§ Roy De Maistre C.B.E. (Australian / British 1894-1968) View onto the Garden at Compiègne, 1947 inscribed (to reverse), oil on boardDimensions:39.5cm x 29.2cm (15 1/2in x 11 1/2in)Provenance:ProvenanceCelia Broadbent (neé Keogh) and by direct descent to the present owner.Celia Broadbent was de Maistre’s cousin once removed, and his executor and friend; her mother, Camilla Keogh, was the subject of ‘La Folie', considered one of de Maistre’s major works.Note:Exhibited Carnegie Institute, Pittsburgh, Pittsburgh International, 1950. Roy de Maistre is celebrated as an Australian pioneer of abstraction. After graduating from Sydney’s Royal Art Society, de Maistre worked as a colour therapist to aid World War One soldiers suffering from shellshock. A 1923 scholarship enabled him to travel to London, Paris and St Jean de Luz, where he encountered European modernism; Cubism, in particular, had a profound impact on his style. In 1930 de Maistre settled in London, where he befriended Francis Bacon, encouraged him to take up oil painting and is credited for expanding Bacon’s technical and art-historical knowledge. The two artists took neighbouring studios on the King’s Road, Chelsea, and their output in the early 1930s demonstrates mutual influence. De Maistre predominantly painted portraits and interior scenes. He also maintained an interest in religious subjects which intensified following World War Two; his 1954 ‘Stations of the Cross’ remain on display at Westminster Cathedral. A retrospective of De Maistre’s work was held at the Whitechapel Gallery in 1960, and his work is represented in important collections including Tate Britain, the National Gallery of Australia, and the Arts Council of Great Britain. The present collection comes from de Maistre’s cousin-once-removed Celia Broadbent, who was his executor and friend. Celia’s mother was Camilla Keogh, subject of ‘La Folie’ (1946-47), considered one of de Maistre’s major works.
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Military.- Spain.- Jones (Sir John) Journals of Sieges carried on by the Army under the Duke of Wellington, in Spain, 3 vol., third edition, half-title, additional engraved title, folding maps, publisher's catalogue at rear, ink ownership inscription and bookplates, original cloth, spines toned, corners bumped and scuffed, John Weale, 1846 § Bacon (John Francis) Six Years in Biscay, half-title, folding map, 4 double page plates, edges foxed, some spotting, original cloth, rubbed, Smith Elder & Co., 1838 § Walton (W.) The Revolutions of Spain, 2 vol., portrait frontispieces, bookplates, some spotting, original cloth-backed boards with paper labels to spines, spines sunned with a few small tears to joints, Richard Bentley, 1837; and 33 others similar, 8vo (39)
NO RESERVE Art reference.- Leiris (Michel) Francis Bacon: Full Face and in Profile, half-title, plates, spotting to first few blanks, original cloth, slight bumping to corners and extremities, dust-jacket, a little rubbed, Barcelona, 1987 § Furst (Herbert, editor) The Woodcut: an annual, illustrations, many full-page, original buckram, lightly faded spine, slight bumping to corners and extremities, 1929 Escholier (Raymond) Matisse from the Life, first English edition, plates and illustrations, original cloth, slight bumping to spine extremities, price-clipped dust-jacket, slight creasing to edges, 1960; and others, art and art reference, v.s. (c.75)
NO RESERVE Castellani (Valentina) & others, editors. Francis Bacon: Triptychs, loose as issued in original orange cloth drop-back box, Gagosian Gallery, 2006 § Lynton (Norbert) Ben Nicholson, 1993 § Stephens (C.) & Andrew Wilson. David Hockney, 2017 § Chapman (Jake & Dinos) Like a Dog Returns to its Vomit, 2005, plates and illustrations, many colour, all but the first original cloth or boards, the second with dust-jacket; and c.25 others on modern and contemporary British art, v.s. (c.30)
Bacon (Sir Francis) Baconiana. Or Certaine and Genuine Remains of Sr. Francis Bacon, first edition, engraved portrait frontispiece, with imprimatur to A4r, later ink inscription to front free endpaper, trimmed close at head, a few times touching headline or pagination, small stain to verso of title and b1, occasional light spotting but generally a crisp copy, later mottled calf, gilt armorial device and monogram to covers, rebacked, rubbed, some wear to spine, [Wing B269; Pforzheimer 25], Printed by J.D. for Richard Chiswell, 1679; with another on the same, 8vo (2)⁂ This issue consistent with Pforzheimer 25, with the Contents (A gathering) bound after the blank leaf S8, and without sectional title at B1. ESTC records an alternative collation, with B1 present.
Portraits.- Collection of over 50 portraits of philosophers, scientists, mathematicians, and other scholars, including several variant portraits of Isaac Newton, René Descartes, Francis Bacon, Pierre Gassendi, Sir William Herschel, Daniel Sennert, and many others, etchings, engravings, mezzotints, various sizes, between 150 x 120 mm (5 7/8 x 4 3/4 in) and 400 x 300 mm (15 3/4 x 11 3/4 in), all unframed, mainly 18th and 19th century (c.50)
France & the Channel Islands.- Heylyn (Peter) A Full relation of two journeys: the one into the main-land of France. The other into some of the adjacent ilands, 2 parts in 1, first edition, woodcut head-pieces and decorative initials, some staining / soiling to title, occasional spotting or light staining, lightly browned, new basic endpapers, contemporary sheep, rebacked in modern black morocco with a leather label (rather incongruous, but solid), corners worn, covers rubbed and scuffed, [Wing H1712], small 4to, Printed by E. Cotes for Henry Seile, and are to be sold at the Black-boy over against St. Dunstans Church in Fleetstreet, 1656.⁂ The rare first edition of Heylyn's account of his travels in France and the Channel Islands. Includes references to Cervantes, Sir Philip Sidney, Francis Bacon and Edmund Spenser.
Bruce Bernard (British, 1928-2000) Francis Bacon In The Studio Doorway, 1983gelatin silver print, inscribed by the photographer on verso, 'For Noel and June in memory of a wonderfully cooked dinner Bruce 14/6/1987', unnumbered, mounted, framed and glazed 34 x 25cm (13 x 10in)Footnotes:ProvenanceGifted to the vendor by the photographerThis 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
ROSALIE DE MERIC (1916-1999) "Abstract forms". 1993. Mixed media. Signed and dated "93". De Meric studied under Mart Gertler and Bernard Meninsky and was close friends with Francis Bacon. Married to the poet Thomas Blackburn she featured in her daughter Julia Blackburn's autobiography "The Three of Us". Provenance: T W Gaze studio sale 2010. Image size 34cm x 52cm
NO RESERVE History and Politics.- Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 12 vol., new edition, portrait frontispiece to vol. one, folding maps, ink ownership inscription "F. Trinch" to each title, a few short tears to maps without loss, some browning and staining, contemporary mottled calf, rubbed at extremities, 1788-1790 § Pepys (Samuel) The Diary of Samuel Pepys, 8 vol. only (of 10, lacking vol. 2 and 8), edited by Henry B. Wheatley, frontispiece to each volume, plates, some spotting, edges foxed, original cloth, spines gilt, lightly stained, t.e.g., 1893-1899 § Bacon (Francis) The Life and Letters of Francis Bacon, 7 vol., edited by James Spedding, pages toned, some light scattered spotting, some vol. with bookplates, original cloth, rubbed at extremities, 1861-74; and c. 70 others relating to history, philosophy and politics, including works by or relating to Winston Churchill, Benjamin Disraeli and David Lloyd-George, v.s. (c. 100)
FRANK AUERBACH (B. 1931)J.Y.M. Seated V 1989 oil on canvas 50.8 by 40.6 cm. 20 by 16 in. This work was executed in 1989. Footnotes:ProvenanceMarlborough Fine Art Ltd., London (39475.6) Marlborough Fine Art Ltd., New York (NOL 31.388) Campbell-Thiebaud Gallery, San Francisco (FA-108) Acquired directly from the above by the previous owner in 1995Thence by descent to the present owner in 2003Exhibited Campbell-Thiebaud Gallery, San Francisco, Frank Auerbach Recent Work, 1995, n.p., illustrated in colourLiterature William Feaver, Frank Auerbach, New York 2009, p. 311, no. 638, illustrated in colourExecuted in 1989 J.Y.M. Seated V is a strikingly fresh and beautiful portrait of one of Frank Auerbach's most celebrated and recognised sitters. Rendered in a majestic and jewel-like palette of green, purple and red pigment, the intensity of the artist's response to sitter and subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. His subject, Juliet Yardley Mills, referred to by her friends simply as J.Y.M. or Jym, is from a small group of subjects alongside Estella (Stella), Olive West (E.O.W.), his wife Julia, son Jake, and art historian Catherine Lampert among only a handful of others. Of this intimate group, J.Y.M.'s likeness presides over a host of the artist's most iconic paintings. She first posed for him in 1956 when she was a professional model at Sidcup College of Art and continued to do so for over forty years until 1997. Auerbach completed over seventy portraits and studies of J.Y.M., and this present work was executed over twenty years into their friendship. 'She was brought into the world to be a model, she came and sat, and it was not quite like anything else. It wasn't like painting Stella or painting Julia because it was just that... She took poses that were natural to her, and then I sometimes suggested things and one would go on. It became like a central spine of what one was doing' (the artist in: Catherine Lampert, Frank Auerbach Speaking and Painting, London 2015, p. 184). In this present work, out of the forms and brushstrokes emerges a face, a presence. There is an intense substantiality both to the painting and more particularly to the head itself. Auerbach has scraped at the surface of the painting, in a process where he starts again and again, erasing one day's efforts and beginning with another's. Yet the ghost of the previous forms remains in spirit, making J.Y.M. Seated V an accumulation not only of paint, but of paintings. The contrast between the lush, glistening oil of the head and the softer but rich olive background accentuates this, while also revealing a key part of Auerbach's artistic process that is more recognisable in his portraits painted in the late 80s. The background passages of this work have been applied with a more fluid oil paint, drying relatively matte; the artist employs a sgraffito technique, possibly with the upper end of the brush, scraping wet paint to form features of the face, with other areas partly scraped back more broadly. These swathes of impasto and flurried mark-making result in his subject being brought more powerfully into the foreground, engaging the viewer more intently with her presence. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist.Auerbach's distortions in his portraits have been likened to Francis Bacon's figures, however perhaps unlike Bacon, a certain warmth emanates from an Auerbach portrait. As seen in J.Y.M. Seated V, his model is perhaps more understood than recognisable, arguably because Auerbach only paints those known closely to him. Still, although she may be somewhat incomprehensible, his prolonged engagement with her throughout the course of her sittings brings out its details, indeed the rapid and vivid strokes as seen here, the individuality of essence awaits, something that is more than a representation. J.Y.M. Seated V is the portrayal of an individual life, there is a contemplative personal eminence that captures the sincerity of Auerbach's long-standing relationship with Mills. Of this dialogue between artist and sitter, Mills has said: 'we had a wonderful relationship because I thought the world of him, and he was very fond of me. There was no sort of romance, but we were close. Real friends'. (Juliet Yardley Mills in Norman Rosenthal and Catherine Lampert (Eds.), Frank Auerbach: Paintings and Drawings 1954-2001, London 2001, p. 26).Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-World War II era. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, J.Y.M. Seated V carries a powerful and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly inimitable and compelling portraiture, and is excitingly fresh to the market having remained in the same Private Collection since the early 1990s.This lot is subject to the following lot symbols: * AR ○* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com
John Piper CH, British 1903-1992 - The Salute Looking Towards the Lagoon, 1959; gouache and ink on paper, signed lower right 'John Piper', 30.5 x 38 cm (ARR)Provenance:with The Arthur Jeffress Gallery, London, cat. no.20 (according to the label attached to the reverse of the frame);The Lord Cottesloe, purchased from the above and thence by descentNote:Piper made many images of Venice and was strongly affected by the form and history of the great city. He was first commissioned to create drawings of Venice in 1959 by the Arthur Jeffress Gallery, which is where this work was purchased. This work was possibly exhibited at the related exhibition 'Paintings and Watercolours of Venice by John Piper', May - June 1960.Arthur Jeffress was a vital figure in the art scene of both London and Venice, owning a large house in the latter, where he hosted Graham Sutherland and Keith Vaughan. Initially running the Hanover Gallery with Erica Brausen, which hosted the first one-man show of work by Francis Bacon, he later opened his own self-titled gallery in London, run by art critic Robert Melville and which held exhibitions for artists including Edna Box.The original owner of the work, The Lord Cottesloe (1900-1994), was highly involved in the arts, acting as Chairman of the Arts Council of Great Britain from 1960-65.Condition Report: Mounted and held in gilded, glazed frame, with minor scuff marks. May or may not be stuck down as unexamined out off frame. Slight undulation visible to the sheet on left and right edges. Slight discolouration to the sheet and possible slight fading. Colours otherwise fresh.
Francis BACON (1909-1992)TRIPTYCH, 1986-1987 PORTRAIT DE JOHN EDWARDS (Tacou, 22 ; Sabatier, 6)Eau-forte et aquatinte en couleurs sur ArchesSignée et numérotée 84/99Poligrafa Editeur, Barcelone89,5 x 62,5 cm – encadréThis 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
Louis Le Brocquy, HRHA (1916 - 2012)Head (286)Oil on canvas, 73 x 73cm (28.5 x 28.5")Provenance: With The Dawson Gallery, Dublin, label verso; Private Collection, DublinLouis le Brocquy is widely recognised as one of the ‘most highly-regarded Irish-born artist[s] in the second half of the twentieth century.’(1) From the late 1940s, he was one of a number of significant artists based in Britain who retained an interest in the human figure at a time when abstraction had become the dominant mode of representation. His departure from illusionistic realism to a stylised approach to figuration ensured his continued relevance to the challenges of Modernism. In London, he became friendly with Irish-born artist Francis Bacon (1909-92), who observed:‘Le Brocquy belongs to a category of artists who have always existed – obsessed by figuration outside and on the other side of illustration – who are aware of the vast and potent possibilities of inventing ways by which fact and appearance can be reconjugated.’(2)These words could be applied to the ground-breaking ‘head’ series begun by Le Brocquy in 1964 following a visit to the Musée de l’Homme, the anthropological museum in Paris. Le Brocquy had experienced something of an impasse as a painter and, dissatisfied with his recent efforts, destroyed many of his own artworks. The visit to the Musée, however, provided him with the impetus for a new direction. On witnessing the ritualised Polynesian heads on display, decorated with painted plaster, the artist recognised how prioritising the human head was also significant in Irish cultural history. He Identified a route that would enable him to explore his concept of humanity. As he observed:‘For me, as perhaps for our Celtic … ancestors, the human head can be regarded ambivalently as a box which holds the spirit prisoner, but which may also free it transparently within the face.’(3)This observation is revealing in how the artist saw the role of the head, at once containing the human spirit, but also providing a locus of the imagination, as well as a crucial means of communication, including through wordless physical expression.As the name applied to the Ancestral Heads series suggests, le Brocquy evoked connections through the generations between the present and the distant past. This series comprised anonymised individuals that would, in time, give way to his portrait heads of known creative practitioners, some of whom he knew personally. A common feature of his work, including all of the head series, was to undertake multiple versions on the basis that no one image could capture the range and complexity of any individual. Consequently, even with the anonymised Ancestral Heads, he addressed the theme repeatedly as the concept evolved over time. Head (286) demonstrates the essential principles evident as the series got under way, enabling the artist to explore dimensions of the human condition. The frontality of the head, emerging from a background of textured pigment – in this case a tone of white – was a common element throughout. The earliest heads appear in subtle tones, like shadows or memories of dreams, almost within grasp, but not quite clear. As the series developed, while the upper part of the face remains shadowy, the nose and mouth take on a more defined form and colour as though emerging from depths in order to come into fuller existence. In this work, as in several carried out at this time, the mouth is shown open wide. The concentration on the mouth suggests also a familiarity with the work of his friend, the artist Francis Bacon. It is well recognised, however, that Louis le Brocquy’s approach to figuration was distinctly different from that of Bacon. In Head (286), the mouth plays a positive role, seeming to draw breath in order to instil both life itself as well as the condition of humanity in all its subtle frailty. For le Brocquy, elements of the body – like the mouth and hands – were vital human means of communication, through gesture, speech and text. Louis le Brocquy’s portrait head paintings are subtly exploratory and revealing. They suggest at once the inner life of contemplation and creativity, as well as the capacity to communicate through cultural expression. The Ancestral Heads series which initiated the series explores the idea of the very emergence of humanity.The words of Seamus Heaney, writing on the artist’s Head series, are relevant to the present Head painting.(4)‘ … ghostly yet palpable, familiar and other, a historical creature grown ahistorical, an image that has seized hold of the eye and will not let it go.’Dr Yvonne Scott, January 2023Obituaries, The Daily Telegraph, 28.4.2012. Just two artists were identified in this source: Louis le Brocquy, and Francis Bacon (1909–92).Francis Bacon, exhibition catalogue, Louis le Brocquy: A Retrospective Selection of Oil Paintings 1939–1966, The Municipal Gallery of Modern Art, Dublin; Ulster Museum, Belfast, 1966, p.1. Quoted in ‘Biographical Note’ https://www.anne-madden.com/LeBPages/biography.html (accessed January 2023)Louis le Brocquy,’Notes on painting and awareness’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.147.Seamus Heaney, ‘Louis le Brocquy’s Heads’, in Dorothy Walker, Louis le Brocquy, Ward River Press, Dublin, 1981, p.132.
Bacon (Sir Francis) The Essayes or Counsels, Civill and Morall Francis Lo. Verulam, second edition, woodcut head-pieces and initials, (a)1-2 supplied in facsimile (table), lacking initial and final blank, washed throughout, modern calf-backed cloth, small 4to, [STC 1149], by John Haviland, 1629.
Diet.- Bacon (Sir Francis) The Historie of Life and Death. With Observations Naturall and Experimentall for the Prolonging of Life, first edition in English, initial imprimatur leaf, additional engraved title, printed title within typographic border, woodcut decorations and initials, H12 with very small tear in text (affecting one or two letters), slight trimming to outer margins (sometimes touching ruled borders), the odd spot, modern calf, [STC 1157], 12mo, printed by I. Okes, for Humphrey Mosley, 1638.⁂ Very good copy of this unauthorised and anonymous translation of Historia vitae et mortis, which appeared two months before William Rawley's authorised version, whose foreword said of this translation "lame, and defective, in the whole". It includes Bacon's advice on food and diet.
Law.- Bacon (Sir Francis) Cases of Treason, first edition, title with woodcut printer's device and within typographic border, woodcut head-pieces and decorative initials, final f. lower portion torn away (supplied in paper), a few ff. with small marginal nicks, several ff. with marginal damp-stain, washed, modern cloth, [Gibson 198; Wing B272], printed by the assignes of John More, and are sold by Matthew Walbancke, and William Coke, 1641.⁂ The posthumously published work, in which Bacon defines treason and felony and discusses the Office of Constables.
§ Terry Pastor (1946-)Bon Voyagesigned 'T Pastor' (lower left)oil and airbrush on paper laid to board77 x 56.5cm Provenance:Sale; Sotheby's, 1974, lot 145Although an acclaimed artist in his own right, it is perhaps for his iconic David Bowie album covers, in particular his artwork for Ziggy Stardust and Hunky Dory, that Terry Pastor is most celebrated.Born in rural Surrey in 1946, Pastor spent his early childhood filling sketchbooks with renderings of clamorous sci-fi adventures and bold designs inspired by adverts he found in copies of National Geographic magazines. By his teenage years, Rock and Roll culture had barrelled through Western society and, as a result, had become a significant influence on Pastor’s aesthetic vernacular.After leaving school at 15, Pastor began working at a commercial studio in Fleet Street where he mastered airbrush techniques – which would later become a defining characteristic of his practice. Following three years at Fleet Street, Pastor established his own studio in Covent Garden where he completed several notable commissions for the Beach Boys, Alex Harvey, Soft Machine and David Bowie.Highly sought after by collectors, Pastor’s work features in numerous private and public collections and has been exhibited alongside Francis Bacon and Peter Blake.
Three silver Art Union of London medallions, comprising: Francis Chantrey, by W. Wyon, obverse with portrait profile bust, reverse with Chantrey's sculpture of Watt, exergue dated 1846, inscribed ART UNION OF LONDON to edge, 54mm; John Bacon, Sculptor, by J.S. Wyon, reverse with Bacon's statue of Samuel Johnson, 1864, 54mm; and one by H. Weigall, obverse with relief portrait of John Flaxman, reverse with Mercury supporting Pandora, inscribed ART UNION OF LONDON 1854 to edge, 55mmtogether with a Royal Academy of Arts silver medallion, by W. Wyon, awarded in 1832 to the Scottish architect David Brandon profile with profile bust of Queen Victorian, reverse with representation of the Torso Belvedere, STUDY inscribed below, 55mm (4)Provenance: The Property of John Kenworthy-Browne FSA
A selection of hardback books, titles including: The Sacred Tree, by Lady Murasaki, translated by Arthur Waley; The Politics of Conscience, by Melvin Richter; Boswell in Extreme 1776-1778, by Charles McC.Weis and Frederick A. Pottle; Memories, by Lord Fisher; Culture and Imperialism, by Edward W. Said; Of The Proficience and Advancement of Learning, by Francis Bacon; Novum Organum, by Francis Bacon; and others, contained across two boxes.
John Field (1772-1848) – Silhouette Dr Francis Rigby Brodbelt (1771-1827) painted on plaster, oval, 75mm, in the original pearwood frame and verre eglomise with, on the reverse, an early handwritten inscription identifying the sitter Dr Francs Rigby Brodbelt, subsequently Francis Rigby Stallard Penoyre, MD (Edinburgh1794) was the son of Dr Francis Rigby Brodbelt (1746-1795) and Anne Penoyre (1751-1827). He was a member of the Council in Jamaica from 1802. He married the Hon Frances Rigby. Their child Anna Maria was born on 27th June 1804 and baptised at St Catherine's the following month. He died at Whaplode, Lincoln in 1827 leaving an estate of £120,000, in addition to property in Jamaica. He took the additional name of Stallard on inheriting The Moor, Hereford (the seat of Thomas Stallard-Penoyre in 1824. His mother's letters describing life and social events in Jamaica was published to some acclaim by her descendent Geraldine Mozley in 1938. A marble monument to Brodbelt by John Bacon RA was erected in St James Cathedral, Spanish Town, Jamaica
The Historie Of The Raigne Of King Henry The Seventh, Written By the Right Honourable Francis, Lord Verulam, Viscount St. Alban, London, Printed by W. Stansby for Matthew Lownes, and William Barret 1622, with five raised bands, a red label with gilt lettering and “1622” in gilt at the base of the spine, brown calf with triple-ruled borders, blank endpapers, a frontis portrait of King Henry the Seventh, a dedication page to Prince Charles paying homage to his father, the King of England, after the King died; 248 pages of text, with “Faults escaped” [errata or points of issue] on page 248; there are seven faults listed and none of them have been corrected, so this is a first edition, first state of The Historie of the Raigne of King Henry the Seventh. It also has “Highnesse” at the conclusion of the dedication page and “Souldiers” on line 12 of page 3, which are called for to make this a first state of Bacon’s book. Francis Bacon (1561 - 1626) was an English philosopher and statesman who served as Attorney General and Lord Chancellor of England. He led the advancement of natural philosophy and the scientific method and argued for the possibility of scientific knowledge based only upon reasoning and careful observation of events; he believed that scientists should use a skeptical and methodical approach to avoid misleading themselves. His public career ended in disgrace after he fell into debt and was convicted of taking bribes; he spent time in the Tower of London and was released after King James I remitted his fine and Bacon promised to write this history after he was released. More seriously, Parliament declared that Bacon could no longer hold public office and narrowly escaped being stripped him of his titles of nobility. After he completed the work in 1621 and sent a copy to James I, it was published the following year, and it remains his only completed work of history. It also showcases his scientific approach to writing history - he didn’t fancy anything up, but just described events in terms of observation and facts. In the1800’s, someone proposed that Bacon wrote a few or all of the plays attributed to William Shakespeare, an observable fact which is hard to prove. The book measures 11 5/8 x 7 3/4 in. wide, the binding is tight and secure, with light wear at the top of the covers and light foxing on just a couple of pages. So this is a scarce first edition, first state of Bacon’s important history of the reign of King Henry the Seventh.
Francis Bacon, Bacons Advancement of Learning, Instaur Mag P.I. Of The Advancement And Proficience Of Learning or the Partitions of Sciences IX Bookes Written in Latin by the Most Eminent Illustrious & Famous Lord Francis Bacon Baron of Verulam Vicont St. Alban Councilour of Estate and Lord Chancellor of England, Interpreted by Gilbert Wats, Oxford. Printed By Leon: Lichfield, Printer to the University, for Rob: Young & Ed: Forrest, and a frontis portrait of Bacon by Will Marshall dated 1640. This is the first complete edition in English, second issue, with the colophon on the last page of text dated 1640, instead of 1639, and it’s an enlarged and expanded edition from the 1605 Latin version, and an important essay on empirical knowledge by Bacon. It also has the famous allegorical title page showing a ship in full sail passing from the old world into the new, with invocation pages to King Charles after the title page, four pages addressed to The Prince of Great Britain by Gilbert Wats - these pages gave background about Francis Bacon - then eight pages addressed to the Reader, more testimonies about the “Incomparable Philosopher Francis Bacon”, a thirty-five page Preface. then the General Arguments of the nine books - the book titles and what they’re about - and the format of the books which give you insights into how Bacon thought, and 477 pages of text. There’s a Catalogue of Deficients, an Index of the Scriptures that are mentioned, an Index of the authors cited, an Errata page, a Catalogue of books Bacon used or referred to, a thank-you page in Latin, and the colophon page at the rear which mentions the Publisher and the Printers - Lichfield and Robert Young & Edward Forrest respectively - and the date of 1640 - M.DC.XXXX - at the very end. Sir Francis Bacon (1561 - 1626) was an English philosopher, statesman, scientist, orator, and author who had an extremely important impact on philosophy and the way we approach learning - an advocate of the scientific method, which espoused observation and facts - and he is considered the father of modern science. Gilbert Wats did the translation from Latin to English. With five raised bands, a burgundy label with gilt title, dark brown boards, blank endpapers, with a chip on the frontispiece, light wear on the boards, and a very clean text and tight binding. The book is a tall octavo and measures 11 x 7 7/8 in. wide, and a great addition to anyone who collects Bacon’s works and aspires to be a philosopher as well.
MANUEL TERÁN (Chile, 1974)."Tribute to Kusama and Velázquez".Oil on masonite.Signed in the lower right corner. Signed, dated and titled on the back.Size: 108,5 x 108,5 cm; 131 x 130 cm (frame).In the catalogue of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to the artists he admires, even if his own work bears no relation to theirs. The heterogeneity of his preferences is patent and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to ignore aesthetic categories, as well as chronologies".A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of the plastic arts and new technologies applied to art. Since he made his name in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has been awarded prizes such as that of the Real Academia de San Carlos de Valencia (2004).
Bacon (Sir Francis) The Historie of the Raigne of King Henry The Seventh, first edition, engraved portrait frontispiece by John Payne, woodcut title, a few marginal defects one small burn-hole very slightly affecting text, some foxing and marginal staining, contemporary calf, rebacked preserving some of original spine, corners repaired, rubbed, [STC 1160], folio, Printed by W. Stansby for Matthew Lownes, and William Barret, 1622.
Bacon (Sir Francis) The Essayes or Counsels, Civill and Morall, second edition, initial blank leaf present but lacking final blank, small burn-hole to O2 just affecting one letter, some light water-staining towards end, some ink annotations, [Gibson 82; STC 1165], Printed by John Haviland, and are to be sold by R. Allot, 1629; The Two Bookes...of the Proficience and Advancement of Learning, Divine and Humane, third edition, some ink annotations, later panelled calf, upper joint cracking, a little rubbed, [Gibson 83; 1166], Oxford, Printed by I.L. Printer to the University, for Thomas Huggins, 1633, 4to (2)
![Monarchy[Bacon (Francis)], The Historie of the Reigne of King Henry the Seventh. Written by the Right Hon: Francis Lo: Virula](https://cdn.globalauctionplatform.com/c35f1e1a-88e1-4f87-87ac-af26010e74ee/025d35df-548d-4f87-9f0b-af950091443a/468x382.jpg)
Monarchy[Bacon (Francis)], The Historie of the Reigne of King Henry the Seventh. Written by the Right Hon: Francis Lo: Virulam, Viscount S. Alban. Printed by I.H. and R.Y, to be sold by Philemon Stephens and Christopher Meredith, 1629, small folio in fours, [4], 248, [10] pages, reissue of the 1628 edition with cancel title page, repairs to gutter margins from title to G3 and 2J1 and fore-edge margin of several leaves (not affecting text), some small tears not affecting text and a little staining and toning, half calf. ESTC S106900;Herbert (Edward, Lord), The Life and Reign of King Henry the Eighth.Printed by M. Clarke for Anne Mearne, 1682, folio in fours, [6], 636, [18] pages, portrait frontis, 2E4 and 4C3 lower corners cropped without loss of text, small hole in type of 2O3, tanning and some spotting, re-backed calf. ESTC R15107. (2)
Bacon (Sir Francis)Sylva Sylvarum: or A Naturall Historie. In Ten Centuries. Written by ... Francis Lo. Verulam ... Printed by Iohn Haviland for William Lee, .. to be sold by John Williams, 1635, folio in sixes, [24], 260, [32], 47, [5] pages including portrait frontis and additional engraved title, final leaf is a blank, pages a little age tanned, occasional light spotting, annotation and dust marking to end papers, vellum binding (boards slightly warped and stained). ESTC S106936.[Provenance: Geoffrey Keynes' copy]
* JAMES HOWIE (SCOTTISH 1931 - 2011),LANDSCAPE (NUNATAK)oil on board, signed, titled and dated 2005 versoimage size 92cm x 122cm, overall size 106cm x 136cm Framed.Note: When in 1982 the renowned Glasgow artic critic Denys Sutton was invited to choose the finest 25 painters of the 20th century his choice included Augustus John, Graham Sutherland, Francis Bacon and a comparatively unknown Dundonian, Jimmy Howie, who eschewed the conventional art scene. Later that year John Schlesinger made a television programme about him in which Howie explored his attitude and relative lack of commercial success: "Either one paints as a vocation or as a career, it is probably impossible to mix the two." Howie was later offered and refused a chair in a leading Scottish art college on the grounds that the teaching would interfere with his painting. Jimmy Howie was born in Dundee in 1931, the son of a printer at DC Thomson, and he loved the city dearly. He attended the Harris Academy and then the city's college of art, where he concentrated on learning complex techniques in glazing. After two years of national service, latterly as a sergeant running an educational facility in Liverpool, he spent time in Ibiza and then in an advertising agency in Jamaica and worked for a while as a gesso boy - preparing canvases with glue and chalk - in London, learning in particular the art of canvas stretching and frame making. In 1983 when he spent a year on the waterless Spanish island of Formentera where he mixed his own paints, made his own gesso from rabbit skin and chalk and experimented with traditional glazes. His signature works were large canvases with colours drawn from the soft pallet of the semi-wilderness but often with large dark areas for contrast. Some termed these works gloomy and introspective but their ambers often glowed and their greens shone and others felt that they seemed to turn up the volume on life itself. Such works sold well. He was widely praised by many and would usually hold one show a year, though he only produced around half a dozen works a year, and refused to play the "art game". He was happier sitting in his studio in Dundee listening to a test match as he reworked, yet again, one of his masterpieces, than being out at art parties and never made nearly as much money as he might have. He made no pretence of his almost biological need to paint, and more than once compared it to his other great need - to dance. But Jimmy was no mere unworldly artist for he was well read and politically aware and, although naturally cheerful, he was furious at some of the art initiatives that came to Dundee due to what he once termed the "dodgy men in silly glasses sent to put us right". Public collections include Glasgow University, Dundee Art Gallery, The Scottish Arts Council & The Scottish National Gallery of Modern Art. Howie's paintings very rarely appear at auction.
* JAMES HOWIE (SCOTTISH 1931 - 2011),DARK HILL BY THE SEAoil on board, signed, titled and dated 2010 versoimage size 82cm x 105cm, overall size 95cm x 118cm Framed.Note: When in 1982 the renowned Glasgow artic critic Denys Sutton was invited to choose the finest 25 painters of the 20th century his choice included Augustus John, Graham Sutherland, Francis Bacon and a comparatively unknown Dundonian, Jimmy Howie, who eschewed the conventional art scene. Later that year John Schlesinger made a television programme about him in which Howie explored his attitude and relative lack of commercial success: "Either one paints as a vocation or as a career, it is probably impossible to mix the two." Howie was later offered and refused a chair in a leading Scottish art college on the grounds that the teaching would interfere with his painting. Jimmy Howie was born in Dundee in 1931, the son of a printer at DC Thomson, and he loved the city dearly. He attended the Harris Academy and then the city's college of art, where he concentrated on learning complex techniques in glazing. After two years of national service, latterly as a sergeant running an educational facility in Liverpool, he spent time in Ibiza and then in an advertising agency in Jamaica and worked for a while as a gesso boy - preparing canvases with glue and chalk - in London, learning in particular the art of canvas stretching and frame making. In 1983 when he spent a year on the waterless Spanish island of Formentera where he mixed his own paints, made his own gesso from rabbit skin and chalk and experimented with traditional glazes. His signature works were large canvases with colours drawn from the soft pallet of the semi-wilderness but often with large dark areas for contrast. Some termed these works gloomy and introspective but their ambers often glowed and their greens shone and others felt that they seemed to turn up the volume on life itself. Such works sold well. He was widely praised by many and would usually hold one show a year, though he only produced around half a dozen works a year, and refused to play the "art game". He was happier sitting in his studio in Dundee listening to a test match as he reworked, yet again, one of his masterpieces, than being out at art parties and never made nearly as much money as he might have. He made no pretence of his almost biological need to paint, and more than once compared it to his other great need - to dance. But Jimmy was no mere unworldly artist for he was well read and politically aware and, although naturally cheerful, he was furious at some of the art initiatives that came to Dundee due to what he once termed the "dodgy men in silly glasses sent to put us right". Public collections include Glasgow University, Dundee Art Gallery, The Scottish Arts Council & The Scottish National Gallery of Modern Art. Howie's paintings very rarely appear at auction.
East Anglia. Blaikie (Francis), On the Conversion of Arable Land into Pasture, and on other Rural Subjects, first edition, Burnham: Printed and sold by J. Dawson, 1817, 47pp, later Lawes Trust green cloth gilt, 12mo, Leamon (Robert), The Leicester Monument, Printed for Distribution among the Subscribers, Norwich: Bacon and Co., 1850, fronsitpiece, original boards, rebacked, 8vo, Stirling's Coke of Norfolk, two-volume set, 1908, original cloth, worn, 8vo, Raynbird (William & Hugh), On the Agriculture of Suffolk, first edition, London: Longman and Co., 1849, folding map frontispiece, Royal Agricultural College bookplate, 8vo, Brayley (E.W.), Views in Suffolk, Norfolk, and Northamptonshire; Illustrive of The Works of Robert Bloomfield [...], London: Vernor, Hood, and Sharpe, et al., 1818, named-view topographical plates, mid-19th century quarter-calf over marbled boards by Fletcher of Norwich, their ticket, splitting, armorial bookplate to pastedown: Henry Thomas Griffith, B.A., Smallburgh Rectory, Norwich, 8vo, other works, including Essex, pamphlets, etc., (13).
FRANCIS BACON (Dublin, 1909- Madrid, 1992)."Study for a Portrait of John Edwards", 1986.Lithograph, copy 165/180.Signed and justified in pencil.Provenance: acquired at the Galería Alejandro Sales, Barcelona, in 2004. Presents label on the back of the Gallery.Measurements: 67.9 x 49 cm; 97 x 70 cm (frame).Francis Bacon is the author of some of the most striking and unprecedented paintings in contemporary art. His style, obsessive, tormented and heartbreaking, is a clear document of the harshness that Europe experienced after the Second World War. His works are currently fetching stratospheric figures at international auctions, making him one of the most sought-after artists on the art market. A reflection of this is the triptych "Three Studies by Lucian Freud (1969)", which in 2013 reached a record sale price of 142 million dollars at public auction, making it one of the three most expensive works in history. Some of his works can be seen in the most important art galleries in the world, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Museo Reina Sofía."Portrait of John Edwards" defines in the most emphatic terms what Bacon's art was all about. Its protagonist is John Edwards, a young Londoner whom Bacon considered his only "genuine friend" and therefore heir to his expensive fortune. This inheritance consisted, in addition to real estate, of a number of paintings valued at 16 million euros. The two personalities met in 1976 in a shop in Soho, and soon began a strong friendship whose bonds were reflected in the more than 20 canvases that Edwards starred in. As in the present work, Bacon immortalised his close friend as a discomposed, isolated, disturbing and spiritual figure who, far from seeking a concrete resemblance to the character, delved into the spirituality of the person depicted. It reveals the abstraction, fragmentation and distortion that defined Bacon's style, a consequence of the life events that made his existence a fervent time bomb waiting to explode.Born in Dublin to English parents, Francis Bacon began painting as a self-taught artist. When he was only 17, the Paul Rosemberg gallery opened its doors to the painter. There he became acquainted with the work of Picasso, an artist he would admire throughout his career. Like Picasso, other painters made an impression on Bacon's work: Velázquez (whose version of Pope Innocent X he painted, producing at least 40 "popes") and Nicolas Poussin, whose "The Massacre of the Innocents" aroused intense emotion in him. In 1945 he exhibited in London, together with the English artists Henry Moore and Graham Sutherland, his painting "Three Studies for Figures at the Foot of a Crucifixion", a triptych which, according to Bacon himself, marked the starting point of his career. By 1945 he had developed his own unmistakable style. In 1949, the Museum of Modern Art in New York (MOMA) bought an impressive work of his entitled "Painting 146". In 1956 he was invited to represent Britain at the Venice Biennale alongside Ben Nicholson and Lucian Freud. With his work, Bacon decided that the subject of his paintings would be both life in death and death in life. He sought to express his vital condition, which was also linked to his self-destructive side. Michel Leiris suggested to him that masochism, sadism and similar manifestations were really just ways of feeling more human. Portraits and self-portraits constitute an important part of his paintings. Bacon made portraits without poses taken from life, developed from photographs. He portrayed his intimate companions and friends as well as famous people: Peter Lacy, George Dyer and John Edwards, Henrietta Moraes, Isabel Rawsthorne, Muriel Belcher, Lucian Freud, Peter Beard and Michel Leiris, as well as Hitler, Pius XII and Mick Jagger. Some of his works can be seen in the world's most important art galleries, such as the Tate Britain in London (which has one of the artist's most extensive collections), the MET and the Moma in New York, the Museo Thyssen-Bornemisza and the Museo Reina Sofía.
Two bottles of Château Mouton Rothschild 1984, Pauillac, France.Category: Red wine.75 cl.With damage to the labelling.Grade: C.Considered one of the best wines in the world, Château Mouton Rothschild is produced in the wine estate of the same name, located in the village of Pauillac and owned by Baroness Philippine de Rothschild, only daughter of the legendary Baron Philippe. The Official Bordeaux Wine Classification of 1855 did not include this vineyard among the first crosses, probably because it had recently been acquired by an Englishman and was therefore no longer French-owned. In 1973, however, Mouton was finally elevated to Premier Cru status. The idea of having each year's label designed by a famous artist of the time came from Baron Philippe de Rothschild, and in 1946 this became a permanent and significant aspect of Mouton's image, with labels created by some of the world's greatest painters and sculptors: Jean Cocteau, Georges Braque, Pablo Picasso, Antoni Tàpies, Henry Moore, Andy Warhol, Keith Haring, Salvador Dalí or Francis Bacon, among others.
Two bottles of Château Mouton Rothschild 1984, Pauillac, France.Category: Red wine.75 cl.With damage to the labelling.Level: C and D.Considered one of the best wines in the world, Château Mouton Rothschild is produced in the wine estate of the same name, located in the village of Pauillac and owned by Baroness Philippine de Rothschild, only daughter of the legendary Baron Philippe. The Official Bordeaux Wine Classification of 1855 did not include this vineyard among the first crosses, probably because it had recently been acquired by an Englishman and was therefore no longer French-owned. In 1973, however, Mouton was finally elevated to Premier Cru status. The idea of having each year's label designed by a famous artist of the time came from Baron Philippe de Rothschild, and in 1946 this became a permanent and significant aspect of Mouton's image, with labels created by some of the world's greatest painters and sculptors: Jean Cocteau, Georges Braque, Pablo Picasso, Antoni Tàpies, Henry Moore, Andy Warhol, Keith Haring, Salvador Dalí or Francis Bacon, among others.
Two bottles of Château Mouton Rothschild 1984, Pauillac, France.Category: Red wine.75 cl.With damage to the labelling.Level: C and D.Considered one of the best wines in the world, Château Mouton Rothschild is produced in the wine estate of the same name, located in the village of Pauillac and owned by Baroness Philippine de Rothschild, only daughter of the legendary Baron Philippe. The Official Bordeaux Wine Classification of 1855 did not include this vineyard among the first crosses, probably because it had recently been acquired by an Englishman and was therefore no longer French-owned. In 1973, however, Mouton was finally elevated to Premier Cru status. The idea of having each year's label designed by a famous artist of the time came from Baron Philippe de Rothschild, and in 1946 this became a permanent and significant aspect of Mouton's image, with labels created by some of the world's greatest painters and sculptors: Jean Cocteau, Georges Braque, Pablo Picasso, Antoni Tàpies, Henry Moore, Andy Warhol, Keith Haring, Salvador Dalí or Francis Bacon, among others.
Two bottles of Château Mouton Rothschild 1984, Pauillac, France.Category: Red wine.75 cl.With damage to the labelling.Grade: C.Considered one of the best wines in the world, Château Mouton Rothschild is produced in the wine estate of the same name, located in the village of Pauillac and owned by Baroness Philippine de Rothschild, only daughter of the legendary Baron Philippe. The Official Bordeaux Wine Classification of 1855 did not include this vineyard among the first crosses, probably because it had recently been acquired by an Englishman and was therefore no longer French-owned. In 1973, however, Mouton was finally elevated to Premier Cru status. The idea of having each year's label designed by a famous artist of the time came from Baron Philippe de Rothschild, and in 1946 this became a permanent and significant aspect of Mouton's image, with labels created by some of the world's greatest painters and sculptors: Jean Cocteau, Georges Braque, Pablo Picasso, Antoni Tàpies, Henry Moore, Andy Warhol, Keith Haring, Salvador Dalí or Francis Bacon, among others.
Erasmus (Desiderius) Moriae Encomium: or, A Panegyrick upon Folly, illustrations by Hans Holbein, by J. Woodward, 1709 § Bacon (Francis) The Essays, or Councils, Civil and Moral..., by J. Newton, 1696 § Eden (William) Four Letters to the Earl of Carlisle, from William Eden, Esq., third edition, for B. White, 1780 § Gisborne (Thomas) The Principles of Moral Philosophy..., third edition, for B. & J. White, 1795 § Barrow (Isaac) Sermons Preached upon Several Occasions, E. Flesher for Brabazon Aylmer, 1678, engraved portrait frontispieces, some with bookplates (offset), contemporary or slightly later calf, last panelled in gilt, a little rubbed and bumped; and another, similar, 8vo & 4to (6)
MANUEL TERÁN (Chile, 1974)."Eclectic (Lucio Fontana)". Tribute to the Geniuses, 2021.Oil on canvas. With painted crevices.Signed in the lower right corner. Signed, dated and titled on the back.Measurements: 100 x 140 cm; 111 x 145 cm (frame).In this work we can observe Lucio Fontana's characteristic language, which approaches an aesthetic of a conceptual nature, where he introduces the intellectual necessity in the exercise of reflecting on the work and its representation. In the catalogue of the exhibition "Tribute to the Geniuses", it is stated that "Terán tries to postulate the return of painting as a symbolic strategy. His tributes, which take the form of pastiches, are not. The artists he chooses to pay tribute to are admired by him (Francis Bacon, Banksy, Marc Chagall, Jean Dubuffet, Lucio Fontana, Francisco de Goya, Lucian Freud, Keith Haring, David Hockney, Robert Indiana, Jaspers Johns, Yves Klein, Kusama-Velázquez, Roy Lichtenstein, René Magritte, Roberto Matta, Joan Miró, Pablo Picasso, Jackson Pollock, Joaquín Sorolla and Andy Warhol). The list could not be more heterogeneous. It does not follow any order. He pays homage to the artists he admires, even if his own work bears no relation to theirs. The heterogeneity of his preferences is patent and proves E. Gombrich right, for whom there is no art but artists. This extreme nominalism leads him to ignore aesthetic categories, as well as chronologies".A Chilean artist living in Spain, with a degree in Fine Arts, Manuel Terán has developed his creative work in the field of the plastic arts and new technologies applied to art. Since he made his name in 1995 at the Salón de Otoño del Círculo de Bellas Artes in Santiago de Chile, he has held solo exhibitions and participated in group shows and fairs in Latin America and Europe. He has been awarded prizes such as that of the Real Academia de San Carlos de Valencia (2004).
A glazed pottery model of a blue sports car, together with two clay modelled busts reputedly made by Sir Terence Conran, Sir Eduardo Paolozzi and Francis Bacon during a weekend at Barton CourtThe car with two detached wheels, one bust mounted inside the car (the head detached), the other loose, with the head in two parts, the car: 53cm wide, 22cm deep, 15cm high (20 1/2in wide, 8 1/2in deep, 5 1/2in high) (3)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
"Natalis Comitis Mythologiae, sive Explicationis Fabularum, Libri decem: In quibus omnia prope Naturalis & Moralis Philosophiae dogmata contenta fuisse demonstrantur", Padua, 22x16cms, reliure cartonnée d'époque, intérieur frais sans manques, complet, richement illustrés avec des bois, avec une vignette d'imprimeur sur le titre et quelques décorations d'ouvrages. Œuvre majeure de l'érudit et historien vénitien Natale Conti (Milan 1520-82) ; publié pour la première fois en 1551 manuel mythographique d'une grande importance historique. - Brunet II, 185 ("ouvrage qui eut beaucoup de succès dans son temps"). - Graesse II, 236 (Cheeky: "Aujourd'hui cet ouvrage est oublié avec raison"). - Sur l'imprimeur Samuel Chouet, qui, en tant que huguenot, appartenait à une célèbre dynastie d'éditeurs genevois, cf. Lexique Suisse. - "La mythologie latine occupe plus d'un millier de pages dans l'original et a connu bien plus de 20 éditions aux XVIe et XVIIe siècles ; la traduction française à son tour a connu six éditions. Cela signifiait que la Mythologia Contis était l'ouvrage faisant autorité sur la mythologie antique. Contrairement aux manuels de Giraldi et de Cartari, Conti utilise davantage les épigrammes, les eidyls et les ekphrases de la littérature grecque. Pour la représentation des mythes, il préfère un style littéraire plutôt que philologique. Selon un schéma adopté à partir de Au Moyen Âge, les mythes interprétés historiquement, "scientifiquement" et moralement ; l'influence néoplatonicienne se voit plus clairement dans cette interprétation allégorique des mythes que chez ses prédécesseurs. Concernant le concept de mythe, Conti dit dans l'introduction de Mythologia que les premiers philosophes tiraient leurs connaissances des mythes "et que leur philosophie n'était rien d'autre que le sens de ces sagas qui émerge quand on se débarrasse de sa couverture et de ses vêtements". Les thèses de Conti ont continué à avoir un effet à travers Francis Bacon ( Wisheit der Alten , 1609) sur la philosophie des formes symboliques d' Ernst Cassirer . - Les "Mythologiae" ont été citées comme une source faisant autorité pour la mythologie grecque jusqu'au 18ème siècle. Cependant, des études philologiques ont montré que Conti citait de manière inexacte et complétait souvent son récit avec des détails de sa propre fabrication. Ainsi, les "Mythologiae" ne peuvent être considérées comme le support principal des mythes antiques, mais elles représentent un témoignage important de la réception moderne des antiquités". Livre important et rare sur les mythologies.
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