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Click here to subscribeBIBLE, In English. – The Holy Bible… illustrated with Annotations… with practical observations… by… Ostervald. Newcastle-upon-Tyne: printed by M. Brown, 1793. 2 vols., folio (430 x 255mm.) 75 engraved plates by Beilby and Bewick. (Some spotting and soiling, occasional tears). Contemporary calf (worn).
CHILDREN’S BOOKS. – L.L. WEEDON. The Land of Long Ago. A Visit to Fairyland with Humpty Dumpty. London & New York: [n.d.] Oblong folio (261 x 316mm.) Illustrations and 6 chromolithographed ‘pop-ups’. (Some browning, 4 ‘pop-ups’ defective.) Original cloth-backed pictorial boards (somewhat soiled). – And twelve other children’s books (13).
STRANG, William, Frank SHORT, James Abbot McNeil WHISTLER, Percy THOMAS, and others (artists). – [W. Holmes MAY] (editor). English Etchings. London: [various publishers. July 1881-]1891. 8 vols., folio (384 x 267mm.) Title with oval portrait vignette printed in bistre, 244 etched plates, including 1 by Whistler, 14 by Strang, 2 by Short and 18 by Thomas, some printed in bistre. (Occasional light spotting.) Half-calf (extremities rubbed, some damage to vols. I, VII and VIII).
ROBLEY, Augusta J. A selection of Madeira Flowers, drawn and coloured from Nature. London: Reeve Brothers, 1845. Folio (465 x 320mm.) 8 hand-coloured lithographic plates by and after Robley, printed by Reeve Brothers. (Occasional light soiling, marginal tears to 1 text leaf, title spotted.) Original green cloth, the upper cover blocked in gilt and blind, the lower cover in blind only, cream glazed endpapers, g.e. (disbound, spine faded and torn with slight loss, covers with old damp-staining).
NATURE & TOPOGRAPHY. – P. Francis HUNT and Mary GRIERSON. The Country Life Book of Orchids. London: 1978. Folio (360 x 290mm.) Numerous illustrations, many colour and full-page. Original cloth, contained within original slipcase. – And eighteen others, of topographical interest or on nature (19).
BIBLE, In English. – The Holy Bible… with Most Profitable Annotations upon all the Hard Places, and other things of great importance. [N.p. but Amsterdam:] 1672. Folio (374 x 222mm.) Engraved decorative title. (Decorative title torn with loss and repaired, lacking maps and some other leaves.) Contemporary morocco over bevelled wooden boards (worn, upper cover detached, clasps lacking). – And a 19th Century bible (2).
ARCHITECTURE & ENGINEERING. – Arthur BYNE & Mildred STAPLEY. Majorcan Houses and Gardens. New York: 1928. Folio (404 x 317mm.) Title printed in red and black, map and numerous illustrations. (Some light browning.) Original cloth (worn, stitching broken and now largely disbound). – And thirteen others on architecture and engineering (14).
GAGE John, The History and Antiquities of Suffolk, Thingoe HundredÉ, LondonÉ published by John Deck, Bury St Edmunds 1838, folio, large paper copy, 1/2 contemporary red morrocco, raised bands, Errata slip at back, signed and inscribed by Frederick Dulup Singh to Walker Guiness (Lord Moyne), 1903, all plates and maps present (1)
Mikhail Fedorovich Larionov, 1881-1964 A Folio of 15 pochoir prints from Voyage en Turquie all signed in Latin, stamped with artist's stamp and numbered 31/50 on the mount sheet size: largest: 32.5 by 25cm., 12.75 by 9.75in.; smallest: 20.5 by 27cm., 8 by 10.5in. (15) The folio of 32 pochoirs titled Voyage en Turquie was printed in Paris in the late 1920s and first exhibited in 1929 at Literary Book Company Gallery in London. A few of the works are based on neo-primitive precedents, others date from Larionov's work on Karagueuz. Some of the best works feature bathers in beach dress and derive from drawings that Larionov made during his holidays in the South of France in the 1920s.
SORINE, Savely Alexandrovich, Portraits Avant-Propos by Andre Salmon. Berlin: Editions Ganymed, 1929. Folio, 20pp, 36 colour and black and white society portraits including Anna Pavlova and Queen Consort, Elizabeth Bowes-Lyon, mock leather-bound with gilt lettering; some light staining and handling marks throughout No. 93 of 300 numbered copies, this copy signed by the author and dedicated by him to Countess Haugwitz-Reventlow and dated Christmas 1940. sheet size: 551 by 425mm., 21.75 by 16.75in. The Polish born painter Savely Sorine (1878-1953) studied at the Academy of Fine Arts in St Petersburg under Ilya Repin. His pictures were exhibited at the Salon dÕAutomne in Paris, and throughout the USA and Moscow during the twenties. In addition to portrait painting, he illustrated the works of some of Russia's best-known writers, such as Maxim Gorki.
Clifford Wyndham mid 20th century- Abstract study; black and coloured chalk on grey coloured paper, 18.5x24cm: Alix Boyd, late 20th century- Two teddy bears; gouache, signed, 46x35cm: together with one other gouache painting of teddy bears by the same hand, signed and a further mixed folio of pictures and prints, (a lot) (may be subject to Droit de Suite)
NOTE:THIS FOLIO IS INCOMPLETEAfter Georges Braque 1882-1963- "Resurrection de l'Oiseau", by Frank Elgar, Maeght Editeur, published Paris 1959, numbered 95/225 (sur velin de rives) and signed by the artist and author in pencil on the title sheet, contains twelve loose folded sheets with four lithographs with text on B F K Rives paper, contained within a sleeve, as issued, 38x28cm., sheet size,
Journals and Orders for H.G. Morris, HMS Camilla 1784 - 1787, comprising three leather bound journals "Camilla No.1" "Camilla No.2" and "Camilla No.3" covering date, position and remarks, together with a velum bound note book "Remarks of Ports, Roads, Harbours" detailing nautical directions for entry into ports, availability and type of provisions etc bound folio of "Orders" for "Captain H.G. Morris 1804-1808, a log for HMS GLASGOW 1826-1828 and one further book of orders for 1804. (7)
FRAGMENT OF A SIXTEENTH-CENTURY ITALIAN TRANSLATION OF VITRUVIUS.The lot comprises eight sheets of paper of varying sizes containing fragments of an illustrated Italian translation of Vitruvius' Ten Books on Architecture. Both the drawings and the writings are in the same brown ink, and appear to be by a single hand, mid sixteenth-century in character. Part of a watermark on Fragment 2 appears to be an anchor in a circle with a six-pointed star, a very common type in Italy throughout the sixteenth century. There is no other watermark evidence. Shreds of paper and glue stains towards the corners and edges of several fragments (such as 1r and 8v) indicate that after cutting down they were laid down in an album. Frag. 1 appears to retain the full width of the original page (c. 275 mm), while the height can be estimated from frag. 6 and frag. 7 to be about 400 mm (see below).Vitruvius' Ten Books, written c. 30-20 B.C. is the only substantive classical text on architecture, and became of critical importance in the Italian Renaissance when architects strove to revive architecture all'antica. This was not an easy task since Vitruvius looked to Greece for many of his exemplars and used many Greek architectural terms, which were not always applicable when understanding Roman ruins, as became apparent with the publication of the first illustrated edition by Fra Giovanni Giocondo of Verona in 1511. Giocondo's humanist scholarship is impeccable and his interpretation of Vitruvius' temple types follows the text to the letter, and yet the result for the in antis temple is nothing like the reality we know from the physical evidence. Already by 1520, the manuscript translation, prepared by the humanist Fabio Calvo for Raphael, included a plan correctly interpreting the in antis temple, and others appear in the drawings by Giovanni Battista da Sangallo added to a 1486 first edition of Vitruvius around 1530. Had the great project outlined in the famous letter of 1542 by Agostino de'Landi for a Vitruvian Academy to prepare a multi-volume critical edition, translation and commentary of the Ten Books been realised, Giocondo's errors may have been exposed sooner. However, the fact that his interpretations were followed in the great Italian translation and commentary of Daniele Barbaro of 1556, with illustrations by Andrea Palladio, ensured that they became virtually canonical until the eighteenth century.The present fragments all belong to the first three books of Vitruvius, and the drawings of the in antis temple are similar to those in Giocondo and Barbaro, although it is not clear if our fragments pre- or post-date the latter. That the artist was translating from the Giocondo edition or one of its successors is confirmed by the tree labeled 'suera' on frag. 5r, since it is the cork oak or quercus suber, which does not occur in printed editions earlier than 1511.Of particular interest are the views of Alexandria and Athens on frags 2v and 4v, both clearly modelled on ancient Rome, with buildings like the Colosseum and the Pantheon figuring in each. What at first sight appears to be the Castel S. Angelo on frag. 2v is probably intended to represent the Pharos at the harbour of Alexandria. The many apparent obelisks in the surrounding countryside are really pyramids. The artist certainly seems to have had direct knowledge of Rome, judging from the views of the in antis and prostyle temples in frags 6r and 7r. Vitruvius gives as his exemplar of a prostyle temple one dedicated to Jupiter and Faunus on the Tiber Island. Our artist labels the in antis 'Fauno' and the prostyle 'Giove' and among the buildings in the background are recognizable the two bridges to the island, the Ponte Cestio and the Ponte Fabricio.Of the seven temple types described in Vitruvius Bk. 2, chap. 3, four are represented here. Because the text for the prostyle temple appears on frag. 6r and the drawings on frag. 7r, while the drawings and text of the peripteral temple extend across frags 6v and 7v, we can be confident that the fragments originally formed part of the same folio. Equally, the absence of drawings of the amphiprostyle and pseudodipteral temples (for which the texts are at the bottom of frags 7r and 7v respectively) allows us to infer that the lower part of the folio is missing, while the last temple type, the hypaethral, would probably have been below the present frag. 8r.One feature of the style of architectural representation to which attention should be drawn is the use of perspective in the plans on frag. 6r and frag. 8v. Baldassare Peruzzi (who is said to have begun a commentary on Vitruvius himself) had experimented with perspectival plans in his project drawings for New St Peter's and his pupil, Sebastiano Serlio, gives instructions for constructing them in his Second Book: On Perspective, published in 1545. Another associate of Peruzzi, Antonio Labacco, makes use of them in his Libro appartenente all'architettura of 1552, before orthogonal plans became normative. It is possible, therefore that the artist may belong to the circle of Peruzzi, although there is nothing to prove a direct connection.We are grateful to Ian Campbell, Professor of Architectural History and Theory, Edinburgh College of Art for the research and catalogue entry of the above lot.
A 19TH CENTURY LEDGER recording the alcoholic beverages supplied to various Military & Naval establishments from 1864 to 1869, tipped in hand written sheet of outstanding accounts to free end paper, bookplate for Sanderson and Company, Account Book & Envelope Manufacturers, .... London, reverse calf and calf, folio
Atkyns, Sir Robert. The Ancient and Present State of Glostershire, London 1712. Worn calf, portrait frontis, one double page map, one double page plan, sixty two double page plates and eight pages of coats of arms. Some pages strengthened at edges, a few pages at the end with light fire damage to top margins, folio.
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![STRANG, William, Frank SHORT, James Abbot McNeil WHISTLER, Percy THOMAS, and others (artists). – [W. Holmes MAY] (editor). E](http://lot-images.atgmedia.com/SR/10123/2715215/3267-36-10123_468x382.jpg)
