure frontispieces, plates, illustrations and decorations by Aubrey Beardsley, without Directions to Binder leaf and note to Subscribers leaf, plates a little browned, offsetting, library cloth, [Lasner 22], 4to, 1893-94.⁂ Beardsley's first major commission and an early masterpiece, produced when he was only 20 years old.
Rune stones.- Denmark & Norway.- Worm (Ole) Danicorum Monumentorum libri sex: e spissis antiquitatum tenebris et in Dania ac Norvegia extantibus ruderibus eruti, first edition, presentation copy from August Buchner to Henrik Motzfeld, engraved allegorical title, large folding woodcut plate of a horn, woodcut illustrations, final f. of first part blank, 2nd part with some printing in red and black, a few small repairs, mostly marginal, but occasionally touching the odd letter, worming to lower corner in final quarter or so, some spotting and staining, lightly browned, later vellum, 4to, Copenhagen, Joachim Moltke, 1643.⁂ The first printed account of rune stones in Denmark and Norway, and one of only a few surviving sources for many runic inscriptions, otherwise now lost. Provenance: Henrik Motzfeld, a gift from August Buchner (1591-1661) German philologist, poet, literary scholar and professor of poetry and rhetoric at the University of Wittemberg. Motzfeld and Worm corresponded (see Olai Wormii et ad eum doctorum virorum epistolae, Copenhagen, 1751) (inscription to front free endpaper, Wittemberg, May, 1643); M.H. Bloxam (bookplate).
Bible, English. The Bible: That is, The Holy Scriptures conteined in the Old and New Testament. Translated according to the Ebrew and Greeke, and conferred with the best Translations in divers Languages, 3 parts in 1 vol general and New Testament titles present, both within decorative woodcut borders, both laid down, lacking initial blank f., ¶3&4 with lower corners restored with some loss to text, D4&8 with woodcut illustrations cut out, small slash to 2S7 with loss to a few letters of text, burn or rust holes to 2X3 and 3B8 with loss to a few letters of text, portion torn away from 2*4 with loss to some text, 3H7 slashed without loss, some chipping and fraying to first few ff. of New Testament, with loss to some text, closely shaved, occasionally affecting printed side-notes, occasional dampstaining or soiling, bookplates, contemporary panellend calf, rebacked and recornered, [Herbert 303; STC 2210], Robert Barker, 1610 [-1611]; and a defective ?1611 Bible and a 1637 Book of Common Prayer lacking 3ff., 4to & folio (3)Provenance: John Dunkin; Henry Dunkin (bookplates).
Trees.- Barnard (George) Barnard's Trees, first edition, presentation copy from the author, additional lithograph pictorial title, printed title with wood-engraved vignette, 30 fine lithograph plates printed by M. & N. Hanhart, no. 16 with tear just running into image, letterpress text description for nos. 16 and 17 torn with some loss, not affecting text, foxing, contemporary black half morocco, gilt, with gilt-lettered morocco label to upper cover, spine with professional tape repair, corners scuffed, folio, Winsor & Newton, 1868.⁂ Rare, we can trace only 2 copies at auction. he trees are depicted in British and continental European settings (eg Zermatt, with the Matterhorn in the background, Fontainebleau, Interlachen, the Genoese coast etc.).
Hooke (Robert) Micrographia: or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses with Observations and Inquiries there-upon, first edition, second issue, with initial imprimatur f., engraved arms to title, woodcut initials and headpieces, 37 engraved plates only (of 38, lacking plate 10), most double-page or folding, the first with chip just within platemark, plate 34 neatly laid down with chip to head, 1 or 2 short tears to margins, occasional light marginal soiling or very light staining, bookplate of M. H. Bloxam, contemporary calf, joints cracked, spine ends chipped, corners a little worn, rubbed, [Wing H2621A; Keynes 7; PMM 147], folio, for James Allestry, 1667.⁂ Hooke's most famous work, the first full record of microscopic observations made with Hooke's compound microscope, some of the plates likely engraved by Sir Christopher Wren.
Britain.- Lysons (Rev. Daniel) & Samuel Lysons. Magna Britannia; being a Concise Topographical Account of the Several Counties of Great Britain, 6 vol. in 8, first edition, 9 folding or double-page engraved maps hand-coloured in outline, c.260 engraved plates, some folding or double-page, a few hand coloured, hand-coloured coats-of-arms in text, some foxing, extra-illustrated with c.200 additional engraved/lithographed views, portraits etc., some folding, some hand-coloured, most bound in, a few loose, with contemporary ink presentation inscription from Rev. William Rawlins "to his much respected Relation and Friend Rev. William Boultbee Sleath" mounted on front free endpaper of vol.1, bookplate of M.H.Bloxam, handsome nineteenth century dark blue calf with borders in gilt and blind, uncut, rubbed, some joints split, some volumes rebacked preserving old gilt spines, 4to, for T. Cadell and W. Davies, 1806-22; sold not subject to return⁂ A handsome set.
Aldus.- Politianus (Angelus) Opera, edited by Alexander Sartius, collation: a-p8 q r10 s t8 A-I8 K4 L-P8 Q R10 S8 T10 V6 X Y10 Z8 & aa10 iterū aa-iterū bb bb-hh8 ii6 κκ10, 452 ff., 38 lines and headline, Roman and some Greek type, a little Hebrew type, initial spaces with guide-letters, K4 blank, some soiling to first and last ff. and gg1&2, occasional spotting or light staining, but generally crisp, 18th century speckled calf with gilt arms of Voisin de Saint Paul to covers, head of spine little worn, corners worn, rubbed, folio (294 x 198mm.), Venice, Aldus Manutius, July, 1498.⁂ The first collected edition of the works of one of the foremost classical scholars and poets of the Florentine Renaissance. Includes the first use of Hebrew type in Venice. Provenance: - Louis Charles Voisin de Saint Paul (arms to binding); J.H. Burn, March, 1931 (book label). Literature: BMC V, 559; Goff P886; GW M34727; H 13218; BSB-Ink P-663; Bod-inc P-422; ISTC ip00886000; Ahmanson-Murphy 26; Renouard, Alde, 17:4.
Monmouth Rebellion.- Impostor Expos'd (The) in a Dissection of a Villanous Libell... Entituled A Letter to a Person of Honour, concerning the Black Box, first edition, with a final advertisement f., woodcut initials, typographic decorations, contemporary calf, covers detached, [Wing I104], 8vo, for James Vade, at the Cock and Sugar-Loaf, near St. Dunstan's-Church in Fleet-Street, 1681.⁂ Rare, we can trace no copy at auction. A response to the pamphlet by Robert Ferguson that first began the rumour of the existence of the so-called Black Box that allegedly contained proof of Charles II's marriage to his mistress Lucy Walter and therefore that James Scott, Duke of Monmouth had a legitimate claim to the throne.
Warwickshire.- Dugdale (Sir William) The Antiquities of Warwickshire, first edition, engraved portrait frontispiece by Wenceslaus Hollar (trimmed and mounted on blank leaf), title printed in red & black, frontispiece and title ruled in red, 5 double-page engraved maps mounted on stubs and 10 engraved plates and plans by Hollar & others, 6 folding, a few trimmed and mounted, numerous engraved illustrations including many full-page, errata leaf at end but lacking final blank, extra-illustrated with many additional plates and ephemera relating to Rugby and Warwickshire, many of churches or ecclesiastical monuments, a few original pencil or watercolour sketches, mainly 19th century, most bound in but a few loosely inserted, some light browning and soiling, title and one or two other leaves trimmed or reinforced at edge, bookplate of M.H.Bloxam, contemporary calf, rubbed, corners a little worn, rebacked with gilt spine and red roan label, [Wing D2479], folio, Thomas Warren, 1656.
![Lactantius (Lucius Coelius Firmianus) Opera, collation: [*12 a-l10 m8 n-q10 r12 s-v10 x8], 215 ff. (of 220, lacking initial a](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/8e22719c-a8ed-414f-94c7-ac5d011c555a/468x382.jpg)
Lactantius (Lucius Coelius Firmianus) Opera, collation: [*12 a-l10 m8 n-q10 r12 s-v10 x8], 215 ff. (of 220, lacking initial and final blank and ff. *12, 167, 213), 38 lines, Roman and some Greek type, 9 gilt opening initials with interlaced white vines on pink, blue and green and gilt and pen bezants, the first of which ornately decorated in margins and with arms at foot, other initials and paragraph-marks in red or blue, early ink marginalia in several hands (some trimmed), lower margins towards end with small wormhole (diminishing in size, with a few repaired), some staining and spotting, handsome 19th century richly gilt and blind-stamped russia, spine faded, rubbed at extremities, g.e., folio (299 x 211mm.), Rome, Conradus Sweynheym and Arnoldus Pannartz, 1468.⁂ The second book to be printed in Rome, and the first Roman edition of Lactantius. It includes Lactantius's poem on the phoenix, together with extracts from Ovid's Metamorphoses and Dante's Commedia on the same subject (Dante's earliest appearance in print). Provenance: Bernardinus Martinengus, 'at present living in Cyprus' (inscription recording gift to:) Stephanus de Perarie, a Dominican professor of theology; another hand notes that the gift was made at Nicosia on 3 'Madii' [?March? or May?], 1482, 'after lunch'; Salomon Crubelerius, minister in holy orders, recording the gift to him of the book by 'the noble Lord of Malmont, doctor of laws' (inscription dated 27 March, 1612); J. H. Burn, March, 1931 (book label). Literature: BMC IV, 4; Goff L-2; GW M16542; HC 9807*; Bod-inc L-003; BSB-Ink L-3; ISTC il00002000.
India.- Rennell (James) Memoir of a Map of Hindoostan; or the Mogul's Empire, second edition, 5 engraved maps, 4 folding, the large map in 2 parts, hand-coloured in outline and with large vignette, mounted on stubs (top part upside down), a little soiled, occasional spotting, 2 leaves of Preface becoming loose, contemporary tree calf, gilt, rather worn, upper board lacking portion at lower edge, rebacked, rubbbed, M.Brown, for the Author, 1785 § Baber (Zehir-Ed-Din Muhammed, Emperor of Hindustan) Memoirs...written by himself, translated by John Leyden and William Erskine, first edition in English, folding engraved map, errata leaf bound after dedication, Sir Gore Ouseley's copy with his ink signature to head of title, a few annotations in oriental script and bookplate, map foxed, light spotting and marginal water-staining at end, contemporary half calf, worn, lacking spine, covers detached, 1826 § Percival (Capt. Robert) An Account of the Island of Ceylon, second edition, 5 engraved plates and 4 folding maps, large map with route supplied in red (torn), advertisement leaf at end, light foxing and offsetting, slight ink blotting to frontispiece not touching image, name erased from front free endpaper, contemporary half calf, rather worn, spine defective at foot, covers detached, C. & R.Baldwin, 1805, 4to (3)⁂ Babur (1483-1530) was the founder and first Emperor of the Mughal Empire in India.Sir Gore Ouseley (1770-1844), orientalist and diplomat who served in India, befriending the Nawab of Lucknow, and in Persia where he helped to negotiate a treaty between Persia and Russia. He translated several works, having taught himself Sanskrit, Arabic and Farsi, and later became the President of the Society for the Publication of Oriental Texts.
Harding (Thomas) An Answere to Maister Juelles Chalenge, first edition, woodcut device on title, woodcut initials, lacking final gathering (contents ff.), title with soiling and ink inscriptions, small hole to title and *2 with loss to a few letters of text, title margins a little frayed, minor worming to inner margin, light staining and soiling, the odd spot, later calf, covers detached, spine chipped, [STC 12758], small 4to, Louvain, John Bogard, 1564.⁂ Rare, we can trace no copy at auction since 1970.
Defoe (Daniel) The Life and Strange Surprising Adventures of Robinson Crusoe, first edition, first issue, with title and and A2 in first state and with Hutchins' variant points ("apyly" on A2 verso, "Pilot" and "Portuguese" on p.343), with 2 final advertisement ff., engraved frontispiece browned, chipped within image and laid down, title browned and laid down with heavy ink inscription to verso with some show-through, A2 verso margins reinforced, B1 with internal tear to head, recto corner restored, touching catchword, verso with margins reinforced, C5 with small chip to head, R4 creased with tear to foot running into text, final advertisement f. with tear to head of gutter, ink markings in a contemporary hand, [Rothschild 775; PMM 180], Printed for W. Taylor, 1719; The Farther Adventures ... Being the Second and Last Part of his Life, first edition, second issue with "Breaking" on A4 recto and long advertisement beginning "Just Published, the 4th edition ..." on verso, engraved folding frontispiece lacking final segment, title with woodcut illustration of ship, woodcut initials, head- and tail-pieces, with 5 final advertisement ff., a few ff. closely shaved at head, affecting some page numbers, Printed for W. Taylor, 1719, ink stamps to titles, foxing and some soiling, uniform early 19th century calf, gilt, morocco labels to spines, vol.1 upper joint cracked, some spotting to covers, light rubbing to extremities, 8vo (2)⁂ The first 2 parts of Defoe's classic tale of shipwreck and survival, a masterpiece and often hailed as the first novel in the English language.
Afghanistan.- Elphinstone (Hon. Mountstuart) An Account of the Kingdom of Caubul, and its Dependencies in Persia, Tartary, and India, first edition, 2 engraved maps hand-coloured in outline, one large and folding, 14 aquatint plates after Grindlay and others, all but one hand-coloured and depicting costumes, some with tissue guards, errata leaf, pencil annotations to one leaf, some spotting and light offsetting, folding map very soiled and torn (laid down on linen), contemporary calf, worn and scuffed, rebacked preserving most of old gilt spine, label chipped, [Abbey, Travel 504; Colas 960; Tooley 209], 4to, 1815.⁂ Important account of the North-West Frontier by the first British envoy to the court of Kabul.
Greece.- Antiquities.- Dodwell (Edward) A Classical and Topographical Tour Through Greece, 2 vol., folding engraved map, 2 errata leaves, 60 engraved plates only (of 66), 2 hand-coloured, 5 double-page, plate of 'Theatre at Megalopolis' misbound in vol.1, wood-engraved illustrations, advertisement leaf at end of vol.1, vol.1 with loosely-inserted 3pp. manuscript note dated 1836 concerning the excavations at Athens and discoveries of inscriptions regarding the Erechtheion, occasional foxing and offsetting, one or two plates frayed at edges, title of vol.1 torn and reinforced at inner margin, [Atabey 356; Blackmer 492], 1819 § Guthrie (Maria) A Tour Performed in the Years 1795-6, through The Taurida, or Crimea, the Antient Kingdom of Bosphorus, the Once-Powerful Republic of Tauric Cherson..., 2 folding engraved maps (one hand-coloured in outline and torn at folds), 3 engraved plates, 8 wood-engraved plates of coins (some misbound) and several illustrations in text, errata leaf at end, some foxing, [Atabey 546], 1802, first editions, uniform later cloth-backed boards, uncut, rubbed; and another, 4to (4)⁂ Dodwell was one of the most energetic of his generation of travellers. A great collector and archaeologist, he opened numerous tombs and kept much of their content. When he died he had 115 bronzes and over 140 vases. Maria Guthrie was headmistress of a school in St.Petersburg while her husband was physician to the naval cadets of the Imperial Corps. Her work describes the Greek and Roman antiquities along the coast of the Black Sea.
L'Estrange (Hamon) The Alliance of Divine Offices exhibiting all the Liturgies of the Church of England, first edition, foxing and occasional browning, occasional but extensive ink notes to endpapers and margins in a contemporary hand, ink ownership inscription of William Paynter to title, later calf, spine chipped at head, rubbed and worn, [Wing L1183], for Henry Broom, 1659 § Heylyn (Peter) Aerius Redivivus: or, The History of the Presbyterians, title in red and black, with final advertisement f., a few corners restored, occasional light foxing, later calf, joints splitting, rubbed, extremities worn, [Wing H1681A], Oxford, for John Crosley, 1670; and 5 others, similar, folio (7)⁂ William Paynter (1637-1716) clergyman and Vice-Chancellor of Oxford University.
![[Butler (Samuel, attributed)] Mercurius Menippeus. The Loyal Satirist, or Hudibras in Prose, first edition, light foxing, boo](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/1a1552a1-381d-4489-afcb-ac5d011b9dc1/468x382.jpg)
[Butler (Samuel, attributed)] Mercurius Menippeus. The Loyal Satirist, or Hudibras in Prose, first edition, light foxing, bookplate and ink inscription, 19th century half calf, spine worn, rubbed, [Wing B6325], small 4to, for Jos. Hindmarsh at the sign of the Black Bull near the Royal Exchange in Cornhill, 1682.⁂ Rare, we can trace only a handful of copies at auction, and no copy since 1984. Also attributed to John Birkenhead, essentially an attack on Parliamentary rule and the likes of Cromwell, the Earl of Pembroke, Henry Marten (the regicide judge) and Sir Samuel Luke in particular. Provenance: M. H. Bloxam (bookplate and inscription).
Heliodorus, Bishop of Tricca. Historiae Aethiopicae libri decem, editio princeps, collation: a-z A-G4 H6, title in Greek and Latin, dedication in Latin, text in Greek, title and verso of otherwise blank final f. with woodcut printer's device, woodcut historiated initials, washed, crushed brown morocco, gilt, by C. Hardy, spine in compartments, small 4to (192 x 143mm.), Basel, Heirs of Johann Hervagius, 1534.⁂ Editio princeps of the earliest Greek romance. The Aethiopicae was first brought to light during the Renaissance in a manuscript from the library of Matthias Corvinus, which was found at the sack of Buda in 1526. The French dramatist Racine listed it amongst his favourite books, and when his copy was taken away from him at the Jansenist retreat of Port-Royal he was rumoured to have said that he did not care as he had already memorised it.Literature: Adams H174; VD 16 H 1673.
Hertfordshire.- Clutterbuck (Robert) The History and Antiquities of the County of Hertford, 3 vol., first edition, engraved frontispiece, folding map (bound in vol.3) and 52 maps, plates and plans, 2 hand-coloured, list of subscribers, frontispiece soiled, occasional spotting, bookplate of M.H.Bloxam, contemporary half calf, red roan labels, a little rubbed, boards scuffed, 1815-27 § Surtees (Robert) The History and Antiquities of the County Palatine of Durham, 4 vol., first edition, 81 engraved plates, some foxing, mostly marginal, vol.3 with staining to some plates, some heavily, contemporary half calf, uncut, rubbed, 1816-40, folio (7)
![Bartholomaeus de Pisa. [Liber Conformitatum vitae beati Francisci.] Opus. Auree & inexplicabilis & continentie, colla](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/cda91a3b-aa17-4d43-80da-ac5d011bb17c/468x382.jpg)
Bartholomaeus de Pisa. [Liber Conformitatum vitae beati Francisci.] Opus. Auree & inexplicabilis & continentie, collation: a12 a-z8 &8 [cum]8 R̸8 A-B8 C6, double column, gothic letter, title in red and black and woodcut vignette depicting St. Francis with a cross following Jesus with a cross within a border incorporating vignettes of 8 saints, full-page woodcut pictorial table of comparisons in red and black, woodcut vignettes, decorative initials and a printer's device to foot of final printed f., lacking final blank, title with a few small worm traces to head (some repaired) and lightly browned and foxed, a few small wormholes to upper margins of first few ff., some water-staining (mostly marginal) towards end, occasional spotting and light staining elsewhere, 19th century mottled calf, gilt, spine ends chipped, corners worn, rubbed, 4to (290 x 199mm.), [Milan], Giovanni Castiglione, 1513.⁂ Handsomely printed work outlining the conformity of the life of St. Francis of Assisi to that of Christ. Some of the comparisons were ridiculed by Erasmus Alberus in his anti-Franciscan work L'Alcoran des Cordeliers. Provenance: M.H. Bloxam (bookplate and signature). Literature: Adams F906; EDIT 16 CNCE 4489; Sander 205.
![Foulis Press.- Homer. Iliados [&] Odysseais [graece], edited by Jacob Moor and George Muirhead, 4 vol. in 2, Greek text w](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/6f1e0dda-462a-4137-94c1-ac5d011b72f3/468x382.jpg)
Foulis Press.- Homer. Iliados [&] Odysseais [graece], edited by Jacob Moor and George Muirhead, 4 vol. in 2, Greek text with Latin dedication, preface and index, half-titles to vol.1 & 3 only, lacking general title and blank ff. as usual, light foxing, first 3ff. of vol. 3 with dampstaining to margins, attractive contemporary red straight-grain morocco with elaborate gilt borders in Greek key pattern, circular armorial gilt stamp of "The Trustees of the Rugby Charity" to covers, vol. 2 upper joint starting, some chipping to spines, extremities rubbed, [Gaskell 319], folio, Glasgow, Robert & Andrew Foulis, 1756-58.⁂ The magnum opus of the press, for which it was awarded the Silver Medal of the Select Society of Edinburgh in both 1756 and 1757. The Foulis brothers had the Greek font cut by Alexander Wilson, and its setting in the Homer shows it to splendid effect.
NO RESERVE Dalloz (Paul) Le Trésor Artistique de la France, First Series Parts 2-4 only, 1 photoype and 5 superb photochrome plates by Léon Vidal, the latter with thick card mounts, tissue guards (frayed at edges), loose as issued in original cloth-backed board folders, rubbed, lacking ties, Paris, [c.1875] § Jackson (Charles James) An Illustrated History of English Plate, 2 vol., colour frontispiece, plates, some photogravure, illustrations, original cloth, 1911 § Hulme (F.Edward) A Series of Sketches from Nature of Plant Form, lithographed pictorial title and 100 chromolithographed plates, tissue guards, plates with pencil annotations identifying species, title foxed, some soiling and staining, original decorated cloth, gilt, g.e., rubbed, recased preserving original backstrip, new endpapers, 1868, v.s. (6)⁂ The first depicts treasures in the Louvre using an early and innovative form of colour photography developed by Vidal which magnificently highlights the gold and silver of the objects.
![[Chandler (Richard)] Marmora Oxoniensia, 3 parts in 1 vol., first edition, engraved portrait frontispiece and 75 plates or f](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/24b2c14b-61bb-4e19-83d2-ac5d011cc841/468x382.jpg)
[Chandler (Richard)] Marmora Oxoniensia, 3 parts in 1 vol., first edition, engraved portrait frontispiece and 75 plates or full-page illustrations only (of 76, lacking no. 48) by J. Mille, engraved vignettes, title and frontispiece creased, some scattered light foxing but a very clean, well-margined copy generally, contemporary calf, sympathetically rebacked, some wear to extremities, [Blackmer 316], folio, Oxford, Clarendon, 1763.⁂ "A sumptuous folio edition that described the lapidiary inscriptions as well as the statues and other antiquities, and superseded previous editions by Humphrey Prideaux and Michael Maittaire." - ODNB.
Education.- Edgeworth (Maria and Richard Lovell) Practical Education, 2 vol. in 1, first edition, 3 engraved plates (2 folding at end), spotting and foxing, the odd marginal tear, without half-titles, with Corrections and Additions to the Index ff. at end, contemporary tree calf, gilt, upper cover lettered in gilt, upper cover detached, lower cover stained, rubbed, light wear to extremities, 1798; and 7 others, education and collected poetry, 4to & 8vo (8)
Photography.- Emerson (Peter Henry) Pictures of East Anglian Life... With General and Descriptive Text and Three Appendices, first edition, early issue with "A Way across the Marshes" as plate XIX, presentation copy, inscribed "Presented by the author" on half-title, 32 photogravure plates, all but 2 with captioned tissue-guards, illustrations, some chipping and soiling to text margins, some creasing, mostly to text but affecting a few plate margins, "To the student" to front pastedown, original pictorial cloth, sympathetically rebacked, rubbing to extremities, t.e.g., large 4to, Sampson Low, 1888.⁂ "My aim has been to produce truthful pictures of East Anglian Peasant and Fisherfolk Life, and of the landscape in which such life is lived." - P. H. Emerson.
Shakespeare (William) Comedies, Histories, and Tragedies. Published according to the true Original Copies. Unto which is added, Seven Plays, never before Printed in Folio, edited by John Heminge and Henry Condell, fourth folio edition, double column, title with woodcut fleur-de-lis device, title and text within double- and single-rule borders, lacking engraved portrait, A1 (dedication), second A3&4 (Tempest pp.5-8), 2T3&4 (Henry VIII pp. 209-212), 3A3&4 (Timon of Athens pp. 5-8) and 4B6-4C2 (The Tragedy of Locrine pp. 298 to end), comprising 11ff. total, title trimmed to margin and laid down, first A2-4 and 4B3-5 spotted, creased, torn with loss and heavily silked, small hole or rust hole to A2, E1, Q5, R6, 2C4, 2E6, 2H5, 2Y6, 3E1, 3G5 sometimes with loss to 2 or 3 letters of text, slash to F3 affecting a few letters of text, 2C6 chip to upper margin, 2U2 and 2X1 with partially repaired tear running into text, *3B1and 3G1 with long tear running into text, 3S4 with paper flaw to lower margin, scattered foxing and occasional light browning, a few minor text or typographic corrections in an early hand, ink ownership inscriptions to title, bookplates, later half calf, rebacked and recornered, rubbed, some wear to extremities, [Greg, III, p.1119-21; Wing S2915; cf. Pforzheimer, 910], folio, for H. Herringman, E. Brewster, and R. Bentley, at the Anchor in the New Exchange, the Crane in St. Pauls Church-Yard, and in Russel-Street Covent-Garden, 1685.⁂ A largely complete example of the fourth folio measuring 347 x 210mm.Provenance: Tho. Babington 1693; Mich. Babington; Wm. Brinkley; J. Brees ex Dono Gal Croftes anno 1745 (ink inscriptions).
Asia.- Polo (Marco) The Travels..., translated by William Marsden, half-title, folding engraved map, errata/advertisement leaf at end, title with contemporary ink signature of Charles Handfield at head and creased, map lightly foxed and offset onto title, some other occasional spotting, publishers' 4pp. list dated April 1818 tipped in at beginning (8vo), original boards, uncut, worn, lacking most of later sheep reback with only strip on upper cover remaining, covers detached, broken and loose, 4to, for the Author, 1818.⁂ The first Marsden edition of Marco Polo's 13th century travels across Asia which were originally published in German in 1477. This edition was preceded in English only by John Frampton's rare translation of 1579.
Dugdale (Sir William) The Baronage of England, 3 vol. in 1, first edition, titles to vol.1 & 2 in red and black, 5 folding genealogical tables, vol.2 with errata in one paragraph on verso of title, 3R2r in vol.3 with "Earl of" at end of first line second column, title lightly foxed with short tear repaired on verso, a little browned, small rust hole to 3G1 in vol.3 with loss of a couple of letters, a few marginal tears and defects (some repaired), later russia, gilt, g.e., rubbed, corners a little worn, rebacked with gilt spine, new endpapers, [Wing D2480], by Tho. Newcomb, for Abel Roper [&c.], 1675-76 § Dallaway (James) Inquiries into the Origin and Progress of the Science of Heraldry in England, first edition, engraved title, coat-of-arms on dedication, head - & tail-pieces and 27 plates, 8 hand-coloured, folding genealogical table, title foxed, light soiling, bookplate of John Fremlyn Streatfeild, contemporary tree calf, worn, covers detached with some leaves loose, Gloucester, 1793, folio & 4to (2)
NO RESERVE Rome.- Villa Borghese.- Brigentius (Andrea) Villa Burghesia vulgo Pinciana, first edition, half-title, woodcut device on title, 26 engraved plates of the villa and its contents, some folding, woodcut initials and ornaments, occasional spotting, a few small stains, contemporary vellum, chipped morocco label to spine, 8vo, Rome, Francisco Gonzaga, 1716.
Humphrey (Laurence) Ioannis Iuelli Angli, Episcopi Sarisburiensis Vita et Mors, first edition, title within typographic border, woodcut initials, typographic ornaments, title rather soiled and margins frayed, first and last few ff. with chipping and fraying to margins, G2&3 margins chipped and torn, light marginal dampstaining, early 19th century blindstamped calf with Constable family crest in gilt to covers, joints cracked, rubbing and chipping to extremities, [STC 13963], small 4to, J. Day, 1573.⁂ First edition of Humphey's biography of John Jewel (1552-1571), Bishop of Salisbury and Anglican reformer. Provenance: Edmund Philips; M. H. Bloxam (bookplates).Provenance: M. H. Bloxam (bookplate)
![[Savile (Sir Henry)] Rerum Anglicarum scriptores post Bedam praecipuiex vetustissimis codiciibus manuscriptis nunc primum in](https://cdn.globalauctionplatform.com/9b1d4b63-7075-4a87-90a4-ac5d00aa8621/80491101-2483-42a5-aad3-ac5d011c632f/468x382.jpg)
[Savile (Sir Henry)] Rerum Anglicarum scriptores post Bedam praecipuiex vetustissimis codiciibus manuscriptis nunc primum in lucem edit, first edition, general title with woodcut printer's device, 4 divisional titles within attractive woodcut architectural borders, large woodcut historiated and decorative initials and head- and tail-pieces, general title with portion cut away from foot, not affecting imprint, occasional browning, a few ff. closely shaved at head, 2 loose manuscript insertions by Matthew Bloxam, ink inscriptions to endpapers, later reverse calf, upper joint cracked, spine ends chipped, rubbing, [STC 21783], folio, G. Bishop, R. Nuberie, and R. Barker, 1596.⁂ This collection of chronicles and histories includes the text of Æthelweard's Chronicle; the only manuscript of which was almost entirely destroyed in the Cotton Library fire of 1731.Provenance: M. H. Bloxam (ink inscriptions and bookplate).
NO RESERVE Polybius. Historiarum libri qui supersunt, edited by Isaac Casaubon, 2 parts in 1, first part parallel text in Greek and Latin, first title in red and black, both titles with woodcut printer's device, woodcut head- and tail-pieces and decorative initials, water-stained, later panelled blind-stamped and gilt, rebacked, Paris, Drouard, 1609; and a small quantity of others, Greek classics, folio et infra (Sm.Qty.)
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