Joachim Ringelnatz. Janmaate. Topplastige Lieder. Mit 1 signierten Orig.-Lithographie von Rudolf Grossmann und 8 signierten kolorierten OKaltnadelradierungen von Max Pretzfelder. Berlin, Otto Holten für Galerie Flechtheim, 1922. 20 nn. Bll. (die ersten 2 weiss). Fol. Beigefarbene OSeide mit goldgepr. Deckelvignette und rückseitigem Signet, mit Kopfgoldschnitt, in OUmschlag in OHLeinenkassette (40,3 x 30,5 cm) (diese etw. fleckig, bestoßen u. mit kl. Reparaturen, der OUmschlag etw. lichtrandig). Erste Ausgabe - Wilpert/G.² 14; Kayser/Des Coudres 18; Schauer II, 118; Hayn/Gotendorf IX, 493; Rodenberg 19. - Eines von 50 num. Exemplaren auf Bütten, im Druckvermerk von Ringelnatz und Pretzfelder signiert. - 19. Druck des Verlages der Galerie Flechtheim. - Text in Leibniz-Fraktur, Druck des Textes bei O. von Holten, Berlin. Druck der Lithographie bei H. Birkholz und der Radierungen bei A. Ruckenbrod. - Die Lithographie von Rudolf Grossmann ein Porträt des Schriftstellers Ringelnatz. Grossmann war Mitglied der Berliner Sezession. Er übernahm 1929 einen Lehrauftrag an der Staatlichen Kunstschule in Berlin. - Die Radierungen von Max Pretzfelder, Maler, Radierer und Film-Kostümbildner. - Dreiseitig unbeschnittenes Exemplar in tadellosem Zustand, die Radierungen gratig in zartem Kolorit. With 1 signed original lithograph by Rudolf Grossmann and 8 signed colored dry-point etchings by Max Pretzfelder. Beige orig. silk with gold-stamped vignette on cover and signet on verso, with gilt top edge, in orig. wrapper and orig. half cloth case (40.3 x 30.5 cm) (which is somewhat stained, bumped and with small repairs, the wrapper slighty light-margined). - First edition - One of 50 numbered copies on laid paper, signed by Ringelnatz and Pretzfelder in the imprint. - 19th printing of the Flechtheim Gallery. - Text in Leibniz gothic type, printing of the text by O. von Holten, Berlin. Lithography printed by H. Birkholz and etchings by A. Ruckenbrod. - The lithograph by Rudolf Grossmann a portrait of the writer Ringelnatz. Grossmann was a member of the Berlin Secession. He took a teaching position at the State Art School in Berlin in 1929. - The etchings by Max Pretzfelder, painter, engraver and film costume designer. - Untrimmed copy in near mint condition, the etchings in delicate coloring.
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Corinth, Lovis - - Jonathan Swift. Gullivers Reise ins Land der Riesen. Eine Reise nach Broddingnag. Mit 25 (10 blattgr.) Original-Lithographien sowie 1 sign. Orig.-Radierung von Lovis Corinth. Berlin, Propyläen-Verlag, 1922. 75 S., 2 Bll. Folio. Roter OHMaroquin mit goldgepräg. verziertem Rücken u. Deckeltitel u. Kopfgoldschn. (etwas lichtrandig). Schauer II, 87. - Müller 641-666. - Eins von 200 Exemplaren der Vorzugsausgabe (ges. 400) mit der zusätzl. sign. Original-Radierung auf Kaiserlich-Japan, Druckvermerk von Corinth signiert. - Titelbl. mit kl. Fleck, insgesamt schönes Exemplar der Vorzugsausgabe. With 25 (10 sheet-size) original lithographs and 1 sign. original etching by Lovis Corinth. Red original half morocco with gold-stamped spine and cover title and gilt top edges (some light margins). - One of 200 copies of the special edition (total 400) with the additional sign. original etching on Imperial Japan, printing note signed by Corinth. - Title page with small spot, overall fine copy of the special edition.
Joan Miró. (1893 Montroig - 1983 Mallorca). Les essències de la terra per Miró. 1968. Mit 14 blatt- und doppelblattgroßen, teils (Farb-) Lithographien. Je auf chamoisfarbenem GVA Pro Bütten. Blattmaße von 49 x 37,3 cm bis 49 x 74,5 cm. Im Druckvermerk von Miro signiert. Lose Doppelblätter in illustriertem Originalumschlag und Leinenkassette. - Kassette ausgeblichen und mit Lagerspuren. Die Graphiken vereinzelt mit kleinen, leichten Braunflecken und teils minimalen Anschmutzungen. Insgesamt in gutem Zustand. Die Abzüge kontrastreich und satt. Cramer, 120. - Die prächtigen Illustrationen im Stil der Abstraction Lyrique entstanden nach Zeichnungen Mirós zu acht alten katalanischen Texten. Die Mappe enthält sowohl diese Texte als auch die Ode auf Miró von Juan Perucho. Les essències de la terra per Miró. With 14 sheet- and double-sheet-sized, partly (colour) lithographs. Each on buff GVA Pro laid paper. Signed by Miro in the printing note. Loose double sheets in illustrated original envelope and linen case. - Cassette faded and with traces of storage. The prints sporadically with small, light brown spots and partly with minimal soiling. Overall in good condition. The prints rich in contrast and luscious. - The magnificent illustrations in the style of Abstraction Lyrique were created from drawings by Miró to eight old Catalan texts. The portfolio contains these texts as well as the Ode to Miró by Juan Perucho.
Carl Emil Uphoff. Adam und Eva. Mit 15 (8 signierten) kolorierten Original-Radierungen und Aquatinten von C. E. Uphoff. Gedr. und hrsg. durch die Werkgemeinschaft Worpswede. Berlin, Grimm und Rogowski, 1921. 15 unpag. Bll. Quer Fol. OPgt. mit goldgepr. DVignette in privater Lwd. Kassette mit goldgepr. RTitel (materialbedingt fleckig, der VDeckel etw. aufgebogen). Rodenberg 137. Lang, Expr. 354. Kat. Lindenau-Museum, Altenburg 4719-4733. Äußerst seltene Publikation - Eines von 110 handschriftlich nummerierten und im Druckvermerk signierten Exemplare. - Die erste Publikation der Werkgemeinschaft "Das neue Worpswede", einer Privatpresse, die von den in der Künstlerkolonie Worpswede wirkenden Künstlern Carl Emil u. Fritz Uphoff sowie Ludwig Tügel gegründet wurde. Worpswede wurde zur Heimat bedeutender Künstler des Jugendstils, Impressionismus und des Expressionismus. Viele Kunstschaffende flüchteten aus der Stadt in die Künstlerkolonie auf der Suche nach ländlichen Motiven oder romantische Sehnsüchte nach bäuerlicher Idylle und einem einfachen, naturnahen Leben verfolgend. Die Künstler Uphoff und Tügel gehen mit der Publikation insbesondere dem Wunsch nach, die Buchkunst als eine Einheit von Text und Illustration durch Anwendung derselben Technik wiederaufleben zu lassen. - Die Folge besteht aus einer Eingangsvignette, einem sign. Titel, 6 sign. Graphiken und 6 rad. Textbll. (jeweils mit Vignette) und einem sign. Druckvermerk. -- Im Vorsatz mit hs. Annotationen in Bleistift, papierbedingt sehr zart u. gleichmäßig gebräunt, im oberen Rand mit durchgehendem kl. Wasserschaden (Motive nicht betroffen), durchgehend etw. lichtrandig, insgesamt eine sehr seltene und wohlerhaltene Publikation mit filigranen handkolorierten Radierungen. With 15 (8 signed) coloured original etchings and aquatints by C. E. Uphoff. Original vellum with gilt cover vignette in private linen case with gilt title on spine (stained due to material, cover somewhat opened). - Extremely rare publication - one of 110 hand-numbered copies signed in the printer's note. - The first publication of the Werkgemeinschaft "Das neue Worpswede", a private press founded by the artists Carl Emil and Fritz Uphoff and Ludwig Tügel, who were active in the artists' colony of Worpswede. Worpswede became the home of important artists of Art Nouveau, Impressionism and Expressionism. Many artists fled from the city to the artists' colony in search of rural motifs or to pursue romantic longings for a rural idyll and a simple life close to nature. With this publication, the artists Uphoff and Tügel particularly pursue the desire to revive book art as a unity of text and illustration by applying the same technique. - The series consists of an initial vignette, a signed title, 6 sign. etchings and 6 etched texts (each with vignette) and a signed printer's note. -- Annotations in pencil in the endpapers, paper very delicately and evenly browned, upper margin with small water damage throughout (motifs not affected), light margins throughout, overall a very rare and well-preserved publication with delicate hand-coloured etchings.
Art Déco - - Sammlung von 120 Original-Entwürfen für kunstvolle Monogramm-Vignetten im Stil des Art Nouveau und Art Déco. Vermutlich Frankreich, um 1920. Feder und Deckweiß auf festem, dunklen Papier. Gezeichnet auf 24 Albumseiten, je unter dekorativem Schutzhemdchen. Folio. In Lwd.-Album d. Zt. Die umfangreiche Sammlung zeigt überaus kunstfertig ausgearbeitete Entwürfe für Monogramm-Vignetten, welche durch die Verwendung von Deckweiß und Feder und den somit entstehenden Hell-Dunkel-Kontrast stark plastisch wirken. Der anonyme Urheber bediente sich sowohl des stylistischen Vokabulars des Jugendstils mit seinen eleganten Kurven, langgeschwungenen Linien und vegetabilen Elementen als auch strenger geometrischer Formen wie sie im aufkommenden Art Déco zu finden sind. Auf jeder Albumseite befinden sich zwischen vier und sieben verschiedene Entwürfe in unterschiedlichen Größen, je mit einer handschriftlichen Inventar-Nummer versehen. - Einige wenige Entwürfe minimal atelierspurig und berieben. Insgesamt sehr gut erhalten. Art Nouveau - Art Déco - Collection of 120 original designs for artistic monogram vignettes in the style of Art Nouveau and Art Déco. Probably France, around 1920. Pen and opaque white on strong, dark paper. Drawn on 24 album pages, each under a decorative protective sleeve. Folio. In contemp. cloth album. - The extensive collection shows very skilfully worked out designs for monogram vignettes, which appear very vivid by the use of opaque white and pen and the resulting light-dark contrast. The anonymous author used both the stylistic vocabulary of Art Nouveau with its elegant curves, long curved lines and vegetal elements as well as strict geometric forms as found in the emerging Art Déco. Each album page contains between four and seven different designs in various sizes, each with a handwritten inventory number. - A few designs minimally studio-marked and rubbed. Overall very well preserved.
Medizin - Psychologie - - Hermann Rorschach. Psychodiagnostik. Tafeln. 10 farbig u. schwarz-weiß bedruckte Tafeln. Bern u. New York, Hans Huber u. Grune Stratton Inc., o.D. Blattmaße je 25 x 19,5 cm. Lose eingelegt in Gr.-8°. OKt. Flügelmappe mit DTitel (etw. lichtrandig, fleckig u. berieben). Tafelband, ohne den Textband. - Die Karten verso je mit datierten Copyright-Aufdrucken von 1921. - Der von dem Schweizer Psychiater entwickelte Rorschach-Test stellt einen projektiven Test zur Psychodiagnostik in der Psychatrie dar. Rorschach interessierte sich bereits länger für die Wahrnehmung von Tintenklecksen und führte hierzu erste Studien durch. Er versuchte beispielsweise festzustellen, ob begabte Schüler mehr Phantasien als nur durchschnittliche Schüler hatten. - Beeinflusst durch die Psychoanalyse werden im Rahmen des Rorschach-Tests von den Probanden 10 verschiedene ein- und mehrfarbige Kleckse gedeutet, was Aufschlüsse über die Persönlichkeit des Patienten geben soll. - Das bedeutende Buch mit dem Portfolio von 10 Tintenkleksen für den Rorschach-Test basiert auf Studien, welche an 300 psychisch erkrankten Menschen sowie 100 gesunden Probanden durchgeführt wurden. - Mit üblichen Nutzungsspuren, die Kanten etw. bestoßen, insgesamt wohlerhalten. Medicine - Psychology - 10 colour and black and white printed plates. Loosely laid in orig. cardboard wing folder with cover title (somewhat light-margined, stained and rubbed). - Plate vol., without the text vol. Set of boards generally known as Rorschach test. - The cards each with dated copyright imprints on verso. Measures 25 x 19.5 cm each. - The Rorschach test, developed by the Swiss psychiatrist, represents a projective test for psychodiagnosis in psychiatry. Rorschach had already been interested in the perception of inkblots for some time and conducted initial studies on this subject. For example, he tried to determine whether highly talented students had more fantasies than just average students. - Influenced by psychoanalysis, the Rorschach test involves test subjects interpreting 10 different single- and multicolored blots, which is supposed to provide information about the patient's personality. - The important book with the portfolio of 10 ink blots for the Rorschach test is based on studies conducted on 300 mentally ill people as well as 100 healthy subjects. - With usual traces of use, the edges slightly bumped, overall in good condition.
Avantgarde - Russische Avantgarde - - Vladimir Lebedev. Russian Placards / Placard Russe 1917-1922. 1st part / Premiere serie. (=Alles Erschienene). Mit 23 ganzseitigen Farblithographien. Petrograd: "Strelec'" fur "Isvestia VCIK" 1923. Titel und Text in Englisch und Französisch, am Schluss russische Zusammenfassung. 6 Bll., 23 Tafeln in Farblithographie mit je 1 Seidenschutzblatt mit englischer und französischer Bildlegende. Roter Ppbd. (hellroter OUmschlag mit montierter farbig lithogr. Deckelillustr. von Lebedev eingebunden) (minimal berieben, OUmschlag minimal mit Schmutzflecken und kleinen Defekten). MoMA 474. - Compton 1917-1934, S. 150. - Die eindrucksvollen konstruktivistischen Farblithographien basieren auf den Entwürfen Lebedevs für die ROSTA-Fenster, den Plakaten der russischen Telegrafen-Agentur, die in einpragsamer Weise tagespolitische Themen verbreiten sollten. Die Motive zeigen arbeitende Menschen, Rotarmisten u.a., aber auch satirische Darstellungen der Bourgeois und der Gegner des Kommunismus. Vor allem die Seidenhemdchen minimal gebräunt bzw. mit Abklatsch. Ansonsten ein gutes Exemplar dieses berühmten Buches. Russian Avantgarde. - With 23 full-page color lithographs. Light red cloth (original cover with mounted colour lithographic cover illustration by Lebedev bound in) (minimally rubbed, orig. cover with minimal dust). - The impressive constructivist color lithographs are based on Lebedev's designs for the ROSTA windows, the posters of the Russian telegraph agency, which were intended to disseminate daily political topics in an engaging manner. The motifs show working people, Red Army soldiers, etc., but also satirical depictions of the bourgeois and opponents of communism. Especially the silk shirts minimally browned or with offsetting. Otherwise a good copy of this famous book.
Napoleonica - - Lithophanie mit Ganzportrait Napoleons in einem Feldlager. 1. Hälfte 19. Jh. Gegossene Biskuit-Porzellanplatte ohne Marke. Ca. 17,5 x 14 cm. Verso geritzt signiert. Gerahmt in hölzernen Biedermeier-Lichtschirm auf 2 Füßen (ca. 34 x 21 cm) (tls. etwas angestaubt). Reliefdarstellung, die bei rückseitiger Beleuchtung den Feldherrn neben einer Kanone sowie im Hintergrund ein Lagerfeuer mit Zelt und einem Soldaten zeigt. - Das Motiv (allerdings ohne Kanone) entspricht dem lithographierten Frontispiz zur 1822-1826 erschienenen Biographie "Vie politique et militaire de Napoleon" von Antoine-Vincent Arnault. - Lithophanien waren im 19. Jahrhundert als Fensterbehang sehr beliebt oder dienten als dekorative Abschirmung von flackernden Lichtquellen. - Insgesamt gut erhalten. Porcelain lithophane with full portrait of Napoleon in a field camp. 1st half 19th cent. Cast bisque porcelain plate without mark. Signed on verso. Framed and set in a wooden Biedermeier light shade on 2 feet (ca. 34 x 21 cm) (partially somewhat dusty). - The commander is depicted next to a cannon, in the background a campfire with tent and soldier. - The motif (without cannon) corresponds to the lithographed frontispiece to the biography "Vie politique et militaire de Napoleon" by Antoine-Vincent Arnault, published in 1822-1826. - Overall well preserved.
GRUPO AUSTRAL (Antoni Bonet, Juan Kurchan and Jorge Ferrari-Hardoy). Argentina, 20th century."Butterfly Chair. Original design from 1938. Edition of the 1970s.Light brown leather and tubular metal.Slight restoration, visible on the back of the seat.Slight damage to the leather.Measurements: 92 x 76 x 67 cm.The BKF chair, also known as "Butterfly", is an iron and leather chair created in Buenos Aires by the Austral Group, composed by Antoni Bonet, Juan Kurchan and Jorge Ferrari. Today it is considered the main symbol of Argentine design, and one of the most celebrated internationally. It was created in 1938, and presented at the Salón de Artistas Decoradores de Buenos Aires in 1940. It was the result of the happy meeting of three young architects who met in Paris, in Le Corbusier's studio. Antonio Bonet, Juan Kurchan and Jorge Ferrari-Hardoy spent a year studying with the master, absorbing his legacy. They were particularly influenced by the book "L'Art Décoratifs d'Aujourd'hui", in which Le Corbusier demolished the idea of decorative art in favour of modern design. In his book, the architect analyses new designs, from furniture and technical objects to mass-produced industrial products and solutions conceived in military contexts that could be transferred to the domestic environment. Upon their return to Argentina, the three young men founded Grupo Austral, a design collective ready to investigate new horizons in architecture. The precedent for the Butterfly chair was the Tripolina: a redesign of a classic piece of military furniture. The three designers studied its potential and redesigned it, improving its features to give it a place of honour in the new domestic environment. They focused on the structure, inspired by the international tubular metal trend of the rationalist movement. The wooden frame with metal joints was replaced by two curved metal elements to create a single loop. The structure is linear, pure and continuous like a Möbius strip. It is versatile, light and stackable like a chair, but also comfortable and spacious like an armchair. The level of comfort it offers is reminiscent of a hammock, the traditional Latin American chair that forms a cocoon-like womb and offers the lightness and cleanliness of a hanging canvas. Today, the Butterfly is still recognised as a modern classic that enjoys universal success.
GIO PONTI (Milan, 1891-1979).Wall lamp "Quadro di luce".Polished brass structure.Handmade, limited and numbered edition, produced by POLLICE ILLUMINAZIONE from original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017.Issue 2016-004/10.With trademark label, Pollice Illuminazione, Milan.Bulbs not included.Measurements: 20 x 80 x 12,5 cm. Sculptural wall lamp with indirect light, handmade, limited and numbered edition, based on the original drawings by Gio Ponti and licensed by Eredi Gio Ponti 2013/2017. Its design is inspired by minimalist sculptures. Like a container of light, it is defined by the rigour of its primary shapes: square, hexagon and rectangle form a harmonious dialogue of lines that effectively organise the light. This product is manufactured using artisanal, non-industrial processes. Small imperfections and uneven surface ageing are deliberately present, which is a specific feature of the product and testifies to its craftsmanship.Architect, designer and academic, Gio Ponti is, together with Ettore Sottsass, the leader of the most sought-after Italian designers of the 20th century by collectors. In addition to the elegance of his furniture, sensitive to functionality, yet original at the same time, Ponti is renowned for his volcanic creativity, which led him to produce and design until the 1970s.His ability to give voice to new trends made him the "inventor" of the Made in Italy design concept.Ponti studied architecture at the Politecnico. After the First World War, in which he had to serve, he worked as artistic director for the respected ceramics manufacturing company Richard-Ginori. Between 1923 and 1927 he teamed up with architects Mino Fiocchi and Emilio Lancia, opening his own studio in 1928, and founded the famous design magazine Domus, through whose pages (and those of Lo Stile, a magazine he would found and edit in the 1940s) Ponti influenced international design tastes for over fifty years. Around 1933, Ponti teamed up with engineers Antonio Fornaroli and Eugenio Soncini to create the Ponti-Fornaroli-Soncini studio, which firmly embraced the modernist aesthetic and worked until 1945. In 1950, Ponti was commissioned to build what would become one of the iconic buildings of the 20th century, the 32-storey Pirelli Tower in Milan.
EERO SAARINEN (Finland, 1910 - United States, 1961).Tulip Table, 1960s.White enamelled metal base and veined marble top.Marks of use on the base, especially noticeable on the shaft.Measurements: 71.5 x 120 cm.Around 1955 Eero Saarinen designed a collection of furniture for Knoll International in which the four legs of the tables and chairs disappeared, as the designer considered them "horrible". This was to become known as the Tulip Collection, now one of the international icons of 20th-century design. The one we present here is a side table model, with a white enamelled metal base and a circular tabletop in light veined marble.Saarinen initially studied sculpture at the Académie de la Grand Chaumière in Paris, and later architecture at Yale University. He then furthered his studies in Europe on a scholarship, and on his return took up a teaching post at Cranbrook Academy, one of the most important architectural and industrial design academies in the United States. In 1937 he began designing furniture in collaboration with Charles Eames, winning the 1940 prize in the "Organic Design in Home Furnishings" competition organised by the Museum of Modern Art in New York. Later, as an independent designer, Saarinen created furniture designs for Knoll International. As an architect, Saarinen became famous for his spaces with curved lines, especially in the roofs of his buildings, with which he managed to give them a great lightness. One of his most representative and well-known buildings is the TWA terminal at J. F. Kennedy Airport in New York. Today, his designs are present in the most important collections around the world, including the MoMA in New York.
KAARE KLINT (Frederiksberg, 1888-Copenhagen, 1954) for RUD RASMUSSEN.Safaristol chair with stool, design 1933.Light ash frame. Upholstery in natural coloured oxhide leather.Purchased in 2011 from the publisher.With slight wear and patina.Measurements: 80/32 cm (height) x 57 cm.Kaare Klint's Safari line of chairs are based on the Indian Roorkhee chairs used by the British military. The designer set out to transform the portable, detachable archetype into a practical design for modern interiors. Considered one of the best exponents of so-called Danish design, Kaare Klint created a simple, natural style based on the use of natural materials, functionality and ergonomics. He used unvarnished wood, leather and undyed fabrics. In 1924 he founded the furniture department of the Danish Academy of Arts, of which he was the first professor. Some of his sources of inspiration were Egyptian and Greek furniture, the Chippendale style of 18th-century England and the furniture of the American Shakers. He was also influenced by contemporary influences, such as Le Corbusier, whose Cowboy chaise longue inspired Klint's 1933 teak lounger. In 1928 he won the Eckersberg Medal and in 1954 the C. F. Hansen Medal.
KAARE KLINT (Frederiksberg, 1888-Copenhagen, 1954) for RUD RASMUSSEN.Safaristol chair with stool, design 1933.Light ash frame. Upholstery in natural coloured oxhide leather.Purchased in 2011 from the publisher.With wear and patina.Measurements: 80/32 cm (height) x 57 cm.Kaare Klint's Safari line of chairs are based on the Indian Roorkhee chairs used by the British military. The designer set out to transform the portable, detachable archetype into a practical design for modern interiors. Considered one of the best exponents of so-called Danish design, Kaare Klint created a simple, natural style based on the use of natural materials, functionality and ergonomics. He used unvarnished wood, leather and undyed fabrics. In 1924 he founded the furniture department of the Danish Academy of Arts, of which he was the first professor. Some of his sources of inspiration were Egyptian and Greek furniture, the Chippendale style of 18th-century England and the furniture of the American Shakers. He was also influenced by contemporary influences, such as Le Corbusier, whose Cowboy chaise longue inspired Klint's 1933 teak lounger. In 1928 he won the Eckersberg Medal and in 1954 the C. F. Hansen Medal.
STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE DORÉTIBET, VERS XVIE SIÈCLE Himalayan Art Resources item no. 205029 12.5 cm (4 7/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF AMITAYUS TIBET, CIRCA 16TH CENTURY 西藏 約十六世紀 銅鎏金無量壽佛像Amitayus, the princely Bodhisattva of Infinite Light, sits cross-legged in dhyanasana on a wide-petal lotus base with a riverine pattern etched around the lower rim. His bare torso is adorned by large insets of turquoise while a voluminous lower garment falls elegantly over his legs and onto the base. Lastly, a diadem framed by small blossoms crowns his forehead and chignon. See another example that shares a type of wide lotus petal and a similar arrangement of jewellery, sold at Sotheby's, New York, 21 March 2019, lot 938.Provenance:Bonhams, London, 5 November 2014, lot 228.For further information on this lot please visit Bonhams.com
NO RESERVE Nightingale (Florence) Notes on Nursing: What It Is, and What It Is Not, first edition, second issue, with "[The right of Translation is reserved]" at foot of title and yellow endpapers with printed advertisements dated 1860, ink signature to head of title, a little spotting or soiling, light water-staining to upper outer corner, original limp cloth, rubbed, rebacked, 8vo, [1860].
NO RESERVE Railways.- Dmitriev-Mamonov (A.I.) & .F.Zdziarski. Guide to the Great Siberian Railway, translated by Miss L.Kukol-Yasnopolsky, revised by John Marshall, first English edition, 2 portraits, 3 phototype plates, one chromolithographed plate heightened with gold, 4 folding maps (3 colour) and 3 town plans, illustrations throughout, a few printed in colour, without advertisements at end, ink signature to head of title, occasional light foxing, Rhidorroch bookplate, contemporary straight-grain morocco, rather rubbed and faded, 8vo, St.Petersburg, Artistic Printing Society, 1900.⁂ Luxurious and comprehensive guide to the newly-built Trans-Siberian railway which connected Moscow with the Far East. The Russian, French and English editions were published simultaneously in 1900.
NO RESERVE London.- Cruchley's New Plan of London in Miniature..., letterpress title, 8pp. index and advertisement leaf, hand-coloured double-page key map and 15 double-page hand-coloured engraved maps numbered 1-30 and pasted back to back in book form, a little browned, especially final double-page, a few short splits to folds, original cloth, yellow paper label to upper cover, lacking spine, covers detached, [c.1830] § Grand Panorama of London (The), from the Thames, long folding wood-engraved map, staining to joints, some splits and fraying to folds, loose in binding, folding concertina style into original cloth, gilt, Charles Evans, [1844] Reynolds & Sons (James) The Oarsman's and Angler's Map of the River Thames from its Source to London Bridge, long folding hand-coloured map mounted on linen, light soiling, one or two splits to folds, folding concertina-style into original cloth, damp-stained, James Reynolds, [1880s], all rubbed or worn; and c.15 others on London, 8vo et infra (c.20)
NO RESERVE Delaroche (Paul) Bas-Reliefs du Parthénon et du Temple de Phigalie, 20 engraved plates, tissue guards, light spotting and soiling, contemporary roan-backed boards, gilt-stamped roan label to upper cvover, rather worn, upper cover detached, Paris, 1838 § Choisy (Auguste) L'Art de Batir chez les Romains, first edition, 24 engraved plates, 3 double-page, the last couple with light marginal spotting or soiling, loose as issued in ?original board folder with ties, rubbed, rebacked in cloth, ties renewed, Paris, 1873; and another, v.s. (3)
NO RESERVE Gibbon (Edward) The History of the Decline and Fall of the Roman Empire, 6 vol., vol. 1 second edition, the rest first editions, one engraved map only (of 3), lacking portrait frontispiece, half-titles and errata, vol. with worming and start, light foxing and browning, bookplates of Sir William Wilson Hunter, later half vellum, spines gilt, spines darkened with some chipping to labels, 4to, W. Strahan; and T. Cadell, 1776-88.
![NO RESERVE [Dubreuil (Jean)] La Perspective Pratique necessaire a tous Peintres, Graveurs, Sculpteurs, Architectes, Orfevres,](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/cd222f82-d1be-47db-a3c7-af6000b99588/468x382.jpg)
NO RESERVE [Dubreuil (Jean)] La Perspective Pratique necessaire a tous Peintres, Graveurs, Sculpteurs, Architectes, Orfevres, Brodeurs, Tapissiers..., Part I only (of 3), first edition, engraved additional pictorial title (bound after letterpress title), fine engraved head-pieces & initials and 150 plates, plates 141 & 142 cancels pasted over previous plates (order reversed), signatures I & Y misbound, light marginal water-staining at beginning and end, a few spots, a good copy in nineteenth century calf-backed boards with green vellum corners, by E.F.Ledoux (signed on spine), spine tooled in gilt and blind, a little rubbed, spine slightly faded, [Berlin Kat. 4714; Fowler 108; cf. Millard French 63, second edition], 4to, Paris, Melchior Tavernier & François l'Anglois, 1642.⁂ Popular and useful work which went through several French and English editions; a second volume was issued in 1647 and a third in 1648-49. Dubreuil's "work on perspective is probably the most influential ever published expressly for the use of a lay audience." (Millard).
![NO RESERVE Water, Drainage & Sanitation.- [Chadwick (Edwin)] Report...from the Poor Law Commissioners, on an Inquiry into](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/ac5bd791-b187-475f-ac8d-af6000b7f73c/468x382.jpg)
NO RESERVE Water, Drainage & Sanitation.- [Chadwick (Edwin)] Report...from the Poor Law Commissioners, on an Inquiry into the Sanitary Condition of the Labouring Population of Great Britain, first edition, 2 folding colour maps, folding table and 16 lithographed plates and plans, some double-page, illustrations, original cloth, a little rubbed, spine faded, [PMM 313], 1842; and 12 others on water, drainage & sanitation, 8vo & 4to (13)⁂ Shocking and influential report on the living conditions of labourers in London and the industrial cities of northern England. "It is one of the most important documents in the history of the first half of the nineteenth century. Its recommendations included for the first time national responsibility for drainage, cleaning of streets, paving, light and water supply, and a national health and burial service. The Health Board of 1848, the Local Government Board of 1871 and today's Ministry of Health (1919) are all directly traceable to Chadwick's report." PMM.
NO RESERVE Benson (E. F.) Spook Stories, scattered foxing, ink ownership inscription to endpaper, original pictorial cloth, light sunning to spine, extremities a little rubbed and marked, [1928] § 50 Years of Ghost Stories, light toning to text margins, original pictorial cloth, light toning to spine, dust-jacket, browning to spine, spine ends and corners chipped with some loss to head of spine, [1935] § Dickinson (William Croft) The Sweet Singers and other remarkable occurrents, illustrations by Joan Hassall, contemporary green morocco, decorated in gilt, light sunning to spine, 1953, first editions; and c.40 others, horror and supernatural, 8vo (c.45)
NO RESERVE Doyle (Sir Arthur Conan) The Adventures of Sherlock Holmes, third edition, light foxing, hinges weak, spine darkened, joints split, spine and and corners worn and frayed, rubbing and surface soiling, 1894; The Memoirs of Sherlock Holmes, first edition, ink gift inscription to half-title, front free endpaper detached, lower hinge broken, bookplate to front pastedown, splitting to joints, spine ends and corners worn and frayed, covers and spine rubbed and darkened, 1894, illustrations by Sydney Paget, original pictorial cloth; and c.110 others, similar, detective, adventure and children's 8vo (c.110)
NO RESERVE Freeman (R. Austin) The Shadow of the Wolf, scattered foxing, ink ownership inscription to front pastedown, slight shelf-lean, light sunning to spine, slight bumping to spine tips and corners, [1925]; The Surprising Experiences of Mr. Shuttlebury Cobb, frontispiece, light spotting, slight shelf-lean, light bumping to spine tips and corners, [1927], first editions, original cloth, excellent copies; and 24 others by the same, 8vo (26)
NO RESERVE James (M.R.) A Thin Ghost and others, first edition, very light browning to endpapers, original pictorial cloth, slight bumping to spine tips and corners, light rubbing to extremities, a bright and excellent copy generally, 8vo, 1919.⁂ James' third collection of ghost stories, hard to find in good condition.
NO RESERVE James (M.R.) Ghost Stories of an Antiquary, third impression, frontispiece and three plates by James McBride, spotting, light browning and ownership inscriptions to endpapers, original oatmeal cloth, light browning to spine, spine tips and lower joint a little frayed, light surface soiling, 1906; and 7 others, James, 8vo (8)
NO RESERVE Keynes (John Maynard) How to Pay for the War, occasional ink notes to margins, ink ownership inscription to endpaper, light creasing and sunning to spine, 1940; Two Memoirs, light sunning to spine, 1949, first editions, original cloth or boards; and 18 others, Keynes and Bertrand Russell, 8vo (20)
NO RESERVE Kipling (Rudyard) Kim, frontispiece, spine slightly darkened, light bumping to spine tips and corners, an excellent copy, 1901 § Sassoon (Siegfried) The Old Century and seven more years, bookplate to front free endpaper, slight shelf-lean, dust-jacket, spine browned, spine ends and corners chipped, chipping and fraying to head and foot, 1938, first editions, original cloth or boards; and c.150 others, literature, 8vo (c.150)
NO RESERVE Monro (H. H.), "Saki". When William Came, foxing, ink ownership inscription to endpaper, shelf-lean, spine faded, splitting to joints, library label removed from upper cover, fraying to spine ends and corners, 1914; Beasts and Super Beasts, light spotting, short splits to spine ends, slight fraying to corners, light rubbing, 1914; The Square Egg, frontispiece, light browning to endpapers, very short split to head of spine, light sunning to spine, 1924, first editions, original cloth; and 4 others, Saki, 8vo (7)
NO RESERVE Fréart (Roland, Sieur de Chambray) A Parallel of the Ancient Architecture with the Modern, translated by John Evelyn, 2 parts in 1, fourth edition, title in red & black with woodcut vignette, 40 full-page engraved illustrations, some other smaller engraved illustrations and head- & tail-pieces, title lightly soiled and laid down, F1 stained, p.69 soiled and torn at lower edge affecting foot of image, modern half calf, green morocco label, [Harris 236; cf.Fowler 128 & 130 and Millard British 19, 1664 & 1707 editions], by T.W. for J. Walthoe [& others], 1733 § Halfpenny (William) Practical Architecture... or a sure guide to the Rules...representing the Five Orders, fifth edition, engraved throughout with title, dedication, Preface and 48 plates and tables of measurements, some light browning, plate 4 with contemporary ink measurements added and with measurement rule drawn onto front free endpaper, old inscription to front pastedown partly erased, contemporary calf, gilt, rubbed, rebacked preserving old spine and repaired, [Harris 309; Millard British 28], Tho: Bowles [& others], 1736; folio & 8vo (2)⁂ The second is a reissue of Halfpenny's first book, a useful builder's pocketbook first published in 1724. Halfpenny was the first architectural writer to translate the modular proportions of the orders according to Palladio into feet and inches.
NO RESERVE Bibliography.- Hobson (Anthony) Humanists and Bookbinders: The Origins and Diffusion of the Humanistic Bookbinding 1459-1559..., reprint, Cambridge, 1992 § Nixon (Howard M.) Five Centuries of English Bookbinding, reprint, 1979 § Pearson (David) English Bookbinding Styles 1450-1800, London and New Castle, De., 2005 § Middleton (Bernard) A History of English Craft Bookbinding Technique, second edition, 1978 § Ayres (James) The Artist's Craft: A History of Tools, Techniques and Materials, light spotting to title, Oxford, 1985; Art, Artisans & Apprentices: Apprentice Painters and Sculptors in the Early Modern British Tradition, Oxford and Philadelphia, 2014 § Balston (Thomas) William Baslton: Paper Maker 1759-1849, 1954, illustrations, original cloth or boards, all but the third with dust-jackets, the last defective; and c.20 others on bookbinding, papermaking, and artists' crafts, 4to & 8vo (c.25)
NO RESERVE Hitchmough (Wendy) C.F.A. Voysey, 1995 § Soros (Susan Weber) and others. E.W. Godwin: Aesthetic Movement Architect and Designer, New Haven and London, 1999 § Moore (J.N.) F. L. Griggs (1876-1938): The Architecture of Dreams, light damp-staining to upper edge, Oxford, 1999 § Davey (Peter) Arts and Crafts Architecture, 1995 § Brandwood (Geoff) The Architecture of Sharpe, Paley and Austin, 2012 § Service (Alastair) Edwardian Architecture and its Origins, 1975, illustrations, original cloth or boards with dust-jackets; and c.30 others on Edwardian and Arts & Crafts architecture and design, 4to & 8vo (c.35)
NO RESERVE Lutyens (Sir Edwin).- Butler (A.S.G.) and others. The Architecture of Sir Edwin Lutyens, vol.3 only (of 3), 1950 § Hussey (Christopher) The Life of Sir Edwin Lutyens, 1953 § Weaver (Lawrence) Houses & Gardens by Sir Edwin Lutyens, R.A. third impression, 1925 § Jekyll (Gertrude) and Christopher Hussey. Garden Ornament, second edition, light staining to title, 1927 § Jekyll (G.) and Lawrence Weaver. Gardens for Small Country Houses, n.d., plates and illustrations, original cloth (the fourth repaired), the first with dust-jacket, all a little rubbed; and 10 others on Lutyens and Jekyll, v.s. (c.15)
NO RESERVE Marot (Jean) Recueil des Plans Profils et Elevations de plusieurs Palais Chateaux Eglises Sepultres Grotes et Hotels, bâtis dans Paris..., later issue, engraved throughout with title and 120 engraved plates, title with faint contemporary ink inscriptions dated '1720' (partly erased) and light marginal soiling, contemporary mottled calf, spine gilt, rubbed, split to upper joint, slight wear to head of spine, repair to upper cover, [cf.Fowler 193 & Millard French 118], 4to, [Paris], n.d.⁂ Similar to the previous lot but without the plates containing two engravings.
NO RESERVE Meason (Gilbert Laing) On the Landscape Architecture of the Great Painters of Italy, first edition, one of 150 copies, half-title, lithographed vignette title and 55 plates, tissue guards, some light foxing, mostly marginal, original green cloth, red roan label, rubbed, lower cover stained, spine faded, 4to, C.Hullmandel, 1828.⁂ Interesting work on the architecture featuring in paintings by Titian, Poussin, Claude, Veronese, Carracci, Raphael and others.
NO RESERVE Milizia (Francesco) Le Vite de' Piu Celebri Architetti d'Ogni Nazione e d' Ogni Tempo..., first edition, engraved title with large vignette, head-pieces & initials and 6 folding plates, errata leaf, old ink signature to title, light marginal soiling or foxing, contemporary calf, uncut, rather worn, rebacked with red morocco label, corners repaired, 4to, Rome, Paolo Giunchi Komarek, 1768.
NO RESERVE Millar (Andrew) Scumbling & Colour Glazing; A Practical Handbook for House Painters, Coach Painters and Others, second edition, 14 plates of mounted colour paint samples, some glazed (a few with glazing partly lifted), ex-library copy with accession numbers to verso of title and label but no stamps, modern cloth, 1924 § Mitchell (F. Scott) A Few Suggestions for Ornamental Decoration in Painter's and Decorator's Work, plates and illustrations, some colour including some of mounted paint samples, light foxing, original decorated cloth, gilt, a little rubbed, Thos. Parsons and Sons, 1909 § Nicholson (Peter) Mechanical Exercises; or, The Elements and Practice of Carpentry, Joinery, Bricklaying..., first edition, engraved frontispiece and plates, light offsetting, contemporary tree sheep, rubbed, 1812; and c.35 others on houses, decoration, building, etc., 4to & 8vo (c.40)
NO RESERVE Patte (Pierre) Monumens Érigés en France a la Gloire de Louis XV, first edition, engraved title-vignette and head-pieces, woodcut tail-pieces, 57 engraved plates, 17 double-page and 7 folding, privilege/errata leaf at end, title creased, occasional light spotting, mostly marginal, tear (repaired) and small hole to plate V, plate XXIV shaved at edges, one or two slightly frayed at edges, contemporary calf with decorative gilt-roll border, rubbed and scuffed, corners worn, rebacked, red morocco label, new endpapers, [Berlin Kat. 2516; Millard France 130], folio, Paris, the Author, Desaint & Saillant, 1765.⁂ Important work on urban planning in eighteenth century France including proposals for what is now the Place de la Concorde as well as practical concerns such as sanitation and conservation.
NO RESERVE Patte (Pierre) Mémoires sur le Objets les Plus Importans de l'Architecture, half-title, engraved title-vignette, head-piece and 27 plates, all but 2 folding, some light browning, a few spots, [Berlin Kat. 2426; Fowler 242; Millard French 131], Paris, Rozet, 1769; Mémoire sur la Construction de la Coupole, projettée pour couronner la nouvelle église de Sainte Genevieve a Paris, 2 folding engraved plates, the last a little spotted and soiled, Amsterdam, P.Fr.Gueffier, 1770, together 2 works in 1 vol., only editions, modern bookplate, contemporary calf, spine gilt with red morocco label, rubbed, upper cover detached, corners repaired, 4to⁂ The second work is scarce; it questioned the stablility of Soufflot's projected heavy dome for the church of Sainte Genevieve and provoked much argument. Library Hub records only 2 UK copies (BL and V & A), and the BL copy apparently lacks the title.
NO RESERVE Pitrou (Robert) Recueil de Differents Projets d'Architecture de Charpente et autres concernant la Construction des Ponts, edited by Tardif, first edition, engraved throughout with title, dedication, 8pp. text and 35 double-page plates and plans mounted on stubs, 8 also folding, plate XI forming large overlay to plate X, with engraved approbation pasted to p.9, light soiling and staining to title, plate I slightly frayed at lower edge, small scratch to plate XXIII and with border shaved at one side, marginal staining throughout, mostly to lower outer corner, contemporary tree sheep, spine gilt in compartments with urns & lattice and red morocco label, a little rubbed and stained, a few scuffs, some wear to joints, small repairs to spine ends, corners and upper cover, folio, Paris, the Author's widow, 1756.⁂ Competition design project for the Place Louis XV on the Île de la Cité and other schemes in Paris by the Inspecteur Générale des Ponts et Chaussées de France during the 1730s & '40s, edited posthumously by his son-in-law. Pitrou was particularly accomplished in arching.
NO RESERVE Vitruvius Pollio (Marcus) I Dieci Libri dell'Architettura, woodcut architectural title, woodcut historiated initials and numerous illustrations & diagrams, some full-page, a few double-page (2 not included in pagination), some light soiling or staining, title slightly wormed (repaired) and mounted on stub, also final leaf, cropped affecting some head-lines and pagination, a few leaves reinforced at fore-edge, later vellum, spine titled in manuscript, [EDIT 16 CNCE 28880; Fowler 410], 4to (c.230 x 170mm.), Venice, F.Senese & J.Chrieger, 1567.⁂ Second edition of the translation and commentary by Daniele Barbaro with a reduced copy of the title-page border of the Marcolini edition of Venice, 1556.
NO RESERVE Watkin (David) and Tilman Mellinghoff. German Architecture and the Classical Ideal 1740-1840, 1987 § Snowden (Michael) Karl Friedrich Schinkel: A Universal Man, New Haven and London, 1991 § Hitchcock (Henry-Russell) German Rococo: The Zimmermann Brothers, 1968 § Otto (Christian F.) Space into Light: The Churches of Balthasar Neumann, New York, 1979 § Dotson (Esther Gordon) J.B. Fischer von Erlach: Architecture as Theater in the Baroque Era, New Haven and London, 2012, illustrations, original cloth or boards with dust-jackets; and c.15 others on German baroque and neo-classical architecture, 4to & 8vo (c.20)
NO RESERVE Brown (Richard) The Principles of Practical Perspective; or Scenographic Projection..., first edition, 51 engraved plates, most aquatint, one hand-coloured, some light water-staining, mostly marginal but affecting a few plates, old book-label of W.Goode, contemporary half calf, rubbed, corners worn, rebacked, 4to, 1815.
NO RESERVE Decorative Arts.- Harper (James Gordon) The Barberini Tapestries: Woven Monuments of Baroque Rome, Milan, 2017 § Schouser (M.) & Kathleen Dejardin. French Textiles from 1760 to the Present, 1991 § Taunton (Nerylla) Antique Needlework Tools and Embroideries, reprint, Woodbridge, 2007 § Mitchell (P.) and Lynn Roberts. Frameworks: Form, Function & Ornament in European Portrait Frames, 1996 § Greene (Vivien) English Dolls Houses' of the Eighteenth and Nineteenth Centuries, reissue, 1979 § Caspall (John) Making Fire & Light in the Home Pre-1820, Woodbridge, 1987, illustrations, original cloth or boards with dust-jackets; and c.25 others on decorative arts, v.s. (c.30)
NO RESERVE Bullet (Pierre) L'Architecture Pratique, qui comprend le detail du Toisé, & du Devis des Ouvrages de Massonnerie, Charpenterie, Menuiserie, Serrurerie, Plomberie, Vitrerie, Ardoise, Tuille, Pavé de Grais & Impression, engraved frontispiece and 12 plates, woodcut illustrations and diagrams, a few spots, contemporary sprinkled calf, spine gilt with morocco label, rubbed, spine worn at head, [cf.Berlin Kat. 2542, Fowler 72 & Millard French 45, other editions], Paris, J.B.Delespine, 1732 § Le Clerc (Sébastien) Traité de Géometrie Theorique et Pratique, a l'usage des artistes, engraved allegorical frontispiece, title-vignette, head-pieces and 55 engraved plates by Cochin and Chedel on 49 sheets, 39 folding, lightly browned, 1764; Pratique de la Geometrie sur le Papier et sur le Terrein, half-title, engraved frontispiece and 82 plates on 44 sheets (most printed on both sides), plus 2 more at end ?from another work, light soiling and marginal water-staining, 1744, both contemporary mottled calf, spines gilt, rubbed, the second with joints split and spine ends worn, Paris, Ch.A.Jombert § Laugier (Marc Antoine) Essai sur l'Architecture, second edition, engraved frontispiece by Eisen, title in red & black, 8 folding engraved plates, light spotting, F8 lacking part of lower margin, contemporary calf, rather worn, [Berlin Kat. 2405], Paris, Duchesne, 1755, 8vo (4)⁂ The first is a useful handbook for builders and surveyors with practical information on costs and specifications, first published in 1691 and in several editions over the subsequent one hundred and fifty years.
NO RESERVE Accum (Fredrick) A Practical Treatise on Gas-Light..., second edition, 7 hand-coloured engraved plates, 4 aquatint, 2 folding (slightly shaved), modern morocco-backed cloth, red & green roan labels, [cf.Abbey, Life 436, first edition], 8vo, R..Ackermann, 1815.⁂ Iconic work on gas-light technology with fine plates depicting machinery, apparatus, and light fittings & chandeliers. "The adoption of gas lighting in London was largely due to this book. The famous publisher, R.Ackermann, was one of the earliest to adopt gas lighting; in a letter printed on pages 71-2 he gives an account of his cost in producing gas for the whole of his establishment and private house, that had been in use since 1811. His cost per year for gas lighting is given at £40.5s.0d., against a previous expense of £160." (Abbey).
NO RESERVE Astronomy.- Roy (William) An Account of the Trigonometrical Operation, whereby the Distance Between the Meridians of the Observatories of Greenwich and Paris has been determined, from 'Philosophical Transactions' vol.LXXVII pp.111-270, first separate edition, 11 folding engraved plates, 4 folding letterpress tables, errata leaf, some light spotting or soiling, one plate soiled and defective at lower outer corner with slight loss to border, modern cloth, 4to, [1790].
NO RESERVE Besson (Jacques) Theatre des Instrumens Mathematiques et Mechaniques...avec l'Interpretation des Figures d'icelluy par François Beroald, title with elaborate woodcut allegorical border, woodcut ornaments and initials, full-page diagram, 60 engraved plates by Jacques Androuet du Cerceau and René Boyvin, 2 old ink inscriptions to foot of title (one crossed out), plates 1-29 with contemporary ink annotations to head of fore-margin or upper margin forming tabs (reinforced), some light marginal staining, title frayed and reinforced at upper edge, dedication defective at upper outer corner not affecting text (repaired), one or two plates with small stain to images, B2 of preliminaries misbound after B3, small old ink library stamp to verso of title, later half calf, rubbed, lower corners repaired, [Adams B838; cf.Berlin Kat. 1769, 1579 edition; cf.Millard French 22, Latin edition], folio (c.395 x 270mm.), Lyons, Barthelemy Vincent, 1578.⁂ One of the earliest French books on machinery and engineering, first published in Latin in 1569. It depicts pumps and irrigation systems, furnaces, mills, fire-fighting equipment, lathes, saws, dredging equipment, carriage suspension, bridge- & ship-building etc. There are three editions with the date 1578, one in Latin, this in French, and a third with title in Latin and French (text in French). They all contain the same plates.
![NO RESERVE [Emerson (William)] The Principles of Mechanics, second, enlarged, edition, 43 folding engraved plates, contempora](https://cdn.globalauctionplatform.com/7880a55c-c37c-4d60-a7a2-af6000b6498e/036ff1ff-91a6-461d-a872-af6000b8eb76/468x382.jpg)
NO RESERVE [Emerson (William)] The Principles of Mechanics, second, enlarged, edition, 43 folding engraved plates, contemporary ink signature of John Perry of Watlington to front pastedown with annotation to one leaf and his bookplate, contemporary calf, rubbed and scuffed, trace of old library stamp to upper cover, rebacked preserving old morocco label, corners repaired, [Bibliotheca Mechanica, p.101], 4to, J.Richardson, 1758 § Chambers (Ephraim) Cyclopaedia: or, an Universal Dictionary of Arts and Sciences, 2 vol., seventh edition, double-page engraved frontispiece, titles in red black, 19 engraved plates (?of 20, no plate 5), some folding, folding Caslon type specimen, 3Q1 in vol.1 with short tear to fore-edge repaired, light marginal staining to vol.2, modern calf, folio, for W.Innys [& others], 1751-52 § Babbage (Charles) The Ninth Bridgewater Treatise. A Fragment, second edition, diagrams, 3 full-page, lacking final leaf of advertisements, later ink signature to head of title, some light spotting or marginal soiling, contemporary half calf, rubbed, rebacked preserving old spine, corners repaired, John Murray, 1838; and vol. XLIII of The Quarterly Review of 1830 containing reviews of Babbage's Reflexions on the Decline of Science in England and Lyell's Principles of Geology, v.s. (5); sold not subject to return
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