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Lot 129
Keith Haring. Letterhead from the Keith Haring workshop embellished with a black felt pen drawing. Signed "K. Haring". "We attach the copy of the letter that was attached to the drawing". Dated 86. Dimensions: 28 x 21.5 cm. - Weight: 5 g - Region: USA - Sizes: 280 x 215 mm - Author / artist: Keith Haring
Lot 11
KÄTHE KRUSE 2 Puppen, Puppenmädchen, wohl Puppe IX. Kurbelkopf, fein bemalt mit braunen Augen und roten Augeninnenpunkten, eine Hinterkopfnaht, tlw. berieben, Altersspuren, Nesselkörper (bei KÄTHE KRUSE fachmännisch restauriert und neu bezogen) mit geraden Beinen und einer Beinnaht, li. Fuß gestempelt "Käthe Kruse", H 38 cm dazu 2 Kleidchen (1 x von K. Kruse) und 1 Strickjäckchen sowie ein Jubiläumspüppchen von 2005 "100 Jahre Käthe Kruse" mit Plakette "die Hand geht dem Herzen nach", H 12, 5 cm, mit Strickbekleidung.| KÄTHE KRUSE 2 dolls, doll girl, probably doll IX. Socket head, finely painted with brown eyes and red inner eye dots, a seam at the back of the head, partly rubbed, signs of age, nettle body (professionally restored and reupholstered by KÄTHE KRUSE) with straight legs and a leg seam, left foot stamped "Käthe Kruse", H 38 cm, plus 2 dresses (1 x by K. Kruse) and 1 knitted jacket as well as a jubilee doll from 2005 "100 years of Käthe Kruse" with plaque "The hand follows the heart", H 12.5 cm, with knitwear.
Lot 853
HEYNEN-DUMONT, KARL (1883-1955), u.a., 20. Jh. Konvolut 2 Tierfiguren, 1. Spatz auf einem Ast mit Plinthe, Bronze, dunkel patiniert, Plinthe im Guss signiert: "K. HEYNEN- DUMON", H.: ca. 9,5 cm. Wohl fehlender Sockel, da Klebespuren auf Unterseite der Plinthe, 2. Eidechse, Bronze, goldbraun patiniert, keine Signatur, H.: ca. 1.5 cm, L.: ca. 14,5 cm.| HEYNEN-DUMONT, KARL (1883-1955) and others, 20th century Mixed lot of 2 animal figures, 1. Sparrow on a branch with plinth, bronze, dark patina, plinth signed in the cast: "K. HEYNEN-DUMON", H.: approx. 9.5 cm. Probably missing base, as there are traces of glue at the bottom of the plinth, 2. Lizard, bronze, golden brown patina, no signature, H.: approx. 1.5 cm, L.: approx. 14.5 cm.
Lot 118
1925 Bugatti Type 30 Skiff Bodied Tourer Coachwork by Carrosserie Kelsch & Cie. of Paris Registration no. PE 4405 Chassis no. 4378 Engine no. 379•First registered in the UK in July 1925•Matching numbers (registration, chassis, engine, gearbox, etc)•Known ownership history from new•Formerly part of the Fuad Majzub collection•Highly original•Present ownership since 2004Footnotes:This delightful Type 30 is offered for sale by recognised Bugatti authority, David Sewell, who over the years has compiled some 600-700 detailed reports on examples of the marque. David has owned the car since November 2004, and his thorough report on its history is provided. Production of this chassis, fitted with engine number '379', front axle '378', gearbox '627' (in a series shared with the Brescia model) and rear axle '382' with ratio 12x54 was completed on 13th November 1924 and delivered to Bugatti's Paris agency on 3rd January 1925. From the agency it went to Carrosserie Kelsch in Levallois-Perret, who specialised in lightweight sporting coachwork. There it was fitted with a two-seater and dickey boat-tailed body complete with louvred side valances and cycle-style wings. This body would have been ordered by the car's first owner and, unless if was one of their standard catalogued designs, which it is thought not to have been, would have been built in accordance with the first owner's wishes. On 13th July 1925 the completed car was imported into the UK and road-registered as 'PE 4055' by Surrey County Council. A classified advertisement in the 24th July 1925 issue of The Autocar reads as follows: '1925 8-cyl. Bugatti, delivered new March this year, fitted with special sports body by Kelsch of Paris; the following extras have been added - Bosch magneto, LAP twin carburettors, special Grebel headlights; cost over £900, will accept £575. Frank Wellington and Bowring Ltd, 220, Great Portland St, Museum 8270-71.' This advertisement was repeated in the 31st July, 14th and 21st August, and 4th September issues. Although it cannot be proved positively, the Type 30 advertised in The Autocar must surely be this particular car. The 1954 Bugatti Book by Eaglesfield and Hampton contained the first published register of Bugatti motor cars. Closed for press on 1st April 1953, this register confirmed the car's chassis number, registration number and date of first registration, and listed its owner as Sub-Lt J (Jeremy) Miles of HMS Fulmar, RNAS, Lossiemouth. It noted that the car was a boat-tailed two-seater with dickey, was black but had been coloured grey and Cambridge Blue, and was equipped with an SU petrol pump. It stated that the logbook, which was a duplicate, showed that the car had been owned by G W Mears of The Vicarage, Upper Street, Islington N1; B V Roche of 19 Charing Cross Road, WC2; F K Farquharson of Oxley Wood Cottage, Oxley Place, Watford, Herts; Monty Warn of 97 New Road, Croxley Green, Herts; and A M Wilson of Quaves Comer, Sutton Green near Guildford, Surrey. It was reputedly the 1925 Paris Show model (which it could not have been). Jeremy Miles recalled buying the car in early 1952, which tallies well with a Vintage Autos small-ad in the January 1952 issue of Motor Sport offering a 1925 Type 30 2/3-seater ex-Paris Salon at an asking price of £325. In the January 1958 issue, Miles offered his Type 30 for sale for £250. The buyer was B Dawson of Ferring, who in turn offered the car in the December 1960 issue, with no price stated. It was bought by Hugh Hall of 6 Hereford Square, London SW7 who is given as its owner in Hugh Conway's 1962 Bugatti Register. Once again this register stated that its logbook was a duplicate, to which the names of Perring and Dawson (but unaccountably not Miles) had been added. Sadly, the now completed duplicate logbook cannot be traced. Conway confirmed that the car's chassis/engine numbers were '4378'/'379'. He added that its mudguards were unoriginal; that it had cable operated front brakes as well as rear; a Hardy¬ Spicer propshaft; twin Solex 35 BFHD carburettors on original manifolds; a belt-driven dynamo; an H-section front axle; a right-hand gear-change; and a Brescia Modifié-style radiator. The November 1962 Motor Sport included a small ad offering a Type 30 with chassis number 78 (!), this surely being the same car. The next known owner, possibly in response to this small ad, was Paul Foulkes-Halbard of Filching Manor near Polegate in Sussex who, according to Conway's 1973 update of his earlier register, published in instalments in Bugantics, was then still its owner. Rodney de Little recalled that Foulkes-Halbard never ran the car, knowing that the rear half of its crankshaft was cracked. Indeed, there is no evidence that the Bugatti had run much if at all since Miles' period of ownership ended in 1958. The car was sold by Foulkes-Halbard in either 1972 or 1973 to Martin Hilton of Chiddinglye in West Sussex, who embarked upon its restoration, assisted by Eric Neve, once of Crosthwaite & Gardiner and now of Neve Engineering of Barcombe, near Lewes in Sussex. Neve recalls crack-testing its crankshaft, finding a bad crack in the rear main journal, fitting another crankshaft and assembling the bottom half of the engine after John Kirkby had re--metalled the con-rods. The coachwork was extensively remade, including timbers and panelling. As requested, Neve also polished the front axle beam, knowing that it should not be polished; replaced the brake shoes with alloy ones; fitted a new wet clutch; and completed several other smaller tasks before leaving Hilton's employ in 1975 with the engine still unfinished. Meanwhile Hilton progressed with restoring the coachwork, replacing any timbers as necessary and fitting mahogany decking to the top of the scuttle and tail. Foulkes-Halbard had given him a photograph purporting to be this car, so he endeavoured to copy some of its features including the aforementioned mahogany decking. However, this photograph, published in the 9th October 1923 issue of The Motor in an article featuring cars displayed at that year's Paris Salon, did not name its coachbuilder, while the 12th October 1923 issue of The Autocar showed another view of the same car but specifically credited its coachwork to Lavocat & Marsaud. Dating from the 1950s, two photographs on file show that many changes have been made to the body's appearance since then. Hilton's family business then went into liquidation and his unfinished Type 30 was sold in 1975 to Nick Harley, then trading in Winkleigh, Devon, who continued with its restoration. He had new front and rear wings made in aluminium and linked by running boards, so the louvred valances, which ran for much of the length of the body, were discarded. He also had the car painted red. Before completing the car's restoration, Harley offered it for sale for £20,000 in the Feb-ruary 1980 issue of Motor Sport, although it was subsequently sold later in 1980 to Fuad Majzub of Beoley in Worcestershire via London-based auctioneer Mike Carter. Further work was done on the car by Barrie Price, who by mid-l981 had it running, albeit poorly. Hugh Conway then tried to persuade Majzub to take the car on the forthcoming Bugatti Centenary Rally to Molsheim in September 1981, but he eventually decided against doing so. Some years later Majzub entered the Bugatti for an overseas rally, believed to have been held in Italy. The car boiled severely within a few miles so was brought home and was delivered to Ernie Allen of Dinedor, Hereford. Allen took its radiator to John Underwood of Star Engineering in Caerleon, who in early 1989 fabricated and fitted a new core. Allen then carried out much further work on the Bugatti culminating in a test run in April 1989, when severe engine vibration li... For further information on this lot please visit Bonhams.com
Lot 115
EDOUARD VUILLARD , CUISEAUX, 1868 - LA BAULE, 1940Woman on a sofa (L'Attente)Oil on canvas mounted on panel 75.5 x 41 cmWith her head tilted to one side and a melancholic air, this woman seated on a sofa is letting herself go to her thoughts. Everything in her bearing and dress, hat, coat and fur collar barely unzipped, suggests that she is visiting, waiting to be received. Occupying the centre of the canvas, all in length, she is represented in the centre of the room, in the second plan, as if observed from a point of view that accentuates this feeling of solitude, even of abandonment. Perfectly balanced, the frontal composition organises the planes in a succession of horizontals which gives the work stagnation and flatness, crushing perspective. The wall panelling and the edge of the table superimpose their parallel lines. The bas-relief and the Japanese print hanging in the background align their geometric planes, which are echoed by the table top in the foreground. The sofa, the only organic form, creates a break with its colour, bright red, and its size, occupying the entire width of the canvas. The artist's touch, more and more present as she approaches the foreground, contributes to creating this aspective effect, close to abstraction. Isolated in her world, the young woman seems to be sitting on a cloud, levitating. Vuillard, by asserting his touch, makes painting his true subject.Provenance: Theodore Duret, Paris ; galeire Bernheim Jeune, Paris ; Svensk-Fransk Konstgalleriet, Stockholm ; Carl Matthiessen, Stockholm ; Nore Lungren, Stockholm ; collection Bonnier, Geneva ; Wildenstein & co., New-York ;Stockholm, Svensk-Fransk Konstgalleriet, Uställning ung svensk Konst, 1938 ; Stockholm, Nationalmuseum, France through artists' eyes, 1941 ; Stockholm, Svensk-Fransk Konstgalleriet, French Art : from private collections in Stockholm, 1951, n°74 ; Stockholm, Liljevachs Konsthall, Cezanne to Picasso, French art in Swedish ownership, 1954, n°395, illustré ; Stockholm, Nationalmuseum, Five centuries of French art, 1958, n°173 ; Tokyo, Wildenstein, Bonnard, Vuillard, K. X. Roussel, 1974, n°22 illustrated, Tokyo, Fujikawa Galleries; Osaka, Fujikawa Galleries; Fukoko, Fujikawa Galleries, Masterpieces from 1850 to 1950, 1977, n°14, illustrated; Roslyn, New-York, Nassau County Museum of Art, Long Island Collects, The Figure and Landscapes, 1990; Roslyn, New-York, Nassau County Museum of Art, La Belle Epoque, 1995.Signature: Signed lower left 'E. Vuillard'Bibliography: I. De HOOR, Nägra franska malningar i Carl Matthiessens samling, Konstrevy, 1928, p. 8; I. De HOOR, La collection Matthiessen à Stockholm, L'Amour de l'art, vol. 11, 1930, p. 412, illustrated; Architectural Digest, May-June 1976, p. 64, illustrated in colour; Antoine SALOMON & Guy COGEVAL, Vuillard: Le Regard innombrable, critical catalogue of paintings and pastels, vol. II, Milan, 2003, No. VII-201, p. 644, illustrated in colour.
Lot 1209
AN ART DECO CHINOISERIE SILVER-GILT AND ENAMEL BOX import marks, T K & Co, London 1925, shaped rectangular, the hinged cover decorated with a prunus branch and insect against a green ground, presentation inscription dated 15.6.28. The box measures 9cm by 6cm by 2cm.3.7 troy ouncesIn good condition. We cannot decipher the signature on the enamel cover, the engraving to the interior reads TO LILY FROM TOMMY WITH LOVE & AFFECTION / 15.6.28
Lot 1691
AN EARLY 20TH CENTURY DIAMOND BROOCH / PENDANT an old-cut diamond within a concentric circular border of further diamonds. Estimated total diamond weight 4.00ct, 2.8cm diameter, 6.4 gramsPin later added, later plated. Three diamonds chipped including the central diamond. Including as hinged attachment for applying a bail for use as a pendant. Estimated colour: I/J/K; estimated clarity: SI1/SI2/I1/I2.
Lot 1104
A fine Belle Epoque diamond cluster ring, unmarked white metal settings with collet set approx 1.98ct principal diamond, within flowerhead surround set with modern round brilliant and old-cut diamonds, colour approx J/K, clarity approx VS1/VS2, diamond weight calculated from measurements: 7.80mm x 5.27mm, setting height 13.6mm, size N, 4.4gNo damage or repair, all stones present, diamonds very bright and fiery, principal diamond has a slight yellow hue with no visible internal inclusions through a loupe, settings lightly worn on back of shank, unmarked
Lot 1115
A 3.02ct solitaire diamond ring, 18ct gold plain 8-claw setting with old brilliant-cut diamond, colour approx J/K, clarity approx VS2/SI1, diamond weight calculated from measurements: 9.12mm x 9.09mm x 5.73mm, size P, 5.2gNo damage or repair, diamonds very bright and fiery with a slight yellow tint and no obvious internal inclusions under a loupe, settings extremely lightly abraded, mark clear, stamped 18ct, with insurance valuation dated 2019
Lot 1124
An 18ct white gold 0.5ct solitaire diamond ring, colour approx G/H, clarity approx I1/I2, diamond weight calculated from measurements: 5.16mm x 3.09mm, size K, 2.7gNo damage or repair, diamond is bright white and fiery with 2 internal feathers which are obvious through a loupe, settings slightly abraded, hallmarks clear, stamped 750
Lot 1135
An Art Deco 18ct white gold 0.4ct solitaire diamond ring, cage set with old-cut diamond and floral shoulders, colour approx J/K, clarity approx SI/SI2, diamond weight calculated from measurements: 5.01mm x 2.46mm, size S, 2.7gNo damage or repairs, diamond bright and fiery with a slight yellow tint and no obvious internal inclusions, settings slightly worn on high points, mark clear, stamped 18ct and Plat
Lot 1271
An 18ct gold two stone diamond crossover ring, set with modern round brilliant-cut diamonds, total diamond content approx 0.5ct, size K, 3.1gNo damage or repairs, diamonds bright white and fiery with a small internal cloud and feather inclusion, settings lightly abraded, hallmarks clear, stamped 750
Lot 1471
A Georgian flat-top garnet and split pearl cluster ring, 9ct gold closed-back settings, setting height 17.3mm, size J/K, 5.7gRing has probably been re-purposed from a brooch/stickpin head with an added ring shank, all stones present, 1 pearl has signs of glue around base, mark on shank clear, engraved 9ct
Lot 163
Peter Hammill: fourty-four six "Fools Mate", four "Sitting Targets", "Enter K", four "In Camera", five "Nadir's Big Chance", eleven "The Silent Corner and the Empty Stage" including one signed, "Chameleon In The Shadow of The Night", two "Vision", three "Over", six "The Future Now", "A Black Box", and "PH7".
Lot 51
Peter Hammill: twenty one original vinyl LPs comprising two "A Black Box", two "Enter K", "Portrait", four "Skin", "The Fall of the House of Usher", "All That Might Have Been", "From the Trees", "In A Foreign Town", two "The Love Songs", "The Margin", two "And Close as This", "Roaring Fourties", "Out of Water", and "Other World".
Lot 69
Nine rare original Prog/ Rock vinyl LPs comprising "Love Sculpture- Forms and Feelings" (PCS 7090 Parlophone yellow and black label), "Jellybread- Back to Begin Again" on Blue Horizon (2931 004), "Drakar- Flight of the Dragon" (210036 1311), "Mahjun" (SH 10040), "Lucifer's Friend" (BG 1002), two "Sunshine Super Frog" (ILP 944), and two "Wynder K Frog- Out of the Frying Pan" (UAS 6695).
Lot 100
Rowling, J. K. Harry Potter and the Philosopher's Stone, first large print edition, first issue, London: Bloomsbury, 2001, hardback, full number line, '10 9 8 7 6 5 4 3 2 1', internally very good, clean, bright, binding tight & square, boards bold & vibrant, a couple of faint scuffs to lower board, faint wear to extreme corners, bumped at headcaps with short split at top. Together with a second issue of the same in fine, unread condition; two first edition, first issue hardbacks of Chamber of Secrets, large print, 2002, bumping to top corners, otherwise near-fine; Prisoner of Azkaban, first issue hardback, large print, 2002, bump & short split at top of spine, otherwise near-fine (5)
Lot 101
Rowling, J. K. Harry Potter and the Sorcerer's Stone, Collector's Edition, three first issue hardbacks, New York: Levine/Scholastic, November 2000, full first issue number line on each, leather bindings with mylar jackets, all edges gilt, internally fine/unread, corners bumped, mylar jackets worn, a couple of scratches to leather (3)
Lot 102
Rowling, J. K. Harry Potter and the Chamber of Secrets, first deluxe edition, first issue, London: Bloomsbury, 1999, full number line, '10 9 8 7 6 5 4 3 2 1'. Four first printings, two of which are in the original cellophane wrappers with barcode stickers, the cellophane has only been opened along the bottom edge in order to check the publisher's imprint. One shrink-wrapped book is in fine condition, the other has slight bumping to corners but is otherwise fine; the two without cellophane are internally very good, appear unread, there is some bumping & slight wear to the base of spines and bottom edge, otherwise the cloth is well-preserved. Together with a fourth printing of the same in cellophane wrappers opened along edges (5)
Lot 106
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, third issue, signed & inscribed by the author, 'To Emily who looks as I imagine Ginny Weasley looks (you will have to read book two!) J. K. Rowling, 17/3/98', London: Bloomsbury, 1997, paperback. Contents very good, clean, bright, usual toning to page edges, a few very small spots on edges of text-block just encroaching into margins/edges in a few places (most pronounced on half-title), very faint impression from a neat owner inscription in pencil at top corner of half-title, binding tight & square, some very faint creasing to covers, spine area faded, slight wear to extreme corners/edgesProvenance: J. K. Rowling visited Putney High Junior School where this book was signed for our vendor - then a pupil at the school
Lot 107
Rowling, J. K. Harry Potter and the Philosopher's Stone, 15th Anniversary Edition published exclusively for 15 competition winners [not released for sale], signed & dedicated by the author, London: Bloomsbury, [2012]. Octavo, full red crushed morocco, all edges gilt. Together with the original entry that successfully secured this book in Bloomsbury's competition. In 2012, Bloomsbury launched a nationwide competition to find the UK's 'biggest Harry Potter fan'. Fans were invited to write a letter of no more than 50 words explaining why they love Harry Potter and were encouraged to draw, doodle and make their letters as elaborate as possible. Fans could only enter by submitting their letters through specially-designed postboxes at participating bookshops and libraries. The winner of the competition received one of these exclusive books and a family holiday to The Wizarding World of Harry Potter at Universal Orlando Resort. The 14 runners-up each received one of these exclusive books. The entry included in this lot is an exquisitely designed and decorated letter in the form of a folding document, which was inspired by the magical Marauder's Map, successfully securing a runners-up prize. The book has been treasured and kept safe, and is therefore in fine, unread conditionProvenance: Vendor was one of the 14 runners-up of Bloomsbury's competition to find the UK's "biggest Harry Potter fan". The artwork included in this lot is her original successful entry
Lot 43
Rowling, J. K. Harry Potter and the Chamber of Secrets, first edition, first impression, London: Bloomsbury, 1998, paperback, full number line, "10 9 8 7 6 5 4 3 2 1". A good, clean example, some toning to page edges, a couple of very light creases to covers and incredibly faint fold-lines to some page corners, very slight wear to extreme corners & edges
Lot 78
Rowling, J. K. Harry Potter and the Chamber of Secrets, first edition, first issue, London: Bloomsbury, 1998, hardback. Contents very good, clean, bright, a few incredibly pale marks to margins in places, binding tight & solid, slight shelf-lean, boards well-preserved, bold & vibrant, unclipped dust-jacket faded at spine, otherwise well-preserved with only faint bumping at extremities. Together with Harry Potter and the Prisoner of Azkaban, first edition, second issue, London: Bloomsbury, 1999, hardback, internally very good & bright with some pale spotting in places (most pronounced at title & endleaves), binding tight & solid with slight shelf-lean, boards vibrant, price-clipped d.j. faded at spine, slight bumping at extremities (2)
Lot 79
Dickens, Charles. The Posthumous Papers of the Pickwick Club, first edition, London: Chapman & Hall, 1837. Illustrated with 75 engraved plates by R. Seymour, R.W. Buss, Hablot K. Browne, and Thomas Onwhyn. Octavo, half-calf, loosely-inserted autograph letter signed by ex-Lord Mayor of London, Cuthbert Ackroyd (for content see below), plus loose bookplate of B. B. Ackroyd. Bound from the original parts with characteristic stab-holes to gutters and therefore mixed issue points, notably: title dated 1837; title reads 'Weller'; many plates with page numbers only; Buss plates present facing p. 69 & 74; 'Chapter III' and signature 'E' present on both p. 25 & p. 27. Contents well-preserved, clean, bright, a few pale marks in places, the plates generally very well-preserved & bright with some discolouration around edges of margins, discolouration & slight wear to edges of pictorial titles, binding tight & square with wear to corners/edges, slight splitting to upper board, 19th-century clipping relating to 'a Dickens curiosity' sold at auction on front pastedown, binder's ticket for J. Aston & Co., StrandThe loosely-inserted letter, which is headed Little Oakwood, Chislehurst, 10 November 1935, reads: 'Dear Mr Shearer, Herewith the 'Pickwick' 1st Edition which J Bumpus Ltd expert values at £8 under the Hammer. I am pleased for you to have it. I enclose a catalogue of my father's Books (some of them) which are being sold on Thursday & Friday - you may see something among them you want & if you can to write Hodgsons or myself with any modest limits I expect you could have them as they are non too good with the Booksellers who have got most of them. I am not selling the Private Press Books yet (some 300) - will advise you what there are - such as Nonesuch Ashendene etc before I part with them. With kindest regards to the family & with Best Wishes, Yours sincerely, Cuthbert Ackroyd, What about that lunch with GC? at the R- Club.'
Lot 81
Johnston, Alexander Keith. The National Atlas, Edinburgh: John Johnstone and W. & A. K. Johnston, 1847. Folio, half crushed morocco, 46 double-page, hand-coloured, steel-engraved maps. The maps are very good & bright, some faint spotting in places, binding good & solid with some discolouration & wear to extremities
Lot 95
Rowling, J. K. Harry Potter and the Philosopher's Stone, first edition, first issue, London: Bloomsbury, 1997, paperback, print line on copyright page reads '10 9 8 7 6 5 4 3 2 1'; '1 wand' appears twice on p.53; 'Philosopher's' is misspelled 'Philospher's' to rear cover; 'Wizardry and Witchcraft' [rather than 'Witchcraft and Wizardry'] to rear cover. Contents generally good with usual toning around page edges, some pale spots & marks in places, light fold-lines to some page corners, pp.103-106 trimmed along margin but not affecting text (vendor is confident this was always the case and perhaps a fault from new), binding good & square, light creasing to covers, faded around spine, slight wear to corners/extremities, 6mm split to upper rear joint
Lot 96
Rowling, J. K. Harry Potter and the Chamber of Secrets, first edition, first issue, London: Bloomsbury, 1998, hardback, publisher's pictorial boards with unclipped dust-jacket, print line reads '10 9 8 7 6 5 4 3 2 1'. Contents good & bright with a few very pale marks in places, some pale spotting & discolouration to edges of text-block, owner inscription of ffep & title, boards bold & vibrant, light bumping around headcaps, slight shelf-lean, dust-jacket with light creasing and fading around spine
Lot 97
Rowling, J. K. Harry Potter and the Chamber of Secrets, first deluxe edition, fourth issue, signed by the cast of the film, London: Bloomsbury, 1999, publisher's blue cloth, all edges gilt. Signed by the following: Chris Columbus [director]; Daniel Radcliffe [Harry Potter]; Rupert Grint [Ron Weasley]; Emma Watson [Hermione Granger]; Richard Harris [Albus Dumbledore]; Maggie Smith [Minerva McGonagall]; Alan Rickman [Severus Snape]; Robbie Coltrane [Rubeus Hagrid]; David Bradley [Argus Filch]; Tom Felton [Draco Malfoy]; Jamie Waylett [Vincent Crabbe]; Matthew Lewis [Neville Longbottom]; Devon Murray [Seamus Finnigan]; Sean Biggerstaff [Oliver Wood]; Emily Dale [Katie Bell]; Danielle Tabor [Angelina Johnson]; James Phelps [Fred Weasley]; Oliver Phelps [George Weasley]; Alfred Enoch [Dean Thomas]; Edward Randell [Justin Finch-Fletchley]; Hugh Mitchell [Colin Creevey]; Louis Doyle [Ernie Macmillan]; Helen Stuart [Millicent Bulstrode]; Jamie Yeates [Marcus Flint]; Rochelle Douglas [Alicia Spinnet]; Charlotte Skeoch [Hannah Abbott]; David Churchyard [Slytherin Keeper], and Scot Fearn [Adrian Pucey]. Contents good, clean, bright, appears unread, binding tight & square, cloth well-preserved with some light rubbing to boards & extremitiesProvenance: Signed on set, obtained by a chaperone for one of the leading child actors who was an acquaintance of the vendor
Lot 122
An 18 Carat White Gold Diamond Eternity Ring, finger size M1/2NB: One diamond deficient.The ring is in poor condition, one diamond is lacking and chips evident throughout, the approximate qualities of the diamonds are, carat weight- 0.45, colour I/J/K, clarity, SI2/I1/I2, Gross weight 3.3 grams.
Lot 90
dating: 1813 provenance: France, Wide, curved, single-and-false-edged blade, with wide fuller and short tang, the base with three marks 'L' (Lobstein from 1804), 'B' (Bick from 1809) and 'K''(Kranz from 1812). The back with Klingenthal marking from June 1813 (not entirely legible). One-quillon, brass hilt with sheath-guard wings and long cap, remains of Versailles marking. Leather-covered grip with brass wire binding. Wooden scabbard with brass mounts, the openings lined with leather. Two suspension rings and iron drag. length 101.3 cm.
Lot 231
Karel Dujardin (1626-1678) - Two Muleteers in a landscape Two Muleteers. Landscape with a man in central foreground and driving two mules and some goats towards the right, a tree growing slantwise from right to left in right foreground, an escarpment above a river at centre with a second muleteer and two mules heading left, mountains rise in the distance; second state with at top right: "K. DV. IARDIN. / 1656 fe". With the number 20 in the lower right corner.1659 14,20 x 17,80 cm Good impression on laid paper with full plate border and tread margins. No folds, tears or stains. Bartsch / Le Peintre graveur (1.177.22) --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (21.II) Etching 1656
Lot 4
Master of Delft - Judgement of Christ, Judas hanged / Description: Full page incunabula woodcut from Ludolphus de Saxonia, "Dit es dleué our love, lords ihesu christi". Anonymous Dutch translation. Published by Henrick Eckert van Homberch in Antwerp in 1503. Botke, K. These 113 woodcuts, which have mostly been used in early Dutch books, are attributed to the second Master of Delft, the Master of the Delbecq-Schreiber passion and the Master of the Virgo inter Virgines. This woodcut was already used in earlier editions before 1500. / Dimensions: 19,00 x 15,00 cm / Condition: Excellent condition. / Literature: Conway (1884) and in "The guilder compass" (1951). Botke, K. --- Prof. Henri Defoer, history of the woodcuts from the Ludolphus editions. ( Jaarboek voor Nederlandse boekgeschiedenis 24/2017) / Medium: woodcut /Circa: 1480-1503
Lot 423
Jugendstil - Divéky, József - - Heinrich Heine. Der Doktor Faust. Ein Tanzpoem, nebst kuriosen Berichten über Teufel, Hexen und Dichtkunst 1847. Mit Frontispiz, 10 ganzs. Illustrationen, 7 Initialen und 3 Vignetten, je in Pochoir-Kolorit, nach Vorlagen von J. v. Divéky. Berlin, Morawe & Scheffelt, 1912. 8°. HPgt. d. Zt. mit goldgepr. DTitel, Rohseidenbezügen, gestickten Bordüren, Kopfgoldschnitt und Buntpapiervorsätzen (leicht fleckig und berieben, vorderer Vorsatz mit Einriss). Sennewald 12,3. - Eines von 400 nummerierten Exemplaren. - Die wundervollen Jugendstil-Tafeln als Doppelseiten konzipiert. - József Divéky (1887-1951) war ein ungarischer Grafiker und Designer, der der Wiener Werkstätte angehörte. - Mit dem Beiheft: "Nachwort von K. G. Wendriner". - Gutes Exemplar, Farben leuchtend. With frontispiece, 10 full-page illustrations, 7 initials and 3 vignettes, each in pochoir colouring, after designs by J. v. Divéky. Publisher's half vellum with gilt spine title, raw silk covers, embroidered borders, top gilt edge and coloured paper endpapers (slightly stained and rubbed, front endpaper with tear). - One of 400 numbered copies. - The wonderful art nouveau plates designed as double pages. - József Divéky (1887-1951) was a Hungarian graphic artist and designer who belonged to the Wiener Werkstätte. - With the supplement. - Good copy, colours bright.
Lot 269
Lazarus Goldschmidt. Der Babylonische Talmud mit Einschluß der vollständigen Misnah. Herausgegeben nach der ersten zensurfreien Bombergschen Ausgabe (Venedig 1520-23), nebst Varianten der späteren, von S. Lorja, J. Berlin, J. Sirkes u.a. revidirten Ausgaben und der Münchener Talmudhandschrift, möglichst sinn- und wortgetreu übersetzt und mit kurzen Erklärungen versehen. 9 Bände. Berlin, Calvary u. Leipzig, Harrassowitz u. Haag, Nijhoff (Bd. 9), 1899-1935. 4°. HLdrbde. d. Zt. mit verg. RTitel (teils etwas berieben, Bezug teils verblichen, Bd. 9 im Stil der anderen Bde. gebd.) Erste vollständige deutsche Übertragung, einzige Gesamtausgabe in deutscher Übersetzung. - Jud. Lex. IV/2, 855 - Die seit 1896 von Lazarus Goldschmidt hrsg. Talmud-Ausgabe mit revidiertem hebraischen Text u. deutscher Übertragung blieb unvollendet (vgl. MNE II, 281). - Die Übertragung basiert auf der ersten vollständig gedruckten Ausgabe von D. Bomberg, Venedig 1520-23. - "Der Orientalist und Gelehrte des Judentums Lazarus Goldschmidt, eigentlich Elieser ben Gabriel (1871-1950), "hat sich besonders durch seine Talmud-Ausgabe und deren deutsche Übersetzung verdient gemacht, die erste, die durch eine Einzelperson erstellt und ohne Subvention durchgeführt wurde" (Herlitz-K II, 1189). Sie kostete bei Erscheinen pro Band 125 Mark (ein kleines Vermögen) und war mit den vorliegenden 8 Bänden abgeschlossen". Diese Ausgabe wurde schließlich bis 1936 um weitere Teile des Talmuds ergänzt. - Mischausgabe aus der 1. und 2. Auflage, mit dem bei Nijhoff 1935 erschienenen Band 9. - Teils etwas fleckig, 2 Titelbll. gelockert, insgesamt gutes Exemplar. First complete German transmission, only complete edition in German translation. - Mixed edition of the first and second editions in 8 volumes, supplemented by vol. 9, published by Nijhoff in Haag in 1935. 4°. Cont. half-leather bindings, partly somewhat rubbed, covers partly faded, vol. 9 bound in the style of the other volumes. Partly somewhat spotted, 2 title-pages loosened, overall a good copy.
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