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Lot 300
A group of ceramic Continental pill pots / boxes dating from the 19th Century to include three enamelled examples one light blue and a cobalt blue and turquoise, with all having central floral decoration to the lid, with gilt detailing throughout and gilt metal. Together with another having white ground and similar decoration. All bearing marks to base, one for Limoges France and two having an S with crossed oak leaves etc. Biggest measures 2.5cm tall by 5cm wide.
Lot 58
A group of 2 early 20th Century Art Deco night lights to include a cover and saucer in the form of a cottage with an orange roof (marked made in England to base), a night light in the form of a lion having pierced eyes complete with fitted plaster attachment with green glass eyes. Measures 9.5cm tall.
Lot 107
Gerard Dillon (1916-1971)Moonstruck YouthOil on board, 29.3 x 25cm (11½ x 9¾'')SignedProvenance: Waddington Galleries, Dublin; Associated American Artists; Sale, Sotheby's London, 11 May 2006, lot 90, where purchased by the present owner. With the outbreak of the Second World War, a number of countries including the Republic of Ireland declared neutrality. The arrival of returning Irish artists and refugee painters Basil Rákóczi and Kenneth Hall, the prime movers of the White Stag Group from London resulted in a distinctly bohemian and avant-garde art scene in Dublin. In 1941, Belfast born, Gerard Dillon moved to Dublin presenting watercolours to Dublin dealer, Victor Waddington who supported progressive artists in his South Anne Street gallery. Dillon became friends with Basil Rakóczi whose scenes from Aran in the early 1940’s may have influenced his decision to visit the Islands a few years later. Although Dillon’s naïve images were not popular with critics or the buying public in the 1940’s, Victor Waddington would have heeded the actions of Mainie Jellett, who championed Dillon, opening his first solo exhibition in The Country Shop in Dublin in 1942. Between 1944-1945 Dillon traveled to Aran, where he made numerous sketches which he later transferred to oil paintings following his return to London to repair bomb-damaged buildings after the War. The idealized images of the Islands were in response to his upbringing in an industrial city and working life in London. One of his Aran pictures was included in the group ‘Living Art Exhibition’ in Cecil Phillips’s Leicester Gallery in London in 1946 where the President of the Associated American Artists (AAA), Reeves Levental viewed the exhibition. Impressed with the show, Levental decided the AAA should sponsor the first postwar American show of Irish art, ‘Contemporary Irish Painting’ in New York in March 1947. Although ‘Moonstruck Youth’ is not listed in the catalogue, the AAA label attached to the work suggests it was included in one of the exhibitions that travelled to Chicago, Ottawa or the new AAA gallery in Beverly Hills, California, later in 1947-8. Dillon made a note in his record book that this work, No. 18. Moonstruck Youth was “sold” in a list of pictures belonging to the artist at Waddington Galleries in 1946-7.Moonstruck Youth depicts a moonlit scene with a barefoot youth staring out at the viewer. The title of the painting and the youth’s pose reveal’s the sitter’s view of Dillon as a stranger on Aran. Despite the sitter’s shy demeanor, Islanders learned from a young age to be hardy, remote in thought and feeling and above all, independent and self-reliant. The proximity of the sea to the cottages points to how people on Aran relied on the sea for food. The lone male figure is depicted in traditional dress style of the Aran Islands; wearing wide-legged homespun patched trousers ending well above the ankle and were usually worn with oiled wool jerseys. The bulky Jerseys, known today as the ‘Aran Sweater’, were knitted by women in the family with undyed homespun wool to help their husbands or sons weather the often-treacherous sea conditions near the Islands. Folklore stories record that individual families had their own distinct raised decorative stitch which also had its own meaning, and the islanders could identify a fisherman by this stitch in fishing accidents. Over the jersey, the young man is wearing a waistcoat, also known as a bainín jacket, or short coat of light, undyed homespun flannel without collar or pockets. The absence of a currach and shoes on the youth’s feet suggest the end of the day. The youth would have moved his light primitive vessel to safety while the sitter’s rawhide shoes would be soaking in water in the nearby cottage for fishing the following day. Known as “Pampouties”, the rawhide shoes prevent slipping in currachs when out at sea. Footwear had a lifespan of about a month and required soaking in water to keep them supple. The youth’s woven belt, known as a crios were made from coloured wools woven without a loom. On one of his visits to Aran, Dillon wrote to a friend in London describing the ‘most glorious holiday.’ Living among Irish speakers, he felt he was living in a foreign country and commented on the men and women’s strange ‘mode of dress.’ The holiday was a ‘change away from the world, complete and absolute peace, living a very natural primitive life from day to day, not knowing what day of the week it is, hearing no news except a scrap when the boat arrived from Galway once a week…I painted life on Inishmore and had there the good luck to sell two watercolours to visitors to the island.’ Karen Reihill, November 2019
Lot 14
William John Leech RHA ROI (1881-1968)Boats Oil on panel, 37 x 46cm (14½ x 18'')SignedProvenance: Sent by W.J. Leech to Leo Smith, Dawson Gallery, via Bourlet, 20/03/51. Recorded in the list, for death duties, by Leo Smith, No. 26 'Boats', as works retained in the Dawson Gallery.Leech stayed at Christchurch, when May Botterell, then his long term partner, was ill and was cared for by her family at Burnley in the New Forest, which was close by. He wrote to his New Zealand friend S.L.Thompson, dated 5 May 1948; ‘I am not, however, at 20 Abbey Rd at the moment but at Christchurch, Hants,…..it is in sight of the Isle of Wight, on a land locked sea ….’ He painted the region, the old Church and graveyard and the River Stour, which is joined by the River Avon before it flows through the harbour into the English Channel. The harbour at Christchurch was used to land oysters, crab, lobster and cuttle fish and the river is navigable up to Tuckton where Leech also did a series of paintings ‘Tuckton Creek - Sunlight’ and ‘Tuckton Creek’ (Municipal Art Collection, Drogheda) which depict similar boats moored in the harbour as in ‘High tide on the Stour’, 1949 (Coll. Parknasilla Hotel, Kerry) which is a freely painted scene of still water with boats moored along the far bank. In the present work, ‘Boats’ similar, small, flat-bottomed rowing boats, moored along the banks of a river are depicted. Leech captures sunlight on the boats and water, using light tones of yellow and Cerulean blue. He paints the water and the reflections of the boats, bathed in sunshine, in a free, fluid style, rendering the viscosity of the water in strokes of light blues and soft greens. On the back of the painting, in Leech’s handwriting, he has written ‘Flake White’ and ‘Aureolin’ which is sometimes referred to as Cobalt Yellow, which may have been guidance to a picture restorer. Characteristically he has written in block letters ‘WAXED’ to prevent anyone varnishing the work. There is a stamp from the art supplier, L.Rontani, Rue de President, Nice on the back of the panel but Leech used materials he had previously purchased in France, where he had been unable to visit after the outbreak of the war in 1939. There is also a label referring to the Centenary Exhibition in Wellington, N.Z, 1939-1940 which Leech participated in, but it had to have been an earlier work than ‘Boats’. In his letter to S.L.Thompson, he wrote that ‘There is quite a lot of sunshine here, it must be one of the sunniest places in England, and there are boats and water……’ Leech has regained some of his former confidence in using light and colour and now, out of London, after the war, he is motivated by the colour of the boats on the water along the quiet estuary. There is a Bourlet Label on the back and checking the transport agents, Bourlet records, the firm brought in 8 works on 17:3:51. In a letter to Leo Smith on 20th March 1951, Leech wrote that he had ‘despatched to Bourlet’s yesterday for you. It may be necessary to add a little to the prices to help cover the expense of framing if that is rather a heavy item as it may be these times.’ One of these 8 works, No.3, is titled ‘Boats’, which is oil on panel and which is the same size as the present work. These 8 works were sent to the Dawson Gallery for Leech’s solo exhibition of thirty-three works, planned for May 1951 with Sean Keating opening the show. Leech had already sent over eighteen paintings in August 1950 and a further fourteen paintings in October 1950. In his letter to Leo Smith he wrote: ‘I do hope you will like them, I think they are rather a good lot myself…. I hope you will let me know how you like the pictures, and that they will arrive quickly and safely.’ Dr Denise Ferran, October 2019.
Lot 18
Paul Henry RHA (1877-1958)Cottages by a LakeOil on canvas board, 40 x 50.4cm (15¾ x 19¾'')SignedProvenance: Sale, these rooms, c.1973/5; Private collection, Ireland.A late period work which conveys Paul Henry’s assured light-touch brushwork and his fluid handling of paint, it shows the artist at the height of his powers. The sense of stillness evident in the present work, with habitations but without human forms, remains an enduring characteristic of Henry’s art and is all the more remarkable for its bright and fresh atmosphere. The delightfully pale blue distant mountains are reflected in the lake with a narrow deep blue band which divides the composition in half. The treatment of the brushwork in the handling of the mountains creates a sense of undulation and texture, the tones and translucent glazes, favoured by the artist, giving the landscape a personality which could only be recognized by someone intimately familiar with it.Sean O’Faolain, in his foreword to ‘An Irish Portrait’ commented that what always delighted him with Paul’s work was the sure observation of nature. ‘Sometimes’, he said, ‘… people say that he is always painting the same thing - clouds, blue mountains and black bogs. He is always, indeed, painting the same thing; always the one thing - light caught in a flux, a moment’s dazzling miracle. His pictures are amazingly mobile with this miracle of light. He is the least static painter I know. He never repeats himself. I am not fitted to speak of the technical skill that presents these subtle observations, but I feel that it must be immense. He is really an impressionist au fond.’
Lot 64
Basil Blackshaw HRHA RUA (1932-2016)Horses Exercising: Early MorningOil on canvas, 71 x 92cm (28 x 36'')Provenance: Tom Caldwell Galleries, Belfast, from whom purchased by the present owner.Basil Blackshaw was the son of a horse trainer and numerous accounts recall that his life revolved around two things: horses and dogs. Although not limited to this subject matter, his passion for these animals is transferred through to his painting and we are left with an abundance of works which celebrate an equine theme. From each of these pieces, the viewer is able to grasp the understanding that Blackshaw had for these animals and it quickly becomes evident that he shared the same sensitivity as his trainer father.For someone who grew up with the industry, ‘Horses Exercising: Early Morning’ would have been a well-versed scene to Blackshaw and it is through this familiarity that he so artfully captures the moment. Scuffing the surface of the canvas with a light grey paint, Blackshaw forms his mist as it rises from the ground, establishing the veil through which his picture must be viewed. In an almost spectral manner, Blackshaw’s horses and riders emerge from within, the damp chillness filling their lungs and enveloping their bodies as they stretch off their recent slumber.A subdued scene, thrumming with the silence of dawn, we are disturbed by the agitation of the central horse. As he sways his head and contrarily lifts his leg we cannot help but feel the restrained energy pulsing through body. With his mind focussed on the win, he is already seeking to gain the lead, obediently holding back until given the signal by his rider. The permanence of this stillness is as much a mirage as the mist around them, each element waiting to snap with the thunder of hooves.Mirroring his subject matter, Blackshaw himself shows a certain restraint with this painting, allowing the simple lines of his draughtsmanship to carry the work. Using only a thin layer of paint, Blackshaw coaxes the image from the grain of the canvas and employs this transparency to further enhance the transience of this moment. Indeed, viewers are left to walk away from this image with the sense that the subject will continue after they leave. Muscles will warm, mud will fly and sweat will drip. The only constant will be the canvas itself.
Lot 17
‡AN OTTOMAN SWORD (KILIG), TURKEY, 18TH/EARLY 19TH CENTURY with broad curved blade formed with a long fuller and a double-edged point (areas of light pitting), with traces of a cartouche on one side, silvered hilt engraved with foliage around the borders, including a pair of langets and quillons with faceted bud-shaped terminals, polished horn grip scales rising to a rounded pommel, in its original leather-covered scabbard with large silver mounts chased with foliage, and with two loops for suspension 72.0 cm; 28 3/8 in blade
Lot 22
‡˜A VERY FINE IMPERIAL RUSSIAN GOLD INLAID AND IVORY-MOUNTED PRESENTATION CAUCASIAN SABRE (SHASQA), KUBACHI, LATE 19TH CENTURY with curved blade formed with three long fullers, encrusted in gold with Arabic couplets on each face (very small areas of very light pitting), blued iron hilt (the bluing largely oxidised to brown), inlaid with engraved gold designs of scrolling leafy foliage within beadwork frames, characteristic eared pommel set on each face with a panel of ivory inlaid with chased gold en suite with the hilt, in its original blued iron scabbard inlaid with engraved gold designs of scrolling leafy foliage within beadwork frames including a cartouche enclosed by foliage with the maker's signature at the top, in translation "Work of 'Abdullah", the outer face formed of an iron framework with locket, chape and two bands all inlaid in engraved gold with a more dense pattern of scrolling leafy foliage, the two bands each set with a polychrome enamel oval decorated with flowers and divided by two large ivory plaques inlaid with engraved gold en suite with the pommel, and a further panel of ivory at the top with the Imperial cypher of Nicholas II, with two gold inlaid iron rings for suspension, and complete with its bullion belt with matching gold inlaid ivory mounts, in a modern lined and fitted Asprey & Co case 78.7 cm; 31 in blade The couplets read "zada dawlat sahib hadha al-sayf wa 'umrahu / wa qadrahu wa baraka fi 'iyalihi w'anala maqsadahu", ("May the fortune and life of the owner of this sword increase / And his stature, and [God] bless his family and grant him his desire.") and "fi'l-'fizz wa'l-ghalba wa anala allah / ila muradihi bi-rahmat allah" ("In glory and in conquest, and may God grant / His desire, through God's mercy.") The town of Kubachi in Dagestan has a long history of arms production, the name roughly translating as 'mail master'. The inhabitants apparently supplied Tamerlane with mail and other weapons in the 15th Century though the town is now best known for the deluxe weapons produced there during the second half of the 19th century such as the present example. Sword makers were skilled at imitating decoration found elsewhere such as the gold-encrusted Arabic inscriptions frequently encountered on sword blades. See Miller 2000, pp. 256-266.
Lot 229
A SCOTTISH BASKET-HILTED BACKSWORD, SECOND QUARTER OF THE 18TH CENTURY with tapering fullered single-edged blade, iron basket-hilt formed of flattened bars carrying three rectangular and one square panel, each pierced with a symmetrical arrangement of hearts and circles engraved with bold fluted lines, a large so-called rein loop at the rear (one bar chipped, areas of light rust), fluted pommel engraved with a rack number '10/30' and wooden grip (binding missing) 86.2 cm; 34 in blade
Lot 266
A SWEDISH PRESENTATION SWORD TO C.A.BAUMANN, DATED 7TH SEPTEMBER 1818 with curved fullered blade double-edged towards the tip, etched and gilt with a star, a pair of fronds enclosing a scene of judgement, crossed cannon over fasces on a blued panel on one face and with a similar design incorporating the Royal Arms on the other (light wear), gilt-brass stirrup hilt cast and chased in low relief, comprising a pair of langets cast with neoclassical foliage and a male mascaron on each side, quillon issuant from a wolf's head, knuckle-guard en suite and interrupted by a central mask, angular pommel formed as a lion head with fasces on its neck, a pair of mother-of-pearl grip-scales engraved with the crowned Royal cypher 'CJ XIV' on one face and 'Erindring 1der Septemb 1818 C.A.Baumann' on the other, in its original gilt-brass mounted leather-covered wooden scabbard, the mounts decorated with neoclassical ornament en suite with the hilt 82.5 cm; 32 1/2 in blade Charles XIV John, King of Sweden and Norway (1763-1844), was crowned in Stockholm Cathedral on 11th May 1818 and subsequently travelled to Norway where he was crowned in Nidaros Cathedral, Trondheim, on 7th September 1818. The vendor's notes state that C.A.Baumann was a German industrialist and mining expert who was presented with this sword at the Coronation.
Lot 267
A SILVER-HILTED LIGHT CAVALRY SWORD FOR A PRIVATEER based on the 1788 pattern, with curved blade double-edged at the point, formed with a broad near full length fuller, a further slender short fuller and stamped 'Wooley & Co' on the back-edge, silver stirrup hilt with down curled quillon, rounded back-strap and cap pommel, and the grip covered with brown leather bound with plaited silver wire, in its leather-covered wooden scabbard with large silver chape, middle-band and locket, the latter two each with a large silver ring for suspension and applied with a pasted on paper label with an early inscription 89.8 cm; 35 3/8 in blade The inscription reads: 'This sword was.....[proffered].....up by Colonel Le Ferie passenger on the French barque 'le Paris' [300 tons] which barque was taken as a prize in Falmouth Bay by Captain William Snow of the Miranda a Privateer of 50 tons during the French War 1800-1801'.
Lot 274
A FINE SILVER-GILT-MOUNTED SWORD PRESENTED TO CAPTAIN WILLIAM AUGUSTUS MONTAGU OF HIS MAJESTY'S FRIGATE CORNWALLIS FROM THE OFFICERS OF THE TROOPS ENGAGED WITH HIM IN THE ASSAULT AND CONQUEST OF AMBOYNA, 29 FEBRUARY 1810, LONDON, 1811, MAKER'S MARK OF THOMAS PRICE, RETAILED BY RUNDELL, BRIDGE AND RUNDELL with curved blade double-edged for its last quarter, etched within a linear frame with the presentation inscription on one face and with "Amboyna" and the date on the other, each enriched with foliage and with some original blued and gilt decoration (small areas of pitting), silver-gilt hilt cast and chased in low relief, comprising a pair of langets each with a fouled anchor, scrolling quillon and knuckle-guard each decorated with acorns and oak foliage, lion head pommel formed in the round, and integral grip decorated with an oval decorated with the reclining figure of Neptune on the front and an elaborate trophy-of-arms on the reverse, in its fishskin-covered wooden scabbard encased in silver-gilt, decorated with three differing scenes from the Labours of Hercules on each face, the remaining surface engraved with garlands, foliage, and trophies-of-arms, an openwork oval panel with a central fasces, a pair of scrolling serpents forming suspension loops, the locket signed by the retailer and remaining in very good to fine condition throughout 74.8cm; 29¾ in blade 'On the 1st of March the Cornwallis chased a Dutch man-of-war brig into a small bay on the north side of the island of Amblaw, in the neighbourhood of Amboyna. As the wind was light and variable, and night approaching, Captain Montagu sent the yawl, cutter, and jollyboat, under the command of Lieutenant Henry John Peachey, assisted by Mr. John Garland the master, and master's mate William Sanderson, to endeavour to bring the vessel out. After a fatiguing pull during the whole night, the boats found themselves, at daylight, close to the vessel which was the Dutch national brig Margaretta, mounting eight, but pierced for 14 guns, with a crew of 40 men. In the face of a heavy fire of grape and musketry, and of a brave defence by pikes and swords, Lieutenant Peachey and his party boarded and carried the brig, and that with so comparatively slight a loss as one man dangerously, and four slightly wounded. The Dutch had one officer killed and 20 seamen wounded…………..' taken from the Naval History of Great Britain volume V, 1808-11. Vice-Admiral Sir. William Augustus Montagu, Knt., K.C.H. and C.B. entered the navy in 1796 as first-class volunteer on board the Glatton under Captain Henry Trollope under whom he continued on the home station, in the Russell 74 (in which he was present in the victory at Camperdown), and Juste 80, until, transferred about the close of 1800 to the Sirius 38, in which he witnessed the surrender of the French frigate La Dédaigneuse. He was for four years on board the Dasher in the East Indies; was made Lieutenant Nov. 14, 1804, Commander, Oct. 31, 1805; and on the 8th June, 1807, acting Captain of the Terpsichore frigate, which appointment was confirmed by the Admiralty on the 8th Dec. following. In March, 1808, Capt. Montagu, whose ship mounted but 28 guns, and had only 180 men on board, fell in with, fought, and-with a loss to himself of 21 men killed and 22 wounded-fairly beat off the French frigate Sémillante of 40 guns and a crew of at least 300 men. Being soon after appointed to the Cornwallis 50 guns, he assisted in the redaction of the island of Amboyna, and captured the Dutch frigates Mandarin and De Ruyter. In Nov. 1810 he was entrusted with the command of the naval brigade landed to assist at the reduction of the Isle of France, during which his exertions were warmly approved by Major-Gen. Abercromby, particularly on the defeat of the French troops before St. Louis. On the 8th Sept. 1812 he was appointed to the Niobe 40, employed until June, 1814 on the Channel, American, and Lisbon stations. On the 29th Oct. 1819) he was appointed to the Phaeton 46, which he commanded at Halifax until put out of commission in Sept. 1822. And on the 25th July, 1834, he was appointed to the Malabar, employed in the Mediterranean until the close of 1837. He attained the rank of Rear-Admiral Nov. 23, 1841, and that of Vice-Admiral in the year 1851. He was nominated a Companion of the Bath, Dec. 8, 1815; a Knight of the Hanoverian Guelphic order, Oct. 5, 1830; and a Knight Companion of the same order, (accompanied with knighthood in this country,) in Jan. 1832. He married Aug. 26, 1823, Anne, third daughter of the late Sir George William Leeds, Bart., of Croxton Park, Cambridgeshire. Taken from The Gentleman's Magazine, vols. 191-192, p. 407. For a discussion of this maker, and fifteen other swords by him, see Southwick 2007, pp. 3 - 44.
Lot 275
A BRITISH OFFICER'S NON-REGULATION SABRE, A MEMENTO OF AN EARLY NAPOLEONIC ACTION, CIRCA 1803 with curved fullered regulation blade, etched with the crowned British Royal coat-of-arms, crowned 'GR III' cypher, foliage and retaining traces of original blue and gilt finish, with painted white inventory number 'R151' at the forte', brass stirrup hilt of French Light Cavalry Officer's model An. IX type, à la Chasseur, wire-bound leather-covered grip, in its leather scabbard (now in two pieces) with large brass mounts including locket inscribed Mallet, late Knubley, No. 7 Charing Cross, London 74.5 cm; 29 3/8 in blade
Lot 276
A 1796 PATTERN LIGHT CAVALRY OFFICER'S SWORD FOR A LANCER OR DRAGOON BY THOMAS GILL of regulation type, with curved fullered blade double-edged and widening towards the tip, etched 'Thos Gills Warranted Never to Fail' on one face at the forte, russet iron stirrup hilt , leather-covered wooden grip (binding missing), in its black painted iron scabbard (areas of pitting) 83.8 cm; 33 in blade See Dellar 2013, p. 54 and 295.
Lot 285
A PRESENTATION CAVALRY OFFICER'S SWORD TO MAJOR GENERAL DANIEL SEDDON, BY OSBORN, DATED 1803 of regulation type, with curved fullered blade of etched and gilt with the owner's crested arms and motto, trophies-of-arms and presentation inscription including ".....for the defence of their country 25th October 1803 and foliage on one face and with further designs including the maker's details and the crowned Royal arms on the other (areas of staining, light pitting, decoration and inscription obscured in places), gilt-brass stirrup hilt with short scrolling quillon, a pair of lion mask langets, and the back-strap and pommel formed as a finely detailed maned bridled horsehead, and finely chequered ivory grip (one small chip and age cracks), in its leather-covered wooden scabbard (worn, now in two pieces), with large gilt-brass mounts comprising chape, middle-band and locket, the latter two with a ring for suspension 74.5 cm; 29 3/8 in blade Lieutenant General Daniel Seddon began his military career as a lieutenant in the Lancashire Militia in 1778. He served in the 96th and 100th regiments of foot and was posted to India in 1781 serving in the Second Anglo-Mysore War. There he was wounded, captured, and became a prisoner-of-war until 1784 when he returned to Britain on half pay returning to India in 1788. Subsequently he served in Ireland as an officer in the 22nd Dragoons where he was again wounded. Seddon then served in Egypt in 1801 and 1802. Seddon was Inspecting Field Officer for the large Militia and volunteer forces raised to repel the threat of a French Invasion under Napoleon in 1803. When the latter invaded the Peninsular in 1808 Seddon was asked by the Duke of Wellington to join him as Brigadier commanding the Portuguese cavalry. Seddon was promoted to the rank of Major General in the British Army in 1813 and Lieutenant General in 1825.
Lot 290
A FLEMISH ARMET, CIRCA 1510 with hemispherical skull rising to a low medial comb pierced at its apex with a keyhole slot for the attachment of a crest and towards its rear with a later transverse hole; struck at its left rear with a maker's mark comprising a crowned escutcheon (worn); extending downwards at its rear in the form of a narrow "tail-piece" fitted at its lower end with a later short extension-plate and at its centre with a roundel puckered around its edge and mounted on a short "stem" (both restored); fitted at the front with low cusped brow-plate formed at its lower edge with an angular inward turn serving as the upper edge of a vision-slit; fitted at each side with a vertically-hinged cheek-piece pierced at its outward-flange lower edge with stitch-holes, and formed of a fore part and rear part connected by a hinge, the former associated, re-worked from the bevor of a close helmet and formed with a plain inward turn around its shallow face-opening (the upper ends of which are patched); and fitted at the front with a demi-visor of "sparrow's-beak" form attached by a hinge at each sides to a low-domed pivot (replaced), formed at its upper edge with an angular inward-turn serving as the lower edge of the vision-slit, pierced just above the angle of the beak with a slender transverse ventilation-slot between two small holes, and fitted just below the angle at the right side with a lifting-peg having a pyramidal head; the visor secured to the cheek-piece at the right of the chin by a later swivel-hook and pierced stud (the whole with light pitting overall and patches of active corrosion) 28.5 cm; 11 ¼ in
Lot 298
AN ITALIAN SHIELD FOR USE IN THE GIOCO DEL PONTE, PISAN, CIRCA 1776 of narrow almond-shaped form with truncated lower end, composed entirely of wood, its front edges bevelled and its rear surface fitted towards its upper end, above a hollow, with a diagonal hand-grip, the front painted on a gessoed white ground with five wavy diagonal carmine stripes in its lower two-thirds, and a light brown crescent on a dark green ground in its upper third (the gessoed front surface chipped at some points and crackled) 82.5 cm; 32 ½ in Provenance Col. Harvey Collection The Gioco del Ponte was a mock battle fought by two teams of contestants armed with clubs and shields who endeavoured to occupy the old bridge at Pisa now known as the Ponte di Mezzo. Originating in the Middle Ages, it was last fought in 1776 and 1807. The shield described above resembles several extant examples bearing the date 1776. See Karcheski Jr & LaRocca 2007, pp. 107-19, figs 4-11.
Lot 31
‡˜A 32 BORE INDIAN MATCHLOCK MUSKET (TORADOR), LATE 18TH/EARLY 19TH CENTURY with slender swamped sighted barrel of 'hog's back' form retained by two slender iron bands, decorated over its entire surface with symmetrical bouquets of flowers in gold and silver koftgari (light wear), the breech incorporating a pan with pivot-cover, the action encased in a large iron plate on each side decorated en suite with the barrel and two further matching iron plates behind the tang, iron trigger decorated with a silver koftgari fish, wooden full stock (fore-end repaired), slender faceted butt inlaid in horn with a stylised fish and a rosette, the butt with iron panels with further designs in silver and gold koftgari, butt-plate formed of alternating horn and ivory fillets, and iron ramrod 130.0 cm; 51 1/8 in barrel
Lot 347
‡A RARE ENGLISH STONEBOW BY H.W.MORTIMER & SON, 89 FLEET STREET, GUNMAKERS TO HIS MAJESTY, CIRCA 1806-12 with slender steel bow fitted with later expertly constructed string, highly figured tiller incorporating steel gaffle, fitted with folding forward sight engraved with a stonebowman in contemporary dress beneath, the forward portion of the tiller inlaid with iron plaques engraved with scrolls and foliage, a pair of flush-fitting scrolling side-plates signed on scrolls carried by conventional foliage and flowers, folding back-sight with four sighting apertures and engraved with trophies-of-arms on the bed, engraved lever button decorated with a flowerhead, engraved trigger-guard decorated with a trophy-of-arms on the bow and with pineapple finial, and engraved butt-cap (the iron parts with areas of light pitting) 72.5 cm; 28 ½ in tiller
Lot 365
‡A FINE FLINTLOCK BLUNDERBUSS BY H.W.MORTIMER, LONDON, CIRCA 1790 with brass barrel swelling towards the muzzle, signed 'H.W.Mortimer, London' in a linear frame drawn-out to a loop over the breech, fitted with spring bayonet retained by a clip on the iron tang, the latter engraved with foliage, signed stepped bevelled lock engraved with conventional foliage on the tail and a sunburst behind the pan, fitted with cock en suite and bolt safety-catch (some light pitting), figured walnut full stock, finely engraved brass mounts comprising solid side-plate decorated with trophies-of-hunting, scrolls and border ornament, trigger-guard with a rococo flower on the bow and with pineapple finial, butt-plate with a trophy-of-arms on the tang, a pair of moulded ramrod-pipes, vacant silver escutcheon engraved with border ornament, a pair of iron sling swivels, original wooden ramrod with iron worm, and the barrel stock and mounts remaining in very good condition 34.8 cm; 13 3/4 in barrel Provenance Sotheby's, Sussex, 15th July 1996, lot 228.
Lot 372
‡A RARE 15 BORE FLINTLOCK MAIL COACH PISTOL BY H.W.MORTIMER & SON, LONDON, GUNMAKERS TO HIS MAJESTY, NO. 158, CIRCA 1810 with swamped brass barrel signed 'H.W.Mortimer, Gunmaker to His Majesty No. 158' on the flat and engraved 'For His Majesty's Mail Coaches' around the muzzle face, iron tang, stepped bevelled lock signed 'H.W.Mortimer & Son (top-jaw, screw and safety-catch replaced, light pitting), figured full stock, brass mounts of regulation type comprising side-plate, butt-cap and trigger-guard with stylised acorn finial and brass ramrod-pipes (later ramrod) 23.4 cm; 9 1/4 in barrel Provenance Bonhams, London, 25th July 2007,lot 381 For further information and details of the earliest payments made to Mortimer for the supply of these pistols see Wilkinson 2002, p. 120.
Lot 378
‡TWO 16 BORE FLINTLOCK LIGHT DRAGOON PISTOLS FOR THE PERCY TENANTRY VOLUNTEERS BY MORTIMER, CIRCA 1800 of regulation type, with tapering barrels stamped 'London' and moulded at the breeches, signed locks, one stamped 'TB' on the inside (one cock replaced), walnut full stocks, brass mounts of regulation type, including flush-fitting side-plates, trigger-guards marked 'C/P*T/E/34' and 'C/P*T/D/43', and the pommels each decorated with the Percy crescent enclosed by the crowned Most Noble Order of the Garter, and brass-tipped ramrod (one replaced) 22.8 cm; 9 in barrels (2)
Lot 379
‡A 16 BORE FLINTLOCK LIGHT DRAGOON PISTOL FOR THE PERCY TENANTRY VOLUNTEERS BY MORTIMER, CIRCA 1800 of regulation type, with tapering barrel stamped 'London' and moulded at the breech, signed lock stamped '11' and 'BW' on the inside, walnut full stock, brass mounts of regulation type, including flush-fitting side-plates, trigger-guard marked 'C/PT/C/27', and the pommel decorated with the Percy crescent enclosed by the crowned Most Noble Order of the Garter and brass-tipped wooden ramrod 22.8 cm; 9 in barrel
Lot 396
‡A FINE CASED PAIR OF 50-BORE FLINTLOCK TURN-OFF POCKET PISTOLS BY H.W.MORTIMER, LONDON, CIRCA 1790-5 with tapering turn-off barrels engraved with a band of foliage around the muzzles, engraved breeches signed and inscribed 'Gunmaker to His Majesty' in a pair of elongated ovals carried by trophies-of-arms and rococo foliage, rounded side- actions engraved with conventional foliage, fitted with engraved rounded cocks, blued sliding safety-catches, blued folding triggers, semi-rainproof pans and rollers, engraved tangs, highly figured rounded walnut butts profusely engraved with engraved silver plaques and wire comprising an elaborate design of dense flowers, foliage and tendrils issuant from a cornucopia on each face, silver mounts comprising butt-caps decorated with an expanded flowerhead and border-engraved vacant escutcheons, and in very good to fine condition throughout: in their fitted mahogany case of circa 1835-40, lined in plum velvet (faded, light wear), the lid fitted with shaped brass escutcheon incorporating a flush-fitting carrying handle on the exterior, complete with accessories including three-way pistol-flask covered with red leather, barrel-key and iron bullet-mould, and a near contemporary card printed 'Dr Timm', the reverse inscribed 'these inlaid pistols given by me to Lt. W. W. Powell by me, Frances Powell 7th March 1839 late the property of his father' 4.5 cm; 1 3/4 in barrels William Wellington Powell (1813-79), was born at Carlton House, Nottinghamshire to Samuel and Frances (née Richmond). He joined the 9th Regiment of Foot (East Norfolk) as an Ensign by purchase in 1832. He remained with the regiment in England until 1834 when, on 25th June, he was presented to William IV prior to his embarkation to Mauritius. The following year when he was promoted to Lieutenant and left the island for Bengal and then on to Calcutta. In 1842 he was part of the force that cleared the Khyber Pass, having endured heavy fire from the local tribesmen and an extended period of fighting. The same year he was at Jellalabad where he painted a scene now preserved in the Royal Norfolk Regimental Museum. For his service in Afghanistan he received the Afghan Medal. His military career ceased in 1848 when he married Elizabeth Sarabella Peco, with whom he had five children. It is likely that these pistols were presented to him by his mother in the early part of his military career, having been re-cased.
Lot 403
‡A CASED PAIR OF 40 BORE FLINTLOCK TRAVELLING PISTOLS BY H.W.MORTIMER & SON, GUNMAKERS TO HIS MAJESTY, LONDON, NO. 1303, CIRCA 1810 with octagonal barrels fitted with brass blade fore-sights, signed in capital letters and engraved with a band over the breeches, stamped with the serial number, barrelsmith's stamps and proof marks beneath, engraved tangs decorated with trophies-of-arms and incorporating the back-sights, signed border-engraved locks fitted with bolt safety-catches, 'French' cocks and rollers, figured walnut full stocks faintly numbered in ink inside, pineapple chequered butts with a delicate flowerhead pattern over the pommels, engraved iron mounts comprising trigger-guards with the address '89 Fleet St' on an oval carried by trophies-of-arms and with pineapple finials, and original ramrods with iron worms enclosed within brass tips: in original fitted mahonany case lined in green baize (the lid and lip cracked), with flush-fitting brass carrying handle and trade label for 89 Fleet Street inside (small holes, light moth damage), complete with some accessories including leather-covered three-way flask, turn-screw and bullet mould 10.2 cm; 4 in barrels Provenance Ray Petry, Pennsylvania, 1978 The trade label was drawn by Thomas Stothard and engraved by Samuel John Neel of 352 Strand.
Lot 410
‡A 26 BORE FLINTLOCK HOLSTER PISTOL BY H.W.MORTIMER, LONDON, CIRCA 1778 with swamped sighted barrel signed 'H. Mortimer, London' on the top flat, struck with the barrelsmith's mark, London view and proof marks and engraved with a panel of beadwork at the breech (areas of light pitting), finely engraved tang incorporating the back-sight and decorated with a bouquet, signed stepped bevelled lock fitted with bolt safety-catch and bevelled cock, figured walnut full stock (small dents) carved with a low apron moulding about the tang, engraved brass mounts comprising flush-fitting side-plate engraved with border ornament and a central bouquet, spurred pommel decorated with a flowerhead, trigger-guard with bud-shaped finial engraved with a delicate flower on the bow, vacant escutcheon, a pair of moulded ramrod-pipes, and associated ramrod 25.5 cm; 10 in barrel Provenance Arthur John Blunt collection, sold, Bonhams, 11th May 2016, lot 376
Lot 435
TWO DETACHED SPANISH MIQUELET-LOCKS, A DETACHED ROMAN-LOCK, A DETACHED PERCUSSION LOCK, 18TH AND 19TH CENTURIES; TWO DETACHED SNAPHAUNCE LOCKS, A DETACHED DOGLOCK AND A PISTOL BARREL AND STOCK, NORTH AFRICAN, 19TH CENTURY the first circa 1720, of russet iron, chiselled with foliage and struck with a mark, 'Damicarlaga' crowned; the second with shaped plate stamped with a mark beneath the mainspring, and brass pan(restorations); the third with chiselled details including a vacant cartouche on the tail (areas of light rust) and the fourth fitted with chiselled monsterhead hammer; the fifth engraved with scrollwork, with engraved details on the lockplate (areas of rust, the sixth rusted, the seventh chipped at the base of the cock), and the eighth with tapering barrel retained by an iron band, and carved butt (cut-down from a gun) the first: 13.0 cm; 5 1/8 in (8)
Lot 46
‡˜A 25 BORE NORTH AFRICAN SNAPHAUNCE MUSKET (MUKHALA), MOROCCO, 19TH CENTURY with tapering barrel engraved with scrolls over the breech, fitted with standing back sight and struck with a barrelsmith's mark, the forward portion largely encased by broad engraved brass bands, engraved tang, engraved flat lock inlaid with silver panels, full stock inlaid in silver wire with a brief inscription ahead of the lock, a further inscription opposite and scrolls about the tang, characteristically pronounced butt inlaid in silver wire with scrolls, flowers and foliage, light hardwood butt-plate, brass trigger-guard, and iron ramrod 133.2 cm,; 52 1/8 in barrel
Lot 487
A 16 BORE GERMAN 16 BORE FLINTLOCK SPORTING GUN, CIRCA 1680 with tapering barrel formed in three stages (fore-sight missing), struck with two proof marks on the left of the breech, plain rounded lock struck with a mark (cock associated, sear inoperative), figured full stock carved with scrolling foliage about the rear ramrod-pipe and the barrel tang (the fore-end an early working replacement, butt repaired, areas of light worm damage) plain iron mounts including trigger-guard, butt-plate with tang extending over the comb of the butt and ramrod-pipes, iron fore-end cap, and iron-tipped wooden ramrod 115.5 cm; 45 1/2 in barrel Provenance The Armoury of the Counts Schenk von Stauffenberg, sold Sotheby's London, 10th July 2002, lot 232.
Lot 10
ARCHITECTURESMEATON (JOHN) A Narrative of the Building and a Description of the Construction of the Edystone Lighthouse with Stone, FIRST EDITION, engraved vignette on title, 23 engraved plates and plans (one folding, one plan trimmed within platemark but not affecting neatline), light toning mostly at edges, a few faint spots, modern red morocco gilt, g.e. [Skempton 1338], folio (520 x 350mm.), for the Author, by H. Hughes, 1791This lot is subject to the following lot symbols: •
Lot 108
MOLL (HERMAN)A Set of Fifty New and Correct Maps of the Counties of England and Wales, &c. with the Great Roads and Principal Cross-Roads, &c. Shewing the Computed Miles from Town to Town, 50 hand-coloured engraved maps (2 folding, others double-page), all with engraved decorative borders, one folding map split at fold, light dampstaining at fore-margin of some plates (mostly to margins), contemporary calf, worn and scuffed [Chubb CLXII], 4to (235 x 190mm.), Tho. Bowles and J. Bowles, 1739This lot is subject to the following lot symbols: •
Lot 110
PATERSON (DANIEL)Paterson's British Itinerary. Being a New and Accurate Delineation and Description of the Direct and Principal Cross Roads of Great Britain, 2 vol., FIRST EDITION, engraved hand-coloured double-page engraved frontispiece, engraved title-pages, dedication leaf and 358 strip maps on 180 engraved pages, contemporary green morocco, gilt-tooled Greek key pattern border ons sides, g.e., FINE COPY, Carington Bowles, 1785--GOSTLING (WILLIAM) A Walk In and About the City of Canterbury, second edition, engraved frontispiece portrait, folding engraved plan of the city with a facing printed folding 'key' plate, 22 engraved plates and maps (2 folding), some light off-setting, straight-grained red morocco gilt by Kalthoeber (with his ticket), gilt corner-pieces, g.e., gilt bookplate of George Harwood, Canterbury, Simmons and Kirkby, 1777--HUTTON (WILLIAM) A History of Birmingham... Third Edition, With Considerable Improvements, folding engraved map as frontispiece, 16 engraved plates (one folding), contemporary calf, gilt morocco spine label, slightly rubbed, Birmingham, Thomas Pearson, 1795, 8vo (4)This lot is subject to the following lot symbols: •
Lot 111
ROBERT DE VAUGONDY (GILLES AND DIDIER)Atlas universel... corrigé et augmenté de la Carte de Royaume de France divisé en Départemens par C.F. Delamarche, engraved allegorical title by Ch. Baquoy, 113 double-page engraved maps (of 114, without plan of Paris, plate 64 on 2 mapsheets), all hand-coloured in outline, 2 additional engraved maps of Bays-Bas (one a duplicate of plate 62, one dated 1820), 4 double-page engraved tables, occasional light spotting, modern calf, folio (557 x 375mm.), Paris, Chez Fx. Delamarche and Ch. les Dien, [c.1819-20]This lot is subject to the following lot symbols: •
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Lot 124
CHRYSOLORAS (EMANUEL)????????? [Erotemata. Incipit:] '[?]?? ???? ??????????? ?? ????????????? ????????...', 64 leaves, 22 lines, Greek type, capital space on 1r, very light browning throughout, inscription cut from top of fly-leaf, dark purple straight-grained morocco by Gruel (signed at foot of spine), sides with wide gilt outer borders and quatrefoil tool in each corner, double gilt rule inner panel, ornate gilt panelled spine with 5 raised bands, inner gilt dentelles and red silk endpapers, g.e., slightly rubbed in places [ISTC ic00490000; BMC VI 668; Goff C490; GW 6694; Hain 5016; Proctor 6413], 8vo (158 x 110mm.), [colophon:] Florence, Lorenzo di Alopa, [c.1496]This lot is subject to the following lot symbols: •
Lot 135
ANGELO (DOMENICO)L'école des armes... The School of Fencing, with a General Explanation of the Principal Attitudes and Positions Peculiar to the Art, titles and text in French and English, 47 engraved plates by Ruyland and Hall after J. Gruyn, a few plates foxed, light offsetting, 2 or 3 plates with short tears or paper flaws within platemark but no loss, contemporary half calf, disbound [Cohen-de-Ricci, p.83], oblong folio (460 x 295mm.), S. Hooper, 1765This lot is subject to the following lot symbols: •
Lot 143
LAW - NORMANLEROUILLÉ (GUILLAUME) Le grand coustumier du pays & duche de Normendie, black letter, in 2 columns, title printed in red and black with historiated woodcut border, 2 woodcut tables (the Arbor Consanguinitatis printed in red and black), decorative woodcut initials, opening gathering loose, later calf, rebacked and recornered, worn, upper cover working loose [Adams N339], Rouen, Nicolas le Roux for Francois Regnault of Paris, Jehan Mallard of Rouen & Girard Anger of Caen, 1539--TERRIEN (GUILLAUME) Commentaires du droict civil tant public que privé, observé au pays & Duché de Normandie, large woodcut device on title, loss to one blank corner of title and pp.623/4, occasional light dampstains, contemporary calf, gilt-blocked arabesque on sides, rebacked in morocco gilt, joints worn, Paris, Jacques du Puys, 1574--BASNAGE (HENRY) La coutume reformée, 2 vol., contemporary calf, spine gilt-tooled with one morocco lettering label within raised bands, rubbed with small losses at spine extremities, Rouen, Antoine Maury, and others, 1694, folio (4)This lot is subject to the following lot symbols: •
Lot 149
RUSSIA - ZVENIGORODSKOI COLLECTIONKONDAKOV (NIKODIM PAVLOVICH) Histoire et monuments des emaux Byzantins [Collection de Mr. A. W. Zwenigorodskoi], FIRST EDITION, LIMITED TO 200 COPIES printed in French, this copy number '34', introduction by A. Zvenigorodskoi, chromolithographed dedication to Tsar Alexander III printed on an embossed silver foil ground, engraved portrait frontispiece on india-proof paper, additional chromolithographed pictorial title, title printed in red and black within a decorative chromolithographed border, 31 chromolithographed plates, chromolithographed divisional titles, decorative initials and ornaments throughout, limitation leaf printed in gilt and black, decorative endpapers, very light spotting to a few plates, original white morocco, sides and spine with elaborate embossed design blocked in gilt and black, edges printed in various colours, page edges gauffered and richly ornamented in gilt, silver gilt, red and green, original bookmark of multi-coloured and gilt threads attached by thread, very small scuffmark to extreme edge, contemporary cloth-backed silk-lined solander box, red morocco gilt lettering label on spine (some wear at extremities) [Fekula 6705, 'magnificent'; Vengerov, Old Russian Books, 77], folio (358 x 265mm.), Frankfurt, [A. Osterrieth], 1892This lot is subject to the following lot symbols: •
Lot 151
STRADA (JACOBUS DE)Imperatorum Romanorum onmium orientalium et occidentalium verissimae imagines ex antiquis numismatis quam fidelissime delineatae, title within decorative woodcut border, 118 full-page woodcut medallion portraits by Rudolf Wyssenbach after Rudolf Manuel Deutsch, each within an architectural border, text on verso within woodcut border of putti, fruit and grotesques, and with arabesque ornaments by P. Flotner, with blank a6, without blank v6, title and dedication leaf strengthened with old strip of paper at fore-edge without affecting printed area, final 9 leaves (f.111-118 and index leaf) with some losses to printed area (touching portrait on f.118), f.109 and 110 with small hole and old paper repair, light dampstain to one corner of a few leaves, later blindstamped vellum over boards, some loss to upper cover, spine worn [Adams S1919, the 3 copies all without the blanks], folio (480 x 370mm.), Zurich, Andreas Gesner, 1559This lot is subject to the following lot symbols: •
Lot 155
APICIUS COELIUSDe re culinaria libri decem... De tuenda valetudine... Pauli Aeginetae De facultatibus alimentorum tractatus, Albano Torino interprete, woodcut printer's device on title and last page, woodcut initials, light marginal dampstains towards end and small wormhole in margin of signature r (otherwise a fresh clean copy), eighteenth century blind panelled calf, blind tooled spine with raised bands, g.e. [Adams A1300; Bitting p.11; Cagle 32; Oberlé 5; Simon, Bibliotheca Gastronomica 123 and Bibliotheca Bacchica 52 & 527; Vicaire 31], 8vo (165 x 100mm.), Lyon, Sebastian Gryphius, 1541This lot is subject to the following lot symbols: •
Lot 156
ATHENAEUS OF NAUCRATISDeiphosophistae, in Greek, FIRST EDITION, edited by Marcus Musurus, Greek italic type, 45 lines and 2 headlines, capital spaces with guide-letters, dolphin and anchor device on first and last pages, last blank leaf of preliminaries lacking as often, occasional light soiling (mostly in margins and to first and last 2 or 3 leaves, these with some small chips or repairs), early ink marginalia in Greek and Latin (extensive at first) and some underscoring, eighteenth century panelled calf, sides with gilt rule and ornamental blind-tooled borders, gilt panelled spine with raised bands (neatly rebacked), inner gilt dentelles [Ahmanson-Murphy, 105; Renouard p.67; Vicaire 50], folio (313 x 205mm.), Venice, Aldus Manutius and Andreas Torresanus, August 1514This lot is subject to the following lot symbols: •
Lot 158
CHATIN (ADOLPHE)La Truffe. Botanique de la Truffe et des plantes truffières - Sol - Climat - Pays producteurs... Culture - Récolte... Qualités alimentaires - Conserves - Préparations culinaires, 15 lithographed plates printed in colours, some light browning at edges, later cloth, publisher's printed wrappers bound in, 8vo, Paris, J.-B. Baillière, 1892--RÉMY (JULES) Champignons et truffes, 12 lithographed plates printed in colour, some soiling, modern morocco-backed boards, publisher's printed wrappers bound in [Bitting 393; Vicaire 737], 12mo, Paris, Librairie agricole de la maison rustique, 1861--LOISEL. Traité complet de la culture naturelle et artificielle de l'asperge, 1846; Traité complet de la culture des melons, 1845; PAQUET (VICTOR) Traité de la conservation des fruits et des meilleures especes d'arbres fruitiers, 1844, 3 works in 1 vol., some staining, contemporary roan-backed boards, 12mo, Paris, H. Cousin, and Lyon, Savy jeune--CHANVALON (M. DE) Manuel des champs ou recueil choisi, instructif et amusant de tout ce qui est le plus nécessaire & le plus utile pour vivre avec aisance & agrément à la campagne, advertisement leaf at end, BOOKPLATE OF RAYMOND OLIVER, contemporary mottled calf, spine gilt in compartments with morocco label, 12mo, Paris, Lottin le Jeune, 1764--LIGER (LOUIS) Oeconomie generale de la campagne ou nouvelle maison rustique, 2 vol. in 1, woodcut illustrations, some browning and dampstaining, early ownership inscription on title ('Ex libris de Reynes'), contemporary calf, worn [Vicaire 520], 4to, Amsterdam, Henry Desbordes, 1701; and 2 others (7)This lot is subject to the following lot symbols: •
Lot 159
CORNARIUS (JANUS)De conviviorum veterum Græcorum, & hoc tempore Germanorum ritibus, moribus ac sermonibus, italic type, woodcut historiated initials, final leaf with colophon, a little light browning, early inscriptions on title (partially crossed through), modern panelled calf gilt [Adams C2637; Bitting 99; Vicaire 211], Basel, [colophon: Joannes Oporinus], 1548--ATHENAEUS OF NAUCRATIS. Dipnosophistarum sive coenae sapientum libri XV, title with large woodcut printer's device, some dampstaining (title frayed and repaired, last leaf repaired with loss), modern calf-backed boards [Oberlé 8-10], folio, Venice, Francesco Ziletti, 1572--RABELAIS (FRANCOIS) Les oeuvres, 4 vol., frontispiece with portrait of Rabelais by De Launay after Sarabat, contemporary mottled calf gilt, spines gilt with paper shelf labels and one or two chips, 12mo, Geneva, [Cazin], 1782--GIOVIO (PAOLO) De Romanis piscibus libellus, doctus, copiosus & elegans, iam recens æditus, full-page woodcut device on last page, lacking preliminary leaves a4-5, nineteenth century calf-backed boards, decorative gilt spine, 8vo, Antwerp, Jean Graphaeus, 1528--[MARTIN (LOUIS)] L'eschole de Salerne en vers burlesques. Et Poema macaronicum, de bello Huguenotic, third edition, title and 2 following leaves repaired with slight loss, lacking frontispiece, later vellum [Vicaire 334], 4to, Paris, Jean Henault, 1650--RAPIN (RENE) Hortorum libri 4 editio altera, fine engraved title, privilege leaf at end, contemporary calf, 12mo, Paris, Sebastien Mabre-Cramoisy, 1666; and works by Juvenal (1608), Ovid and Virgil (12)This lot is subject to the following lot symbols: •
Lot 167
PLATINA (BARTOLOMEO SACCHI DE)De honesta voluptate. De ratione victus, & modo vivendi. De natura rerum & arte coquendi libri X; De falso & vero bono dialogi... De optimo cive, 2 works in 1 vol., each title with printer's woodcut device and within same woodcut architectural border, woodcut initials, without blank leaf n8, occasional light spotting and soiling, eighteenth century green morocco, triple gilt borders on sides, gilt panelled spine with floral tools, partially faded and rubbed [Adams P1410 & P1407; Simon, Bibliotheca Bacchica 523; Vicaire 691], 8vo (163 x 102mm.), [Paris], Pierre Vidoue for Jean Petit, 1530This lot is subject to the following lot symbols: •
Lot 175
BREVIARY - BINDINGBreviarium Romanum ex sacra potissimum Scriptura, edited by Francesco de Quignones, printed in red and black, woodcut device on title, ruled in brown ink, lacks 2 leaves (51 and 470), repair to blank corner of one preface leaf, occasional light dampstains and smudges, contemporary French morocco gilt, covers with gilt fillet border enclosing elaborate interlaced strapwork design, rebacked incorporating later morocco spine (lettered 'Breviarum Romanum') with strapwork-style design, corners neatly repaired, preserved in black morocco-backed solander box by James Brockman [not in Adams or Bohatta], 8vo, Lyon, [Thibaud Payen], 1546This lot is subject to the following lot symbols: •
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