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Click here to subscribeKelmscott Chaucer. The Works of Geoffrey Chaucer, now newly Imprinted, 2 volumes, facsimile edition, Basilisk Press, 1974-75, printed in red and black, tipped-in illustrations to companion volume, original red patterned cloth by Liberty from a William Morris design, original slipcase, folio Limited edition, 454/515. (2)
ARTHUR RACKHAM. J.M. Barrie's Peter Pan portfolio, illustrated by Arthur Rackham. The twelve full sized plates mounted on original card but with each title taken from the original sheet & added. Framed & glazed. The original elephant folio remains with the signed edition sheet, numbered 436 of 500 & including Hodder & Stoughton's title page. PLEASE NOTE: Our in-house, postal shipping service is NOT available for this lot, or as part of any multiple lot purchases due to size, weight or fragility. Alternative, recommended carrier services are available.
Amici (Domenico) Raccolta delle principali vedute di Roma, 42 engraved plates (including title), [Rome, c. 1840]; Raccolta di trenta vedute degli obelischi, scelte fontane e chiostri di Roma, 27 engraved plates and title vignette, Rome, 1839, 2 works in one vol, oblong folio, leather gilt, cloth chemise. See illustration
Swan Hunter Shipbuilders Ltd., 'Ships Particular Book', folio, half calf, ledger book containing details of 57 ships, 1973-87; 'Builder's Certificate Book', folio, half reversed calf, ledger book containing 51 completed certificates, 1961-74, labels of the Tyne & Wear County Archives pasted in both volumes. (2)
The World of Fashion, several issues in one vol, cloth, engraved plates (some coloured), 1834-39; The Saturday Magazine, Volume the First, folio, half calf, illustrations, 1833; The Universal Magazine of Knowledge and Pleasure, Vol. LXIX, 8vo, half calf, engraved plates & maps, [1781], and 2 others similar. (5)
*School of Paris, Heraclius, Byzantine Emperor (610-641), The Return of the True Cross to Jerusalem, silver repoussé impression after the famous gold medal once in the possession of Jean, Duc de Berry (1340-1416), Heraclius in a covered triumphal car drawn by three horses, holding the True Cross; at the far side of the horses is a diminutive figure holding a whip and turning back towards the emperor; four lamps hang from a rail above them; Latin and Greek inscriptions above and below and in five lines across field, 102mm and 97mm excluding the outer rim (Jones, BMC, 5-7, especially 6 (e) for the silver double-sided repoussé piece in Paris illustrated by Babelon, La Médaille et Les Médailleurs, 1927, pl. III; Arm. II, 8, 6; Kress 525 = Pollard II, 598; Scher in Currency of Fame, pp. 32-37; Syson & Gordon, Pisanello, 20, 3.29), an extremely fine image, small French import mark of “cygne” near top edge and small section of outer order missing at 12 o’clock, extremely rare as a silver repoussé version, thought to be the earliest type of copy made after the no-longer-existing original in the Duc de Berry’s collection [Clifford lot 422, see also inside front cover illustration including frame]. The following note borrows in part from the footnote written in the 1996 Clifford sale catalogue. Of the two large gold medals of Constantine and Heraclius recorded in the inventory of the collections of Jean Duc de Berry, the Constantine medal was purchased from a Florentine merchant Antonio Mancini on 2 November 1402 and it has generally been assumed that the Heraclius medal came from the same source. It is from these two pieces or indeed copies of them that were commissioned by the Duke himself that all later versions seem to be derived. The earliest known versions consist of silver repoussé plates joined at their rims (for which see Jones, BMC, 1 and 6 – and the present piece). The solid casts mainly in bronze are thought to be later. The original of the Heraclius medal was in gold and was evidently in the French Royal cabinet, stolen and melted down in 1831 (see Jones, BMC, I, p. 26, note 15). The original medals probably date from 1400-1402 when Manuel II Palaeologus visited Paris since the legends on both medals show a knowledge of the Byzantine chancery formulae in use at the time. Also the features of the emperors on both medals do not conform to the traditional iconography of either Constantine or Heraclius, but rather show a marked similarity to Manuel II himself (for portraits of Manuel II see Bibliothèque Nationale, Paris, MS Suppl. Gr. 309; Herrin, J, Byzantium,The Surprising Life of a Medieval Empire, London, 2008, fig. 40). The medals were almost certainly produced in Paris, possibly with the Duke in mind as a purchaser. It may not be a coincidence that in March 1402 the Duke purchased two other “antique” medals of Augustus and Tiberius, from another Florentine merchant established in Paris, Michele de’ Pazzi. It has been suggested that they may be the work of the Parisian artist Michelet Saulmon, who is mentioned as the maker of a gold jewel in the Duke’s final inventory of 1416. Pieces from the Duke’s collections were available to other artists, and the imagery of both medals clearly influenced the work of the Limbourg brothers. Both obverse images appear in the Trés Riches Heures of c. 1411-16 and the triumphal chariot of the present medal is represented as the chariot of the sun at the top of each of the illuminations showing the twelve months of the year. In the Belles Heures the illumination showing the triumphal return of Heraclius after recovering the True Cross from the Persians is in fact a faithful copy of the imagery on the present piece (see Tim B. Husband and Margaret Lawson, The Art of Illumination: The Limbourg Brothers and the Belles Heures of Jean, Duc de Berry, New York, 2009, folio 156r). And, as Syson and Gordon (op. cit) among others have noted, there can be little doubt that Pisanello himself knew of and was influenced by these medals of Constantine and Heraclius. For the most recent comment on the iconography of the Return of the New Cross see Dr. Robin O’Bryan’s article, “Pisanello, chivalric dwarfs and the princely condottiere medal” in The Medal 66, 2015, pp. 13-25. She identifies the diminutive figure leading the horses as a chivalric dwarf of a type found later on medals by Pisanello and others. However, her view that the scene is likely to represent the emperor’s triumphal entry into Constantinople rather than Jerusalem as recorded in the 12th century trouvère Gautier d’Arras’s Eracle seems untenable given that the Belles Heures itself identifies the scene as Heraclius bringing the True Cross to Jerusalem. Stephen Scher in Currency of Fame has written that Heraclius with the True Cross is about to enter Jerusalem according to the account of the 13th century Jacobus de Voragine’s Golden Legend when an angel appears and rebukes him for riding in comfort where before him Christ had entered Jerusalem on a lowly ass. See also Scher’s entry no 323 in Byzantium – Faith and Power (1261-1557), Metropolitan Museum of Art, New York, exhibition catalogue, 2004 - “The story of these medals is extremely complex, however, and much that concerns their history, authorship and iconography remains obscure”. The present piece was bought by Timothy Clifford in Paris in the early 1970s. Aside from the complete silver repoussé example in Paris it appears to be the only other extant repoussé version (albeit one-sided), the others being solid casts. Of the companion Constantine medal, only two repoussé versions are recorded by Jones (BMC), one in the Bibliothèque Nationale, Paris and the other in the British Museum.
1916 SINN FÉIN REBELLION HANDBOOK, published by the Weekly Irish Times, 1917 issue, inscribed Sgt W. Butler, 2nd Royal Irish Fusilers, Portobello Barracks in poor condition; together with a miscellaneous collection of publications including: - Draft Constitution of the Irish Free State, To be submitted to the Provisional Parliament, published by Eason & Son, 1922; - Saorstat Eireann. Number 1 of 1922. An Act to enact a Constitution for the Irish Free State .. and for implementing the Treaty between Great Britain and Ireland signed at London on the 6th day of December 1921. Folio, scarce; - and Constitution of the Free State of Ireland (English Translation); etc. (8)
A group of six hardback books to include; English Chimney-Pieces by Guy Cadogan Rotary, 1927, report on the preliminary draft proposals for post-war reconstruction in the City of London 1944, the Phil May Folio of caricature drawings and sketches in line block, half-tone and photogravure, title page and front board A/F, A Widow and her Friends by C. D. Gibson, London as seen by Charles Dana Gibson, Drawings by C. D. Gibson.
OGAWA Kazumasa, A Model Japanese Villa, Tokyo 1899, folio wraps with 19 collotype photographic plates; Matsushima, folio wraps 6 collotype views (2) Condition Report / Extra Information Covers with some signs of wear. Generally very good but not mint. No inscriptions. Tissue guards on plates.
Japanese photo album, circa 1900, oblong folio, lacquered boards with 50 hand-tinted collotype photos, image size approx 27 x 20cm, 32 views including Tokyo, Yokohama and rural scenes, and 18 of people in everyday activities, in the style of OGAWA, probably by him or his contemporaries (1) Condition Report / Extra Information Lacks spine covering. Lacquer boards chipped around edges and cracked to front edge approx. 7” from spine. Photo mounting boards a bit browned and thumbed. A small rubber stamp in front cover states 'KIMBEI Photographer YOKOHAMA'. No other publisher or title details apparent.
Folio album containing 14 Victorian illuminated sheets in medieval style, with calligraphy, illustrated borders and capitals in watercolour and gilt (some appear completely original, others on pre-printed outlines), with a watercolour, print and two photos (1) Condition Report / Extra Information The watercolour, print and plates are in the album. Album dimensions are approx. 33x38cm. Album is cloth on boards, worn at extremities. Much of the contents is loosely inserted, with several blank leaves at the end.
Hajek L - Utamaro, Portraits in the Japanese woodcuts, another Japanese woodcuts early periods, Tschichold J - Early Chinese Colour Prints and a folio of sketches by Low, The New Statesman, Andrews F B - The Benedictine Abbey of SS.Mary, Peter and Paul at Pershore Worcestershire and Hipkins A J - Musical Instruments (6)
A LATE GEORGE III SATINWOOD FOLIO STAND in the manner of Shearer, the rectangular top with a leather-lined writing surface, above a shallow drawer and two open shelves, the sides with panels of silk and brass lattice, on short turned legs with brass castors, 30" high x 33" wide. See illustration The form is reminiscent of the published designs of Gillows
‡ Michael Ayrton (1921-1975) Illustrations for the Femmes/Hombres by Paul Verlaine Fifteen, all artist~s proofs, numbered VI/XV All etchings, 1971, unframed, in a later folio Each 29.5 x 39cm (15) Paul Verlaine (1844-1896) composed the erotic verses Femmes/Hombres in 1890/91 based on his experiences, especially his affair in 1870/71 with the young Arthur Rimbaud. The verses were not well received at the time of publication in 1903, after Verlaine~s death. ++All good condition
Teesdale (Henry, publisher). New British Atlas, containing a complete set of county maps on which are delineated all the principal cross roads, cities, towns & most considerable villages..., the whole carefully revised & corrected to the year 1831, circa 1831, three folding & forty-five double-page hand coloured engraved maps (complete), contemporary half sheep, boards detached, folio
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