Bishop (Isabella, née Isabella L. Bird). Journeys in Persia and Kurdistan, including a summer in the Upper Karun Region and a visit to the Nestorian Rayahs, 2 volumes, 1st edition, London: John Murray, 1891, frontispieces, 11 plates, 2 folding maps, advertisement leaf at end of volume I, volume II frontispiece detaching, light spotting to endpapers, hinges a little tender, original decorative cloth, a little rubbed slight fading to spines, a few light stains, 8voQty: (2)Footnote: Ghani p.42. 'The most notable woman traveller of her time' (ODNB). Isabella Bishop (née Bird, 1831-1904) was an intrepid and widely-travelled explorer and writer undertook the two-year journey to Persia, Kurdistan and Turkey late in her career, the work in the form of letters covering the second half of her travels.
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Taylor (George) & Skinner (Andrew). Taylor & Skinner's Maps of the Roads of Ireland, London: Printed for the Author, 1778, 288 engraved maps, pictorial title page, some light marginal toning, stamp to title, map pasted to endpapers, hinges cracked, contemporary half calf, joints worn & cracked, front board detaching, boards marked & rubbed, corners bumped, 8vo, with two further copies of the same book (one 2nd edition 1783, one incomplete later edition)Qty: (3)
Wilkinson (Rev Joseph). Select Views in Cumberland, Westmoreland, and Lancashire, London: R Ackermann, 1821, 44 (of 48) uncoloured etched plates, light (mostly marginal) spotting, occasional dust-soiling, marginal loss to title & contents leaves, contemporary paper boards, boards & contents loose, lacking backstrip, boards worn & rubbed, folio, together with: Green (William). A Description of a Series of Sixty Small Prints, London, John Tyler, 1814, 59 plates (lacking final plate), endpapers toned, ownership inscription to front free endpaper, preliminaries toned, light spotting, modern blue cloth, extremities rubbed, boards marked, oblong 8voQty: (2)
Gamebook. A manuscript gamebook covering the years 1809-1812 & 1822-1829, relating to shoots on the Wirral area, comprising 50 leaves of manuscript tables (written to one side only), interspersed with three blank leaves and 38 blank leaves bound at rear of volume, initial leaves loosening, some light toning and occasional marks, contemporary reversed half calf, marbled paper sides, worn, oblong 8vo (11 x 32 cm)Qty: (1)Footnote: List of areas where game shot include Heswall, Langton, Irby, Pensby, Noctorum, Hargreave, New Hall, Birkenhead, Gayton, Doddington, Woodchurch, Blackden, Vale Royal, Brough, Bowes, Withington, Norton, Landican, Thornton, Raby, Hale, Blackden, Hulton, & High Legh etc. The variety of game killed includes partridge, hare, pheasant, rabbit, woodcock, snipe, wild duck, landrail (corn crake), plover, waterhen (moorhen) & heron. Against many of the entries are observations on the quality of the day's shot and the weather etc.
Meyer (Henry Leonard). Coloured illustrations of British Birds, and their Eggs, 7 volumes, London: G. Willis, 1853-57, 424 hand-coloured lithograph plates, 8 uncoloured plates, plate 78 in volume 2 detached with marginal fraying, some light spotting front and rear, contemporary red half morocco, edges a little rubbed, a few light stains, 8voQty: (7)Footnote: Nissen 628; Wood p. 462.
Broughton (Thomas Duer). Letters written in a Mahratta Camp during the year 1809, descriptive of the character, manners, domestic habits, and religious ceremonies of the Mahrattas, 1st edition, London: John Murray, 1813, 10 hand-coloured aquatint plates, bound without half title, some offsetting and light spotting, contemporary calf gilt, small splits to joints at ends, a little rubbed, 4toQty: (1)Footnote: Abbey Travel 433; Colas 454.
Salmon (William). Botanologia. The English Herbal: or, History of Plants, 1st edition, London: printed by I. Dawks for H. Rhodes & J. Taylor, 1710, letterpress title in red & black (without additional engraved title), numerous woodcut illustrations, title and first leaf of dedication detached and with closed tears and fraying to margins, incomplete index at rear with some leaves torn & detached, some browning, light dust-soiling and occasional damp staining throughout, original boards detached (without leather), worn, folioQty: (1)Footnote: Sold with all faults, not subject to return.
Wallace (Alfred Russell). Tropical Nature and other Essays, 1st edition, Macmillan, 1878, some spotting, original green cloth gilt, some spine lean and old damp staining to fore-edges of both boards with a little cloth loss at corners and light yellowing to foremargin of title, together with: Bateson (William), Materials for the Study of Variation Treated with Special Regard to Discontinuity in the Origin of the Species, 1st edition, Macmillan, 1894, half-title, illustrations, advertisement leaf at end, some spotting, original green cloth gilt, a little rubbed and lower outer corners bumped, very slightly foxed, publisher’s cloth, upper hinge a little weak, both 8voQty: (2)
Collection of silver plated ware, to include a two three light candelabra, h28cm, Mappin & Webb silver plated biscuit box, h9cm diameter 14cm, Mappin & Webb four division toast rack, tulip vase, h14cm, trophy on stand, cruets, Middle Eastern silver plated ladle, six division toast rack, large gravy boats, Chinese pot and cover with swing handle, teaspoons etc., together with a collection basket and a Turkish tea cup (qty)
Sale Item: LANTERN LIGHT FITTING Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%
Three boxes of assorted camera equipment to include; various cameras: Cosina, Yashica, Praktica, Conway camera, Kodak, Ferrania, Solida, Zoomex cinecamera, JVC compact VHS camera, Kyuchu etc, various cases, various lenses; Prinzgalaxy, Hanima, Vivitar, Helios, flashes including Cullmann, a Johnsons of Hendon dark light, various developing equipment; Kaiser Fototechnik set etc. (3)(B.P. 21% + VAT)
Collection of table lamps, hanging light glass shades and chimneys. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133Condition Report: All electrical items in this lot have been PAT tested for safety and have passed. This does not confirm that the item is in full working order.
English school of the early nineteenth century."Portrait of a gentleman", ca. 1820.Oil on canvas. Relined.Presents repainting.Measurements: 92 x 71 cm.This full-length male portrait represents a middle-aged man and aristocratic bearing. The face, natural and sober, is animated with the hint of a soft smile and has been treated with great delicacy, by means of a brushstroke that melts without leaving evident traces. The starched collar enhances the haughtiness of her features, modeled with a clear light that also brings out the right textures of the pleated blouse. Both the composition, with an interior room as a backdrop, and the pictorial execution of this excellent portrait fit the characteristics of the best English portrait painting of the first quarter of the 19th century.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Mixed media on paper.Attached certificate issued by Don Gerardo Pérez Calero.It has slight damage to the frame.Signed in the lower right corner.Measurements: 31 x 60 cm; 50 x 80 cm (frame).Gonzalo Bilbao begins in the drawing since he was a child and in 1880 he begins his pictorial career. During these years he made a trip to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and traveled through the different Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, traveled through Spain and also went to Morocco, Paris and Munich. In Spain he worked as a professor of painting, at first as a private individual and, from 1903, as successor to Jiménez de Aranda at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he participated in numerous exhibitions of fine arts, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also participated in the National Fine Arts, obtaining second medal in 1887 and 1892, first in 1899 and 1901 and honor in 1915. A traditional painter, representative of Spanish costumbrismo, he expressed in his paintings colorful pictures of Andalusian life and its most popular characters, and also practiced the landscape, the figure and the portrait, painting prominent figures of the time as King Alfonso XIII and the actress Carmen Diaz. The light and vitality of his compositions bring his language closer to impressionist aesthetics, focusing on the essential representation of environments and landscapes. Gonzalo Bilbao is represented in the Museum of Fine Arts in Seville, where he has a room entirely dedicated to his work, the Prado Museum, the Jaume Morera Museum in Lleida and the Museum of Fine Arts in Cordoba, among others, as well as in private collections both in Spain and abroad.
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923)."Valencian group", 1908.Oil on parchment.Signed and dated.Measurements: 21 cm ø; 41,5 x 41,5 cm (frame).José Navarro Llorens was directed very early to painting, and he studied at the School of Fine Arts of San Carlos, in his hometown. After his student period we lose track of him, and we will not find him again until 1895 when, according to Pantorba, he participated for the first and only time in the National Exhibition of Fine Arts, obtaining an honorary mention. That same year was the year of the consecration of Joaquín Sorolla, who unanimously won the first medal in that contest. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to make a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local scope, as can be deduced from the fact that, in his early years, he devoted himself to painting costumbrista and gallant scenes for fans. Nevertheless, his early works show a certain influence of the style of Mariano Fortuny, whom Navarro admired, and from whose example he may have been inspired to travel to Morocco in a second stage. This trip must have taken place shortly after finishing his studies, and he devoted himself to painting local, North African and Orientalist themes. At the beginning of the 20th century he was hired to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked with such a destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. In the Brazilian city he continued to work and held an exhibition that was widely celebrated. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, settling in Godella permanently. There he lived the rest of his life in a simple and humble way, giving painting classes at the town's Academy and painting tirelessly. His style draws from various influences, such as Fortuny, Domingo Marqués or Levantine luminism, but always manifested itself deeply personal, linked to Navarro's own way of understanding the world. His painting refers to Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous and vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, the Carmen Thyssen Museum in Malaga and in the Gerstenmaier collection, among other public and private collections.
Spanish school of the late nineteenth century. Circle of MANUEL GARCÍA RODRÍGUEZ (Seville, 1863 - 1925)."View of the Alhambra.Oil on canvas.Signed "María Gimenez" in the lower right corner.Measurements: 60 x 101 cm; 80 x 121 cm (frame).In this canvas, close to the circle of García Rodríguez, the artist captures a view of the Alhambra dominated by the rich and vibrant colors. As in Rodríguez's works, the painter enriches the work with an expressive play of light contrasts, capturing the light of Granada with great skill. Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of romanticism enlivened this current, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanizing and liberal national bourgeoisie that, also by foreign influence and under the romantic fashion, turns its eyes to the people and the monuments of the past. This, general in all Spain, will be preferably in Andalusia, for being this land the dreamed goal of foreigners, and where the influence of the vision they had of the Spaniard and his peculiar customs had to be felt more strongly. Thus, painters from Andalusia and other Spanish regions turned their gaze to the landscape, the types and customs of southern Spain, collectively constructing an idyllic and luminous image, full of grace and joy, which coincided with the romantic recreation of the urban bourgeoisie, both national and foreign.
JULES WORMS (France, 1832 - 1914)."Harlequin."Gouache and watercolor on paper.Presents frame circa 1900.Signed in the lower right corner.Measurements: 55.5 x 39 cm; 73 x 56 cm (frame).During the 19th century a type of gallant painting was developed, in which luxurious interiors were represented, profusely decorated, with characters in theatrical attitudes. This work in particular follows the precepts of this trend, although it is true that the main character is a harlequin, however, it is necessary to pay attention to the unplaced cap of the protagonist, the woman's shoe, which he holds in his hand and especially in the female clothes arranged on the chest of drawers and the armchair. Elements that indicate that the harlequin has been an accomplice of a scene that is no longer visible to the spectator and that remains at the mercy of his own imagination.Born in Paris, Jules Worms was the son of a family of Parisian shopkeepers at the time of the July Monarchy, a period in the history of France characterized by the impulse of the comic tradition within the plastic arts. Thus, Worms began his artistic career as an illustrator of satirical newspapers, after having been trained in the field of lithography. However, his great aptitudes allowed him to enter the Ecole des Beaux-Arts in Paris in 1849, when he was seventeen years old. There he was encouraged by Jean-Baptiste-Adolf Lafosse, a history painter who introduced him to this genre, to which Worms brought a certain comic nuance. In fact, the first work he presented at the Paris Salon, in 1859, was entitled "A dragon making love to a maiden on a bench in the Place Royale", and it was a comic vision of the romances of the time. In the early 1860s he made the first of his trips to Spain, becoming fascinated by its traditions, people and culture, like many romantic painters of his time. Like many of his colleagues, Worms must have spent many hours studying the work of the Spanish painters exhibited in the Galerie Espagnole, created in the Louvre in 1838. This collection of works by El Greco, Goya, Murillo, Ribera, Valdés Leal, Velázquez and Zurbarán, among others, had a profound and immediate influence on the French painters of the time, who learned to appreciate the dramatic light, the expressive brushwork and the themes of everyday life. His trips to Spain became very popular, and Worms himself worked as the graphic correspondent of "L'Illustration" in our country. He also took part in the National Exhibitions of Fine Arts in Madrid in 1864 and 1866, obtaining a first class medal on both occasions. He returned to France and exhibited his works at the Salon, winning medals in 1867, 1868 and 1869. But Worms would often return to Spain, and even lived for six weeks in 1871 in Granada with the painter Mariano Fortuny, whom he had met in Paris. On his return to his native city he continued to collaborate with various publications and illustrate books, while continuing to paint pictures on Spanish themes. His fame and clientele continued to grow, and in 1876 he was named Knight of the Legion of Honor. In 1883 he was appointed Secretary of the French Arts, and continued to exhibit annually at the Salon until the mid-1890s. He was also awarded prizes at the Universal Exhibitions of 1878 (third class medal) and 1889 (medal). Worms is currently represented in the Museums of Fine Arts in Rennes, the Legion of Honor in San Francisco, the Sterling and Francine Clark Art Institute in Willismtown (Massachusetts) and in numerous private collections, such as the Bellver in Seville.
JOSÉ BENLLIURE GIL (Valencia, 1855 - 1937)."The beggars, Basilica of Assisi".Oil on panel.Signed in the lower right corner.Measurements: 37 x 53 cm; 61 x 77 cm (frame).José Benlliure cultivated the costumbrista theme and the portrait. In the present case, we are in front of a scene in the interior of the Basilica of San Francisco de Asís. In it, some beggars appear seated on the bench of the basilica under the serious gaze of the parish priest, while praying the rosary. The scene plays with the light and the backgrounds, creating several spaces. The main part of the piece is the one that frames the beggars next to the parish priest, illuminated by a candle; while the secondary scene is played by two altar boys, at the back of the parish priest, who talk to each other. The background of this second scene is almost black. It is not arbitrary that the scene is represented in the Basilica of St. Francis of Assisi, since he went from being the son of a rich merchant of the city in his youth, to live under the strictest poverty and observance of the Gospels. His religious life was austere and simple, so he encouraged his followers to do the same. In short, we find a piece with exceptional detail, where each face, each architecture and each detail are worked to the millimeter.José Benlliure began his artistic studies with Francisco Domingo in Valencia, to later continue his training in Madrid, where he settled in 1869. From an early age he enjoyed the patronage of the King of Savoy and in 1879 he moved to Rome, where he was discovered by the important art dealer Martin Colnaghi, who financed his studies in the city.In 1897 he made several trips to Tangier, Algeria and Morocco where he approached through a realistic, luminous and loose painting to the daily world of the places visited. From 1900 onwards his work depicts popular themes. He took part in the National Exhibitions of Fine Arts, obtaining third medals in the editions of 1876 and 1878 and first in 1887. He belonged to the Academies of San Fernando (Madrid), San Lucas (Rome), San Carlos (Valencia), Brera (Milan) and Munich. Between 1904 and 1912 he directed the Spanish Academy in Rome. The most important part of his production is preserved in Valencia, in his House Museum and in the Museum of Fine Arts San Pío V. He is also represented in the Prado Museum, the Thyssen-Bornemisza and the Palace of Charles V in Granada, among others.
Austrian or Rhenish School; circa 1870."Tyrolean landscape".Oil on canvas.Presents period frame.Measurements: 114 x 103 cm; 155 x 140 cm (frame).In this landscape the author presents a fisherman totally dominated by the force of nature- The landscape that opens in the center thanks to the riverbed, is completely closed in a second plane by the own wooded nature and by the mountains. This conception of the landscape, which shows its magnificence and power with respect to the human figure, is in line with the romantic ideal of nature.One of the most radical aspects of Romantic painting was the attempt to replace the large canvases of historical or religious themes with landscapes. They intended that the pure landscape, almost without figures or totally devoid of them, should attain the heroic significance of history painting. They were based on the idea that human feeling and nature should be complementary, one reflected in the other. That is, the landscape should arouse emotion and transmit ideas. Thus, landscape painters like the author of this painting tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic, with turbulent and fantastic views, and the naturalistic, which emphasized images of a peaceful and serene nature, as in this case. It is this second conception that we see embodied in this work; the painter tries to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. In fact, the painter's own use of light here conveys a dreamy atmosphere, inviting the viewer to meditate and contemplate himself in the landscape. The romantic landscape is nevertheless made up of manifestations of very different types and not comparable to each other; it does not affect all the national schools equally, remaining more faithful to the tradition in schools such as the French or Dutch. Thus, in this canvas we do not find the grandiose scenographies of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centered in the foreground, a space enclosed in the background by the city. The most typical elements of the romantic landscape, such as the hostile climate or the Gothic ruins, do not appear. Likewise, the typical romantic perspective is used, very marked, in abyss, which is complemented by a slight confusion of points of view. Despite these local differences, this romanticism contained in the form, we find however a clearly poetic content, which goes beyond the simple representation of the natural to capture nature as a reflection of the author's feelings.
MARIANO FORTUNY MARSAL (Reus, Tarragona, 1838 - Rome, 1874)."Henry IV of Valois", 1860.Oil on paper mounted on cardboard.With label of the Artur Ramon Gallery, Barcelona.Measurements: 21 x 8,5 cm; 40 x 26 cm (frame).Fortuny initiated his formation in the municipal School of Art of Reus, and in 1850 he moves to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn, and entered the School of Fine Arts, where he had as teachers Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attends Lorenzale's private school, which will determine his inclination for romantic painting in this first stage. In 1858 he settles in Rome thanks to a scholarship, and attends the Chigi Academy. While he was there, the Diputación de Barcelona proposed him to travel to Morocco to paint the warlike encounters that were taking place in the area, which will give a total turn to his career. The light of Morocco and the exoticism of the place and its people led him to become interested in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly after, he began a trip to Europe and finally returned to Rome for good. He attends classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visits Florence and comes into contact with the "macchiaioli". He returns to Morocco in 1862, and devotes himself to painting genre subjects in which he captures the movement through color and light. Back in Rome, he continued to focus on orientalist themes. Shortly after he travels to Paris and meets Adolphe Goupil, who will be his dealer from 1866. That same year he visits Madrid again and visits Toledo, where he discovers El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition in the Parisian gallery of Goupil. In these years he settled in Granada, in the Fonda de los Siete Suelos de la Alambra, with the idea of tackling new themes with the greater freedom that commercial and critical success gave him. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.
Stephanie Caeiro, "Portuguese girls", oil on canvas, 45 x 45cm, c. 2021. I painted two young girls dressed in Portuguese traditional costumes. This used to be the way people used to dress during my grandmother's time. I wanted to show how warm and sunny Portugal is in my mind, by painting them tanned, with great contrast between light and shadow, with her eyes semi closed as if they can't open them fully because it is so bright. UK delivery £20.
DICKENS, Charles (1812-1870). The Posthumous Papers of the Pickwick Club. Buckhurst Hill, Essex: n.p., 1910. 19 volumes (including the index), 8vo (197 x 137 mm). EXTRA-ILLUSTRATED by the addition of over 1,000 engraved plates, original watercolors, and other illustrations bound in on stubs, many window-mounted. Contemporary half green morocco gilt, edges gilt (some light rubbing to extremities). AN UNUSUAL EXTRA-ILLUSTRATED SET, including numerous illustrations and engravings collected by John Coxall. Comprising a visual history of the Pickwick Papers, illustrated material includes examples from "36 Original Character Illustrations to 'The Pickwick Papers' Drawn in colours by 'Kyd'" (parts 1 and 2), and various wrappers (some in facsimile), portraits, frontispieces, title-pages, various impressions of illustrations after Seymour and H. K. Brown, and several other views. For condition inquiries please contact lesliewinter@hindmanauctions.com
SHAKESPEARE, William (1564-1616). Arthur RACKHAM, illustrator. A Midsummer-Night 's Dream by William Shakespeare. New York & London: Doubleday, Page & Co., and William Heinemann, 1908. 4to (246 x 180 mm). Title-page woodcut, 40 color-printed plates tipped to mounts and numerous illustrations by Rackham. (Some quires loose, one tipped-in image free). Original quarter green cloth gilt, top edge gilt (some light overall wear). FIRST TRADE EDITION. Hudson p.168; Latimore & Haskell p.32; Riall p.87.Property from the Estate of Professor Ethan D. Alyea, Jr., Bloomington, IndianaFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FORE-EDGE PAINTING] -- BYRON, George Gordon Noel, Lord (1788-1824). The Gaiour. 1814. --Childe Harold’s Pilgrimage, a Romaun](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/1e17d828-161e-4433-8d4e-adc2016758a6/468x382.jpg)
[FORE-EDGE PAINTING] -- BYRON, George Gordon Noel, Lord (1788-1824). The Gaiour. 1814. --Childe Harold’s Pilgrimage, a Romaunt. 1814. --Childe Harold’s Pilgrimage, Canto the Third. 1816. --Childe Harold’s Pilgrimage, Canto the Fourth. 1818. --Mazeppa, a Poem. 1819– All London: Thomas Davison for John Murray. 5 volumes, small 8vo (217 x 131 mm). One engraved plate folding. (Some light spotting.) Contemporary red straight-grained morocco gilt, edges gilt concealing FORE-EDGE PAINTINGS of Rialto Bridge in Venice, Verona, Naples, Rome, and an unidentified coastal Italian village (some light wear to joints and light rubbing). FIRST EDITIONS of the last three works, a uniformly bound set of Byron's works.For condition inquiries please contact lesliewinter@hindmanauctions.com
WELTY, Eudora (1909-2001). The Robber Bridegroom. Garden City, New York: Doubleday, Doran & Co., Inc., 1942. 8vo. Original teal cloth stamped in white and pink; top edges stained green; dust jacket (some light toning on rear panel, minor edgewear and soiling). FIRST EDITION of Welty's popular second book. PRESENTATION COPY, INSCRIBED BY WELTY TO BARRY MOSER on the front free endpaper: "For Barry Moser, with warmest admiration stretching out of the past (1942) for your sensitive, beautiful, imaginative engravings of the 1987 Robber - and gratitude and affections, delight - Eudora Welty / Jackson, Mississippi / November 13, 1987." [With:] WELTY, Eudora. The Robber Bridegroom. London: John Lane The Bodley Head, 1944. 8vo, original cloth; dust jacket (significant portion of lower spine and rear panel torn away, some other chipping). FIRST ENGLISH EDITION, INSCRIBED BY WELTY on the title: "For James S. Bloom / Eudora Welty." Accompanied by a later American edition (no dust jacket); and an essay on Welty 's photography by Robert MacNeil, Jackson, Mississippi: University Press, 1990, 8vo, original wrappers. Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
BAKER, Henry (1698-1774). Employment for the Microscope. London: R. Dodsley, 1753. 8vo (196 x 120 mm). 17 engraved folding plates. (Some browning, spotting or offsetting.) Contemporary sprinkled calf gilt (hinges starting, some light wear.) Provenance: Sir William Gregory (1625-1696) British judge and politician (armorial bookplate); Acton Scott (letterpress bookplate). FIRST EDITION presenting Baker's microscopic observations on salts, crystals, and aquatic life. Wellcome II, p.89.[With:] BAKER, Henry (1698-1774). Employment for the Microscope. London: R. and J. Dodsley, 1764. 8vo (196 x 120 mm). 17 engraved folding plates. (Some browning, spotting or offsetting, a short tears to folds of a few plates.) 19th century half tan calf, marbled boards, edges marbled (some very minor rubbing.) Provenance: W. E. Davies (signature); Tomlinson (presentation inscription from Davies); Thomas Fiddian (bookplate). Second edition. Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FONTAINE, Jean de la (1621-1695)] -- A group of 10 editions of Fontaine's Fables or about Fontaine, including: Fables](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/0be471b2-1d9e-4352-9925-adc201507dea/468x382.jpg)
[FONTAINE, Jean de la (1621-1695)] -- A group of 10 editions of Fontaine's Fables or about Fontaine, including: Fables de la Fontaine. N.p., n.d. (ca. 1920). Small Folio. Numerous color illustrations by Andre Helle. Original cloth-backed pictorial boards. -- Fables de la Fontaine. France: Editions Albin Michel, 1947. Large 8vo. Numerous illustrations by Armand Rapeno. Original paper-backed boards, original dust jacket. -- The Fables of La Fontaine. New York: The New Press, 1997. Square 8vo. Numerous illustrations by Marc Chagall (1887-1985). Original boards, pictorial slip case. Light chipping to extremities of spine and slipcase. -- And 7 others. Together 10 works in 10 volumes, various 4to and 8vo sizes, various editions, condition generally fine. Complete list available upon request.Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FRANK LLOYD WRIGHT]. The Architectural Forum. Vol. 68, No. 1. New York: Time, Inc., January 1938. 4to. Numerous](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/337db7a2-1e32-49f2-ae9d-adc201565e20/468x382.jpg)
[FRANK LLOYD WRIGHT]. The Architectural Forum. Vol. 68, No. 1. New York: Time, Inc., January 1938. 4to. Numerous illustrations throughout. Original spiral-bound wrappers printed in red and black (some light staining, tiny crease to lower corner).FIRST EDITION of the issue dedicated to the work of Wright, and highlighting his work on Fallingwater, Unity Temple, the S. C. Johnson Company Building, and Usonian House. Property of the Caraway FamilyFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[BASKIN, Leonard (1922-2000), illustrator]. ALIGHIERI, Dante (1265-1321). The Divine Comedy. Translated by Thomas G. Bergin.](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/06e468fa-4782-4f8a-a7fd-adc2017ad4f9/468x382.jpg)
[BASKIN, Leonard (1922-2000), illustrator]. ALIGHIERI, Dante (1265-1321). The Divine Comedy. Translated by Thomas G. Bergin. New York: Grossman Publishers, 1969. 3 volumes, folio. Numerous full-page plates by Leonard Baskin. (Some light spotting on edges.) Original cloth-backed boards, spine gilt-lettered (some burn damage to foot of spine of Vol. II [see note below], some light rubbing & soiling); publisher's slipcase, paper labels on sides (edges worn). FIRST EDITION with Baskin's plates. BARRY MOSER 'S COPY, inscribe on front free endpaper of Vol. I: "This set was in a shelf in my study and was burned by a stupidly placed candle / Barry Moser." Laid-in are 2 printed Christmas wishes slips presenting the set from Christ Bromwich, Fred Ramage and 13 others, and adding: "this could only have been accomplished through the thoughtful kindness of Rev. Douglas Graham, Harold McGrath, Leonard Baskin and Albert, our worm." [With:] 2 other illustrated editions of Dante 's Divine Comedy, by William Blake (New York: Heritage Press, 1944) and Gustave Dore (New York: Pantheon Books, 1948), original bindings, each with Moser 's bookplate.Property from the Collection of Mr. Barry MoserFor condition inquiries please contact lesliewinter@hindmanauctions.com
HOLBEIN, Hans (1497-1543). The Dances of Death, through the various stages of Human Life: wherein the capriciousness of that tyrant is exhibited in Forty-Six Copper plates. London: W. Smith and Co., for John Scott & Thomas Ostell, 1803. 4to (179 x 144 mm). Additional engraved title for "Le Triomphe de la Mort," dated 1786, frontispiece portrait, 46 engravings by David Deuchar after Holbein. Contemporary blue morocco gilt, covers with floral border, anchor tools in corners, upper cover with central ornament of Garter badge and collar surmounted by a crown and with anchor underneath, flanked by the initials "G. R.III.", smooth spine in 6 compartments (hinges starting, some light wear). Provenance: George III (1738-1820), King of Great Britain and Ireland (binding); his third son, William Henry, Duke of Clarence (1765-1837), later King William IV (bookplate); his eldest illegitimate son George Augustus Frederick FitzClarence (1794-1842), English peer (his bookplates as Col. FitzClarence and the Earl of Munster); John Gerard Heckscher (1837-1908), American book collector (bookplates). A COPY FROM KING GEORGE III'S LIBRARY. In terms of his contribution to the arts, he is best remembered for his book collecting; his library was available to scholars and became the foundation of a new national library (see Ayling, George the Third, 1972, p. 195-198). George Augustus FitzClarence served in the Peninsular War, was wounded twice, and escaped capture by the French. He became brevet lieutenant-colonel in 1819 and served as A.D.C. to his father, King William IV, from 1830 to 1837, becoming Earl of Munster in June 1831. His Journal of a Route across India, through Egypt, to England, illustrated with hand-colored plates, was published in 1819. Hans Holbein's series of woodcuts was first published in 1536. In this edition, 46 Dance of Death plates are within separately engraved borders in four different designs. 30 of the woodcuts are copied from Wenceslaus Hollar's 17th-century designs. Brunet III:258; Oppermann 1154 ("very rare edition"). Property from the Collection of Norman and Florence BlitchFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[PUBLISHER'S TRADE BINDINGS - AMERICAN]. A group of 5 works written by Mary E. Wilkins (1852-1926) in fine bindings designed](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/c4e9dd8b-9b2f-4163-9065-adc2016b5ead/468x382.jpg)
[PUBLISHER'S TRADE BINDINGS - AMERICAN]. A group of 5 works written by Mary E. Wilkins (1852-1926) in fine bindings designed for Harpers. A New England Nun and Other Stories. 1891. 8vo. Original light blue publisher's decorated cloth. -- Jerome, A Poor Man. 1897. 8vo. Original blue publisher's decorated cloth. -- The Love of Parson Lord and Other Stories. 1900. 8vo. Original dark blue publisher's decorated cloth. -- By the Light of the Soul. 1907. 8vo. Original blue-grey publisher's decorated cloth. -- The Winning Lady and Others. 1909. 8vo. Original green publisher's decorated cloth.From the Private Collection of Richard CadyFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[FORE-EDGE PAINTINGS]. Minstrelsy of the Scottish Border: Consisting of Historical and Romantic Ballads. Edinburgh: James Bal](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/738a6836-baa9-4032-88a5-adc201684c1f/468x382.jpg)
[FORE-EDGE PAINTINGS]. Minstrelsy of the Scottish Border: Consisting of Historical and Romantic Ballads. Edinburgh: James Ballantyne and Co., 1806. 3 volumes, 8vo (213 x 127 mm). Contemporary blue morocco gilt, edges gilt, concealing FORE-EDGE paintings of the Scottish Highlands, the ruins of a medieval church and a city scene (some light chipping to corners and spine). Provenance: Charles Sorase Dickins (armorial bookplates). Third edition. [Tipped in:] SCOTT, Walter, Sir. Autograph note signed ("Walter Scott"). For condition inquiries please contact lesliewinter@hindmanauctions.com
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