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Lot 9
Architecture.- Serlio (Sebastiano) Il terzo libro...nel qual si figurano, e descrivono le antiquita di Roma..., Venice, Francesco Marcolini, 1540; Regole generali di architettura, Venice, Francesco Marcolini, 1540, together 2 works in 1, first work collation: A2, B-V4, lacking H1 and H4, probably replaced by the first recorded owner with leaves from an ordinary copy, also lacking R2 and R3, supplied with two manuscript leaves, printed on blue paper, Roman and italic type, woodcut title, printer's device and colophon framed by cartouche on verso of final leaf, 120 woodcuts, including 32 full-page and 4 double-page, woodcut animated initials throughout, second work collation: A-T4, lacking B1, supplied with a manuscript leaf, Roman and italic type, woodcut architectural title, printer's device and colophon framed by a cartouche on verso of final leaf, 126 woodcuts, including 56 full-page and 6 plates on 3 leaves (fols. S4-T2), woodcut animated initials throughout, both works printed on blue paper, a few repairs and some ink stains, 18th-century brown half morocco, folio (342 x 240mm.)⁂ Serlio's monumental work represents the first treatise on architecture in which the illustrations assumed primary importance, leading to its becoming one of the most important architectural books to disseminate knowledge of antique heritage and invention throughout Europe during the Italian Renaissance. This copy, printed on blue paper, contains the first edition of Book iii and is followed by the second edition of Book iv, which originally appeared in Venice in 1537. The work is made up of seven Books, which were published separately according to an order explained by Serlio in his preface to Book iv, although in reality the order was only partially followed. Book iii, on ancient monuments, is dedicated to the King of France, François I, and appeared in Venice in 1540, while Books i and ii, on geometry and perspective, respectively, were published simultaneously in bilingual Italian-French editions in Paris in 1545, after Serlio's move to Fontainebleau. Book v, containing twelve temple designs, followed in 1547; it was the last to be published during Serlio's lifetime, once again in Paris in a bilingual version. Book vi, on domestic architecture, was never published, and survives only in two manuscript versions and a series of trial woodcuts. Finally, Book vii was edited posthumously by Jacopo Strada and published in Frankfurt in 1575. By the early 17th century, Serlio's treatise and its various parts, had been translated into several languages, some as unauthorised editions. Book iii is especially important, and the layout Serlio adopted for it, with its well-balanced blocks of text and images, was later copied by Palladio in his Quattro Libri dell'Architettura of 1570. "The first genuine advance in architectural illustration seems to have been made by Serlio, and his Libro Terzo set the type of architectural illustration in Italy for the rest of the Century" (Fowler). The printer Marcolini, born in Forlì and active in Venice until 1559, issued a handful of copies of his editions published between 1539 and 1540 on large blue paper as presentation or special copies, including Serlio's Book iii and Book iv. These were intended for patrons or very distinguished clientele, as the copy on blue paper of both Books, bound together as they are here, once owned by the Prince of Bibliophiles Jean Grolier (1479-1565) and now in the Bibliothèque nationale de France well attests. The Walters Art Gallery in Baltimore has a copy of each of these Books, while a copy of Book iii only is preserved at the Metropolitan Museum of Art in New York, bequeathed by the great collector W. Gedney Beatty (1869-1942). Copies printed on blue paper of the other Books belonging to Serlio's 'architectural encyclopedia' are not recorded. The early owner of this volume might be identified as the Bolognese antiquarian Francesco Bartoli (1675-1733), who drew numerous copies after antiques, and played a notable role in the reception of the classical tradition during the eighteenth-century, particularly in Britain. It is also likewise possible to attribute to his hand the finely drawn leaves on white paper which replace those lacking on blue paper. Some of Bartoli's drawings preserved in the Eton College Library show plans and decorative elements featured by Serlio in his Book iii, relating to, among other things, the Tempio di Bacco and the decorative mosaics in the vaulting of the Roman Church of S. Costanza, considered by Serlio the ancient Temple of Baccus (see Il terzo libro, fols. C4v-D1r). Provenance: Francesco Bartoli, possibly the Bolognese antiquarian (1675-1733; early ownership inscription on the first title and margins of fol. V3 in first work as well as fol. A4v of second work, partially legible under UV lamp). The marginalia as well as the drawings that replace the missing leaves are attributed to the skilled hand of this early owner. Literature: Casali Annali, 51; Mortimer Italian, 472; Berlin Katalog 2560; Fowler 308; RIBA 2968 and 2966. II. Casali Annali, 52; Charvet 2; Fowler 314; W. B. Dinsmoor, "The Literary Remains of Sebastiano Serlio", The Art Bulletin, 24 (1942), esp. pp. 64-68; L. Gwynn - A. Aymonino (eds.), Paper Palaces. The Topham Collection as a Source for British Neoclassicism, Eton 2013, esp. pp. 22-39.
Lot 1255
JEAN LUCE(1895-1964)TISCHLAMPE, um 1930.Braunes Glas, geätzt mit geometrischem Dekor. Montiert mit weissem Glasschirm.Boden mit geätzter Signatur. H. 61 cm. JEAN LUCE(1895-1964)TABLE LAMP, ca. 1930.Brown glass, etched with a geometric decoration. White glass shade, mounted.Bottom, with etched signature. H 61 cm.
Lot 1256
JULES LELEU, zugeschrieben(1883-1961)STEHLAMPE, um 1925.Palisanderfuss mit Stoffschirm.H. 172 cm.Lit. Viviane Jutheau, Jules et André Leleu, S. 93 JULES LELEU, Attributed to(1883-1961)FLOOR LAMP, ca. 1925.Rosewood base. Fabric shade.H 172 cm.Literature: Viviane Jutheau, Jules et André Leleu, p. 93.
Lot 1257
JULES LELEU(1883-1961)STEHLAMPE, um 1925.Schirm in Metall vernickelt mit Fuss in Kirschbaum.Signiert auf Plaquette. H. 173 cm.Lit. Viviane Jutheau, Jules et André Leleu, S. 94 JULES LELEU(1883-1961)FLOOR LAMP, ca. 1925.Shade in nickel-plated metal. Cherrywood foot.Signed on plate. H 173 cm.Literature: Viviane Jutheau, Jules et André Leleu, p. 94.
Lot 164
Eastern Horn posy vase with embossed white metal mounts, pair of brass 'The King of Diamonds' candlesticks, 19th century brass candlestick lamp, folding dressing table mirror with needlework panel, Indian porcupine quill box, the interior inscribed Matara, L22cm, a similar quill box and a oval brass flower impressed mould (8) - Condition Report
Lot 79
THIRTEEN VARIOUS OPAQUE GLASS OIL LAMP SHADES including two amber cased and two green cased examples Condition Report : all good condition, no chips Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 80
A LATE VICTORIAN/EDWARDIAN OIL LAMP BASE with cut glass reservoir of lobed form, on brass column with hexagonal base, 41cm high Condition Report : good condition, glass is good. Brass ware is dull but would polish well. Loaded cast iron base, good weight. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 81
A LATE VICTORIAN/EDWARDIAN OIL LAMP BASE the opaque glass reservoir with moulded decoration, on brass reeded column with stepped square base, 41cm high Condition Report : dirty, but no condition isues Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 82
AN EDWARDIAN CHROME PLATED ADJUSTABLE STUDENTS LAMP 54cm high overall Condition Report : chrome a little pitted in places and some wear, but would probably polish up quite well, adjustment screw working well. Converted to electricity but not sold as a working item - to be rewired. Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 83
A CRANBERRY GLASS OIL LAMP SHADE with acid etched foliate decoration, 16.5cm high, 18cm diameter at rim, 10cm diameter at collar; a coloured and clear glass oil lamp shade 17cm high, 20.5cm diameter at frilled rim, 10cm diameter at collar, and another clear glass lamp shade with acid etched decoration 18.5cm high, 10cm diameter at collar (3) Condition Report : all in good condition, no chips or cracks Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
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307207 item(s)/page