ÆŸ KAIKHOSRU SHAPURJI SORABJI. (1892-1988). AUTOGRAPH MANUSCRIPT, 'ROSARIO D'ARABESCHI', Presentation copy, signed and dedicated to Sacheverell Sitwell. 1956. 45pp., written in black ink on both sides of 23 leaves, inserted into a modern green morocco folder, oblong 4to., (263 x 375mm), gilt titles to front, with four opening flaps, and green silk lining, the manuscript, oblong 4to., (250 x 350mm), titled, signed and dated in black ink by the composer to front, 'Rosario d'Arabeschi / Kaikhosru Shapurji Sarabji / MCMLVI', the third page with a dedication to Sacheverell Sitwell, and a list of the 5 numbered parts in the composer's hand beneath, each page of score numbered 1-45 to top of page, further annotated, dated '5.43. p.m. XXVI. XI. MCMLVI. A.D.',and signed by Sorabji to the final page. Catalogue Note:Kaikhosru Shapurji Sorabji (born Leon Dudley Sorabji) was an English composer of Parsi extraction, a pianist, music critic and writer. 'Rosario d'arabeschi' was written as a tribute and gift for Sorabji's long-time friend, Sacheverell Sitwell, taking his cue from Sacheverell's enthusiasm for every aspect of human civilisation and their shared delight in the art and life of the Mediterranean. Provenance: The Sitwell Family Library, Weston Hall.
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SACHEVERELL SITWELL. (1897 - 1988). Autograph Letter to a friend, for the Shell Paper, Brazil, Weston Hall, 1964. An autograph letter from Sacheverell Sitwell to a friend, Tazil, reminiscing about their time together in Brazil, described by Sacheverella, as a 'carioca summer', written in Sacheverell's neat hand to single sides of 5 numbered leaves, 155 lines, on Weston Hall, printed headed paper, dated 17 April, 1964; 'Dear Tazil, I promised I would write something for the Shell paper, and here it is . . .', Sacheverell thanks Tazil for the kindness shown to him and his wife Georgia from the first day he came to meet them for luncheon, until the last morning at the airport when they waved goodbye to Lucio. 'Some readers of this letter may be wondering why we came to Brazil, and the answer is I have wanted to to do so for over forty years since I first began writing . . . I even wrote most of a special number about old and new buildings in Brazil for the Architectural Review in 1945, before I had ever been there, this is not as difficult as it sounds, so long as one is sufficiently interested, and I am letting you into a trade secret . . . And now that I have been to Brazil, what do I think of it . . . ', Sacheverell comments on his disappointment of hearing the popular song of the day 'Tea for Two' being relayed everywhere they went, and how noisy the Copacabana was, . . . 'I admired very much the Museum of Modern Art . . . other churches in Rio did not quite come up to expectations . . .', He admits to his friend that he is not alone in wishing not to live there, . . .'Brazilia, a Pompeii . . . of the nineteen fifties,is an astonishing experience . . . the air is wonderful, as are the sunsets and sunrises, but not yet the shops, cinemas or general amenities.'; Sacheverell writes of their visit to Salvador, flying onto Dakar and how he wishes even more than ever that he had seen the Amazon, humming birds and parrots of Brazil, however, '. . . Time and money are always in short supply'. He ends the letter with warm thanks and greetings to all who were kind to them, particularly in Shell-Brazil during their too short stay in Rio. Sacheverell's youngest son Francis Sitwell (1935 - 2004), had spent ten years working for Shell, during which time he represented the company in East Africa.Provenance: The Sitwell Family Library, Weston Hall. Condition Report: the letter folded in half, light creasing and a few page corners turned over, a small hole to lower l.h. of page 4, and a clean edge tear, approx. 4cm to lower l.h edge of page 5, a few light marks o/w. clean; the text neatly written and esy to read.Condition Report Disclaimer
Hudson Oval Coffee Table Champagne Add A Splash Of Scandi Style To Your Home With The Hudson Oval Coffee Table From Gallery Direct. The Effortless Cool Of Its Clean Design Is Complemented By Beautiful And Practical Detailing, Such As Tempered Glass And An Champagne Finish. Two Oval Surfaces Deliver The Perfect Ornate Coffee Table For Easy And Elegant Entertaining. The Neutral Tones Of This Piece Also Offer Opportunities To Showcase Art, Colour And Modern Life. Sophisticated, Contemporary And Versatile, This Piece Has Been Designed For Lovers Of Fine Featured Furniture. 112cm Wide, 61cm Deep And 51cm High (SR237) Ex Showroom Display
Wallis Circles Mirror The Wallis Circles Mirror is the latest addition to our range of modern mirrors. This stunning mirror is bound to become the focal point of any room it is placed, finished with a gold frame and made up of circular mirrors making this beautiful mirror like a piece of wall art. W 910 x D 10 x H 910 mm
λ CECIL BEATON, (BRITISH, 1904 - 1980), Georgia Sitwell, circa. 1927. Two photographs. comprises: the first photograph - a bromide print, cut into an art-deco collage design on cream card, signed centre right of image in black ink to cream card. the image 28.5 x 28cm; the second photograph - a bromide print on cream card, signed lower right in red ink, the image 27.5 x 23.1cm, both framed and glazed. (Qty. 2)Condition Report: 1. Art deco collage design photograph - 52.3 x 36.8cm overall in a modern black frame, a few white scuff marks to r.h. of the frame, with Green and Stone of Chelsea, London, white label lettered in green to verso of frame, the photograph with some foxing and marks on the cream card, the photograph with silvering under raked light. 2. 52.3 x 36.8cm overall in a modern black frame, some small scuffs to frame corners, foxing to the cream cars and top r.h, of the photograph, with silvering under raked light.Condition Report Disclaimer
ÆŸ ART BALLET AND RELATED: includes a signed programme, exhibition catalogues, a photograph, and a TLS. to Sacheverell Sitwell. comprises: HASKELL, Arnold L. (1903 - 1980). Baron at the Ballet, Presentation copy to Sacheverell Sitwell from Mark Bonham Carter, Collins Publishers, London, 1950. publisher's red gilt cloth, dustwrapper unclipped, Foreward by Sacheverell Sitwell, Preface by Baron, 222pp., with a loosely inserted typescript letter, signed, 1pp, 6 lines, written to Sacheverell Sitwell, Weston Hall, Towcester, Northamptonshire, from Mark Bonham Carter, Collins Publisher's St. James's Place London, dated 28 November, 1950, 'Dear Mr.Sitwell, I enclose a copy of BARON / AT THE BALLET to which you so kindly / wrote the foreward and I hope the / book comes up to your expectations. / Certainly we are most grateful to you for the help you gave us. / Yours sincerely, / Mark Bonham Carter'; WINDHAM, Donald / KIRSTEIN, Lincoln. [editors]. Dance Index. The Stage and Ballet Designs of Eugene Berman by Allison Delarue. Vol. V, No. 1, 1946, inscribed to Sir Osbert Sitwell from Allison Delarue. 8vo., (235 x 188mm), illustrated paper wrappers, photo. illustrated throughout, inscribed in black ink to front cover, 'For / Sir Osbert Sitwell / a token of / appreciation / Allison Delarue', 23pp; FELLOWES, Daisy. (1890 - 1962): VERTES, Marcel. (1895 - 1961). Les Dimanches de la Comtesse de Narbonne. Editions de France, Paris, 1935. first edition, limited edition of 1000, 4to., (263 x 230mm), original soft pictorial pink illustrated wrappers, edges untrimmed, ink flower illustration and inscription to half-title, 'to Emerald / with my love', in-text and full-page illustrations by Vertes, 192pp: Castello di Montegufoni, Italy, South Entrance. a sepia photograph, 26cm x 20cm, within a clear plastic sleeve, with NPG. label. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. a32 / 1.246; BEERBOHM, Max. (1872 - 1956). Max's Nineties. Rupert Hart-Davis, London, 1958. first edition, 4to., (293 x 228mm), publisher's original wavy, striped pink and grey paper covered boards, gilt title to burgundy buckram spine, dustwrapper unclipped, black e/ps., half-title, 10pp. Introduction by Osbert Lancaster, 46 captioned full-page monochrome plates; with CALLOWAY, Stephen. Twentieth-Century Decoration. The Domestic Interior from 1900 to the Present Day. Weidenfeld & Nicholson, London, 1988. first edition, green cloth, dustwrapper unclipped, 215 colour illustrations, 310 b/w. illustrations, 407pp., within white card slipcase; BEATON, Cecil. Photobiography by Beaton, Odhams Press Limited, London, 1951; MACINNES, Colin. Nolan, Thames and Hudson, London, 1961; 'HIS MASTERS VOICE', Catalogue, August 1920. 8vo., photo. illustrated green and white paper wrappers, 16pp. together with seven exhibition catalogues, 1931-1994. (Qty 17). Provenance: The Art Library of Sir Sacheverell Sitwell, Weston Hall. Condition Report: EXHIBITION CATALOGUES INCLUDE- Henri Matisse, Expostion organisee au profit de L'Orphelinat des Arts, Galeries George Petit, Paris, 16 juin - 25 juillet, 1931, 4to., (290 x 230mm), cream card wrappers, cream dustwrapper with raised blue lettering to front, edges untrimmed, 24 full-page b/w. photo. reproductions, 8pp. adverts at end, catalogue lists 142 works; Tchelitchew. The Gallery of Modern Art, New York, 20 March 1963 - 19 April, 1964. catalogue lists 322 works, 69pp.; John Piper. The Tate Gallery, London, 30 November 1983 - 22 January, 1984. catalogue lists 171 works, 152pp.; John Piper The Sitwell's Montegufoni, The Maclean Gallery, London, 28 January - 20 February, 1981. some prices marked in blue ink manuscript beside the catalogue entries of 4 works, with a price list loosely inserted, catalogue lists 14 works, 20pp., NPG. tissue wrapping and label; Gwen John, An Interior Life, Phaidon Press and Barbican Art Gallery, 1984-85. catalogue lists 126 works; Rex Whistler's War 1939-July 1944, Artist into Tank Commander, National Army Museum, 1994. catalogue lists 149 works; T.E. Lawrence. Lawrence of Arabia. National Portrait Gallery, London, 1988-1989. catalogue lists 363 works; C/R: Les Dimanches de la Comtesse de Narbonne. Editions de France - covers marked and creased, torn to lower spine, foxing to untrimmed edges and throughout.Max's Nineties - a few light marks to dustwrapper, o/w. a clean copy.Twentieth-Century Decoration. The Domestic Interior from 1900 to the Present Day - a clean copy, the slipcase marked with a few stains. Henri Matisse, Expostion - front board present but detaching, foxing to dustwrapper and untrimmed edges affecting leaf edges, and further foxing throughout. Condition Report Disclaimer
PHOTOGRAPHS: a group of fifteen items, including a small wedding photograph album, 1925. comprises: ALTON, PARIS: Sacheverell Sitwell and Georgia Doble's wedding photograph album, October 25, 1925. 8vo., (215 x 182mm), buff- coloured, decorative card covers, string ties, with the studio printed name and address lower right, Alton, 20 rue Gauthey, contains nine bromide prints (including oval inset image to front), mounted to single sides of eight brown card leaves, the images mostly 11 x 8cms, the album 21.5 x 18cm overall, with two small b/w. photographs of Reresby and Francis Sitwell loosely inserted, the images (Reresby), 15 x 19.3cm, (Francis), 19 x 6.5cm; A MODERN POET AND HIS BRIDE, The Sketch, 21 October, 1925. a reproduction b/w. photographic print, depicting Sacheverell Sitwell and his new bride Georgia Sitwell (nee Doble), in the doorway of St. George's Anglican Church, Paris, the image 23.5 x 18cm, printed label to verso,'The Illustrated London News Picture Library London, Ref. Sketch October 21st 1925'; FREDERICK. W. SCHMIDT. (German, active 1900s). Frederick Dawson, the Pianist, c.1930's. bromide print on photographer's grey card mount, manuscript title in pencil beneath, 'Frederick Dawson Esquire / the Pianist / (1868-1940)', further signed in pencil by the photographer lower right, 'F. W. Schmidt / Manchester', the image 23.8 x 18.8cm, within a paper folder with the studio printed stamp and address to front, F.W. Schmidt, 6 St. Ann's Square, Manchester, 43.5 x 27cm overall. Frederick Dawson, was a British pianist and teacher. Dawson was a child prodigy who by the age of ten could play the complete Bach 48 preludes and fugues. He studied with Anton Rubinstein, Halle and Dannreuther. Frederick Dawson pursued a successful career in his homeland and Europe, also touring with soprano Adelina Patti. He also taught at the Royal Manchester College of Music and at the Royal College of Music in London; EMIL OTTO HOPPE. (German, 1878 - 1972). Osbert Sitwell, 1918. bromide print part mounted on brown card, signed in black ink lower right, the image 19.3 x 14cm, numbered in pencil to verso of photograph 14697a / 2, photographer's printed label to verso of mount, titled and numbered in pencil '14697a Osbert Sitwell', with the studio address 7 Cromwell Place, South Kensington, 36 x 24.8cm overall. Emil Hoppé was the undisputed leader of pictorial portraiture in Europe, photographing many leading literary subjects and figures from the art world. In the early 1920s he was invited to photograph Queen Mary, King George, and members of the royal family. Emil Hoppe took on a lease in 1913 of 7 Cromwell Place, occupying all thirty-three rooms of the previous home of Sir John Everett Millais. National Portrait Gallery Exhibition. The Sitwells: 14/10/94 - 22/1/95. Catalogue No. 2.10; O.G. RYLANDER. Colonel Hon. Henry Hely Hutchinson, c. 1860s. two albumen prints mounted on card, one signed in pencil lower left, the images 19.5cm x 15cm, and 2.3 x 15cm, overall 48 x 355cm and 457 x 32.7cm. Colonel the Hon. Henry Hely Hutchinson (1790-1874) was the nephew of the celebrated General, Lord Hutchinson (later 2nd Earl of Donoughmore); ANON. Georgie Doble. ca. 1930s. two bromide prints, the first image - depicting the sitter in an evening dress wearing pearls, the image 30 x 24cm, (38.5 x 29.7cm overall within wood frame), the second image - pink-tinted, depicting Georgie wearing a scarf, the image 32.5 x 25cm., (45.5 x 37.8cm within a modern black frame) both framed and glazed; DR. GREGORY HARLIP. (Eastern European, active 1930s- 1950s). Lord Berners, c. 1940s. a black and white print, signed in the print lower right, 23.7 x 17.7cm, ink stamp to verso, 'Copyright by Harlip London'. Harlip was a photographic studio specialising in celebrity portraits, based at 161 New Bond Street, Mayfair, London, managed by Dr Gregory Harlip, and later his widow Madame Monte Harlip, both of Eastern European origin. Lord Berners (Sir Gerald Tyrwhitt Wilson, 14th Baron, 1883-1950), was a British composer, novelist, painter and aesthete. He established a close friendship with all three Sitwells. Lord Berners collaborated with Sacheverell in 1926, for the Diaghilev ballet, 'The Triumph of Neptune'. In 1931, Sacheverell dedicated his book 'Spanish Baroque Art' to Lord Berners; ANON. Pearl Argyle, c. 1935. a black and white photograph, depicting the young dancer with her arms behind her back, 21 x 15.9cm, framed and glazed. Pearl Argyle (1910-1947) was a dancer and actor. Her career included leading roles in productions for the Ballet Rambert and Vic-Wells Ballet (now the Royal Ballet). Frederick Ashton described her as 'the most beautiful woman of her generation'. Sacheverell Sitwell first met Pearl Argyle in 1933, and became infatuated by her beauty, and whilst aware he did not love her, Pearl relished in Sacheverell's sophistication and the influence he was able to wield in the ballet on her behalf. UNKNOWN. A Gentleman. bromide print, 'Clifford Coffin' in pencil to verso, 24.5 x 19.7cm; UNKNOWN: Jean Costa, c. 1940s. a black and white photograph, captioned in pencil to verso, 'M. Constantine Achillopoullo, Commonly known as A. Costa; or 'Soldat Jean Costa' of the Free French Army in Africa. Born (about) 1908. 22.2 x 19.5cm, within a clear protective sleeve, with NPG label; and a photographic print of a drawing of a lady by Augustus John, signed in the print, 24.5 x 17cm. (Qty. 15). Provenance: The Sitwell Family Collection, Weston Hall. Condition Report: Condition Report Disclaimer
Edgar Negret (Colombian, 1920 - 2012). Pencil signed lower right. Numbered (46/60) lower left. Biography: Edgar Negret was born in Popayan, Colombia where he attended the School of Fine Arts in Cali, Colombia.Initially he worked in stone in styles reminiscent of European modernists like Jean Arp and Constantin Brancusi, but by the early 1950s, he began working in metal in constructivist tradition.In 1955, his art was acquired by the Museum of Modern Art. In 1963, he won the Salon de Artistas Colombianos, and therein became one of the most prominent Colombian sculptors of the 20th century.In 1968, he was awarded the David E. Bright Sculpture Prize, at the Thirty-fourth Venice Biennial.In 1985, the Museum Negret opened. In 2010, he was awarded Grado de Oficial by order of the Congress of Colombia.Negret died, on his 92nd birthday, in Bogota, Colombia. Sight Size: 27.75 x 21 in. Overall Framed Size: 35.75 x 28.75 in. Framed behind glass.
Original vintage stone lithograph advertising poster for gentleman's hats Mossant. Fun design by Leonetto Cappiello showing a row of elegantly claded arms holding out Mossant hats in greeting on a bright yellow background. Leonetto Cappiello (9 April 1875 – 2 February 1942) was an Italian and French poster art designer and painter, who mainly lived and worked in Paris. He is now often called 'the father of modern advertising' because of his innovation in poster design. The early advertising poster was characterized by a painterly quality as evidenced by early poster artists Jules Cheret, Alfred Choubrac and Hugo D'Alesi. Cappiello, like other young artists, worked in a way that was almost the opposite of his predecessors. He was the first poster artist to use bold figures popping out of black backgrounds, a startling contrast to the posters early norm. Acceptable condition, water staining on top right corner, tear and punched dents, creasing, backed on old linen. Country of issue: France, designer: Leonetto Cappiello, size (cm): 159x117.5, year of printing: 1938.
Bruce Onobrakpeya (Nigéria, né en 1932)The Last Days of Christ signé et titré en bas au centre 'Bruce Onobrakpeya' et 'The last days of Christ'; étiquette au dos 'Ovuomaroro Gallery, 41 Oloje street, Papa-Ajao Mushin, Lagos, Nigeria'relief en métal monté sur panneau de bois88 x 47,5cm (34 5/8 x 18 1/2in).Footnotes:ProvenanceOvuomaroro Gallery, NigériaCollection privée, FranceBruce Obomeyoma Onobrakpeya, né le 30 août 1932 à Agbarha-Otor au sud du Nigéria, est un graveur, peintre et sculpteur, exposé au sein des plus grands musées du monde, tels que Tate Modern à London, le National Museum of African Art, le Smithsonian Institution de Washington, D.C. et le Malmö Konsthall en Suède.L'art caractéristique de Bruce Onobrakpeya a fait de lui l'un des artistes les plus percutants du 20e siècle en Afrique de l'Ouest et une figure très influente pour de nombreux artistes nigérians. Depuis 1966 Onobrakpeya a découvert, innové et perfectionné plusieurs techniques de gravure et de sculpture en relief, uniquement créées au Nigéria. La plus connue reste sans doute celle du transfert par gauffrage des motifs gravés sur plaque. Dans cette oeuvre, Onobrakpeya dépeint des figures bibliques dans des décors nigérians, revêtant les personnages de tenues caractéristiques nigériannes. Les Å“uvres de Bruce témoignent de son engagement pour la décolonisation des arts visuels, autrefois imprégnés par les enseignements Européens, et illustrent son soutien actif à la Zaria Arts Society (également connue sous le nom de Zaria Rebels).Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com
A superbly presented, low mileage GT Speed that was once the property of the legendary Cristiano Ronaldo.The Continental GT Speed was introduced in 2012 and was designed to embody the perfect balance between exquisite luxury and an exhilarating driveProducing 616 bhp the GT Speed offers 0 to 60 mph in 3.9 seconds and 205 miles per hourThis particular car was supplied new to Cristiano Ronaldo on the 5th September 2008Finished in his choice of Sapphire Blue with Magnolia leather, he used this car for several years whilst playing for Manchester United Main dealer serviced up until 2016 when put in to long-term storage by our late vendorMost recent service recorded was at Bentley Glasgow in April 2016 at 35,700 milesThe service records and MOT history support the indicated mileage of 38,418In outstanding condition throughout, with 12 months MOT. Cristiano's name is still visible on the V5C as the previous ownerA great car with a significant past that will always distinguish it in the future.In 2010, the Bentley Continental GT saw its first significant redesign since its launch in 2003. Ushering in a suite of new models, this reinvention of the quintessential modern Bentley took the Continental’s peerless craftsmanship, exquisite style and substantial power output and pushed it to an entirely new level. The redesign introduced new technology, greater efficiency, state-of-the-art materials, a sleek new silhouette, and a sportier feel. Among the second generation models, the Continental GT Speed was introduced in 2012 and was designed to embody the perfect balance between exquisite luxury and an exhilarating drive. In creating the GT Speed, Bentley's chassis engineers brought the car 10mm closer to the ground, laying the foundation for a sportier driving experience than that of the basic Continental GT. Equipped with the Mulliner Driving Specification as standard, it featured diamond-quilted leather seats, indented leather headlining and embroidered winged 'B' emblems on the headrests. Drilled alloy pedals, a knurled sports gear lever, and the Jewel fuel filler cap recall Bentley’s long racing heritage. With a peak output of 616 bhp, (slightly more than the McLaren F1 when it was first launched) the GT Speed is capable of accelerating from 0 to 60 mph in 3.9 seconds (0-100 km/h in 4.1 seconds) and rocketing on to a top speed of 205 miles per hour. This particular car was supplied new to football superstar, Cristiano Ronaldo, on the 5th September 2008, finished in his choice of Sapphire Blue with Magnolia leather upholstery. Often ranked as the best football player in the world, Cristiano Ronaldo is world famous and has recently rejoined Manchester United, having previously played for both Real Madrid and Portugal. He is Captain of the Portuguese national side, a five-time winner of the FIFA Ballon d'Or (2008, '13, '14, '16 and 2017) and is currently ranked by ESPN as the world's most famous athlete.Cristiano used this car for several years whilst playing for Manchester United in the past and the car has been maintained by Bentley main dealers ever since. It has been main dealer serviced up until 2016 when put in to long-term storage by our much respected late vendor. The most recent service recorded was at Bentley Glasgow in April 2016 at 35,700 miles. The book pack and service record are complete and present, as are all past MOT Certificates supporting the current indicated mileage of 38,418. It is offered in outstanding condition throughout, with a fresh 12 month MOT. Cristiano's name is still visible on the V5C as the previous owner. A great car with a significant past that will always distinguish it in the future.SpecificationMake: BENTLEYModel: CONTINENTAL GT SPEEDYear: 2008Chassis Number: SCBCF63W68C058724Registration Number: MF58 FEVTransmission: AutoEngine Number: 019279Drive Side: Right-hand DriveOdometer Reading: 38418 MilesMake: RHDClick here for more details and images
Ferdinand Becker (active 1793-1825) "Elterwater near Langdale Pikes'"(c.1790)Inscribed in ink, pencil, ink and watercolour, together with two further examples by the same hand to include "Near Low Wood Inn, Windermere" and "Windermere", 18.5cm by 28cm (3) Private Collection, UKFootnote: External appraisal and further research has now firmly identified these atmospheric early views of The Lakes as by the artist Ferdinand Becker, a drawing-master based in Bath. Though detailed information on this historically interesting figure is scarce, modern scholarship now considers it likely that he is also the author of works historically ascribed to an 'Edmund Becker' - a confusion perhaps resulting from an early misreading of Ferdinand Becker's signature or other such recording error. It is known that Ferdinand Becker visited Cumbria in or around 1795 - and that related drawings (possibly including the works offered here) were displayed in an exhibition of his work in Bath in 1796. For further information on Becker and his part in early artistic responses to the Lake District and it's scenery see Cecilia Powell and Stephen Hebron, Savage Grandeur and Noblest Thoughts: Discovering the Lake District 1750-1820, (Wordsworth Trust: 2010), pp. 77-79,143,175. The Tate Gallery holds other examples of Becker's work which can be seen online at https://www.tate.org.uk/art/artists/ferdinand-becker-2557Condition report: Elter Water near Langdale Pike - Some general staining throughout sheet. Colour depth appears broadly good although executed in the artist's characteristic subtle palette and overall impression possibly slightly muted by the impact of time staining. Small amount of tiny-sized dark spots in the sky and elsewhere which may even be ink splashes. Subtle slight cockle to lower edge, not examined out of the frame. Windermere - In a comparable condition to the former accepting a diagonal crease to the upper right-hand corner and vertical discoloured line running approximately 0.5cm from the far edge which suggests residual adessive to reverse and/or evidence of some evidence of discoloured restoration. One or two tiny foxing spots. No real evidence of cockling. Not examined out of the frame. Near Low Wood - In broadly comparable condition to the first, time staining slightly more evident towards the outer edges next to mount. NO evidence of cockling. Not examined out of the frame.
Roy Lichtenstein (1923-1997)WHAAM!, 1967 signed in pencil recto and numbered 21 verso on the right paneloffset lithograph in colours on two sheets of wove paper 63.4 x 74.4cm (25 x 29 1/4in)(each panel)published by the Tate Gallery, London, 1988Footnotes:ProvenanceOld Master, Modern and Cotemporary prints, Christie's London, lot 574.Acquired from the above sale by the present owner.LiteratureMary Lee Corlett, The Prints of Roy Lichtenstein, Hudson Hills Press, New York, 1994, no. C.App.7, p325The Tate Gallery published several editions of this lithograph between 1967 and 1988, reproducing the original painting in their collection and this is from the edition of 3000 published in 1988 (copy 3M488). This impression is one of 25 produced to raise funds for the American Indian Program and is inscribed signed in support of the Artists for American Indian Programs, Princess Pale Moon, American Indian Heritage Foundation in pencil on the reverse of the right panel.WHAAM! is the quintessential work of Pop Art, an arresting and instantly recognizable image by one of the major exponents of the genre, taking inspiration from popular and commercial culture and challenging the artistic conventions of the 1960s by elevating the humble disposable comic strip to the status of a serious work of art.Lichtenstein appreciated comic strips for 'their strength, aggressiveness and energy'. For WHAAM!, he adapted an illustration in the 1962 comic book All-American Men of War, which showed an American fighter jet destroying an enemy plane. Lichtenstein's interpretation is simplified with bold primary colours outlined in black and economical use of narrative, with the onomatopoeic lettering WHAAM! placed for maximum impact. The artist also employed his trademark Ben-day dots which are carefully spaced and overlapped to simulate colour variations and create form, emulating the process by which comic books are printed. The original composition was conceived as one panel. However, Lichtenstein decided that the work would have more impact as a diptych, separating the action from its explosive consequence, whilst maintaining a visual connection via the smoke trail.Lichtenstein's military service during World War II and the looming spectre of the Vietnam war influenced his choice of subject, which could be regarded as a comment on the folly of war. He later remarked 'At that time I was interested in anything I could use as a subject that was emotionally strong – usually love, war, or something that was highly-charged and emotional subject matter'. The translation of a mass-produced commercial comic book image into the main subject for an artwork was considered a bold move, but for Lichtenstein the cartoon style was the perfect vehicle to challenge traditional opinions on what constitutes art and to confound the expectations of the viewer. Although the comic strip was perhaps a lowly-regarded genre, it had a place in popular culture, expressing and influencing the American dream, and WHAAM! sits firmly within this tradition.For further information on this lot please visit Bonhams.com
Furst (Herbert). The Decorative Art of Frank Brangwyn, 1st edition, London: The Bodley Head, 1924, numerous colour & monochrome illustrations, period blue ink monogram to the front pastedown, some light spotting throughout, original cloth in dust jacket, cover rubbed with minor tears, front hinges torn to head & foot, large 4to, together with; Brangwyn (Frank & Christian Barman), The Bridge, a chapter in the history of building, 1st edition, London: The Bodley Head, 1926, 24 colour & 22 black & white illustrations, some light spotting, publishers original brown cloth, boards & spine lightly rubbed, 4to, plus Morris (May), The Introduction to The Collected Works of William Morris, 2 volumes, 1st edition, New York: Oriole Editions, 1973, black & white illustrations & facsimiles, uniform original cloth in dust jackets, 8vo, and de Buelleroche (William), Brangwyn Talks, 1st limited edition, London: Chapman Hall, 1944, 24 monochrome illustrations, some light spotting throughout, original cloth in dust jacket, covers rubbed, torn & faded with some loss to head of the spine, 8vo, 360/500, plus other modern William Morris & Frank Brangwyn reference & related, some original cloth in dust jackets, some paperback editions, 8vo/4toQty: (Approximately 80)
Ousterhout (Robert G.). Visualizing Community, art, material culture, and settlement in Byzantine Cappadocia, 1st edition, Washington DC: Dumbarton Oaks Research Library, 2017, numerous colour & black & white illustrations, original cloth in dust jacket, 4to, together with; Bellinger (Alfred R. & Philip Grierson), Catalogue of the Byzantine Coins in the Dumbarton Oa km s Collection and in the Whittemore Collection, volume 2 parts 1 & 2 (2 volumes), Washington DC: Dumbarton Oaks Center for Byzantine Studies, 1968, publishers original cloth in glassine dust jackets, boards slightly marked, covers torn with some loss, large 8vo, plus James Duncan [printed for], The Modern Traveller. Syria and Asia Minor, 2 volumes (bound in 1), Edinburgh: Oliver and Boyd, 1824, 2 monochrome folding maps plus 6 plate illustrations, some light toning & offsetting, modern endpapers, bookplate to the front endpaper, modern brown cloth, 8vo, and other mostly modern Middle East reference & related, mostly original cloth, many in dust jackets, G/VG, 8vo/4toQty: (6 shelves )
Tidcombe (Marianne). Women Bookbinders 1880-1920, 1st edition, London: The British Library, 1996, numerous black & white illustrations, publishers original boards & green cloth spine, 8vo, together with; Tracy (Walter), Letters Of Credit a view of type design, 1st edition, London: Gordon Fraser, 1986, numerous black & white type examples, original cloth in dust jacket, covers very lightly rubbed with minor tears to head & foot, 8vo, plus Bliss (Edward Percy), Edward Bawden, 1st edition, Godalming: The Pendomer Press, circa 1979, numerous monochrome illustrations, some minor marginal toning, original cloth in price-clipped dust jacket, covers lightly rubbed, 8vo, and other modern bibliography, illustrator & literary reference, including The Art of Maurice Sendak, by Selma G. Lanes, 1st edition, London: The Bodley Head, 1980, oblong 4to, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQty: (6 shelves )
O'Connor (John). Canals, Barges and People, 1st edition, London: Art and Technics, 1950, 24 colour engravings plus black & white in-text illustrations, some minor spotting, original cloth in dust jacket, covers slightly marked & rubbed with some loss to head &foot, 4to, together with; H.M.S.O., Paiforce, the official story of the Persia and Iraq Command 1941-1946, 1st edition, London, 1948, monochrome illustrations & maps, original cloth in dust jacket, covers slightly marked & rubbed with loss to the head of the spine & front cover, 8vo, plus other modern literary, arts & history reference, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQty: (6 shelves )
Mackenzie (Colin). Five Thousand Receipts in all the Useful and Domestic Arts, Constituting a Complete and Universal Practical Library, and Operative Cyclopaedia, 2nd edition, G. & W.B. Whittaker, 1823, some spotting, contemporary sheep, some wear, modern calf reback with gilt-titled spine label, square 12mo, together with: Simon (André L.), The Art of Good Living, A Contribution to the Better Understanding of Food and Drink, together with a Gastronomic Vocabulary and a Wine Dictionary, 1st edition, Constable, 1929, black & white plates, partly uncut and unopened, bookplate of Charles W. Berry, original parchment-backed marbled boards, spine a little browned, small chip to upper edge of front board, 8vo (signed limited edition, 110/300 copies), plus: Savarin, Real French Cooking, with a Selection of Outstanding Recipes from other Countries, 1st English edition, Faber & Faber, 1956, black & white illustrations, original cloth in dust jacket, a little spotted and frayed along upper edges, 8vo, plus: Oliver (Raymond), The French at Table, 1st English edition, Wine and Food Society, 1967, colour and black & white plates, original cloth in dust jacket, a little chipped and soiled, 4to, plus other cookery interest, mostly original cloth in dust jackets, plus some paperbacksQty: (6 shelves)Footnote: Provenance: From the library of John Arlott (1914-1991), English journalist, author, cricket commentator, poet and wine connoisseur.
RICARDO BAROJA NESSI (Riotinto, Huelva, 1871 - Vera de Bidasoa, Navarra, 1953).Untitled.Oil on canvas.It has slight damage to the frame.Signed in the lower left corner.Measurements: 36 x 56 cm; 48 x 69 cm (frame).Painter, engraver and writer of the Generation of 98, and brother of Pío Baroja, he was formed in a self-taught way. Developing a style contrary to the aesthetic taste of the artistic juries of the beginning of the century, Baroja presented himself at the Modern Art Exhibition in Bilbao from 1900, and exhibited his work in different places, preferably San Sebastian and Madrid. Towards 1900-1906, he focused with dedication on the cultivation of etching, becoming considered the best Spanish master in this field after Goya, standing out from the beginning as a profound portraitist, author of beautiful etchings and scenes of popular life, between Goyaesque and lyrical. At the same time, he dedicated himself to writing. In 1903 he founded, in collaboration with Pablo Picasso and Francisco de Asís Soler, the "Arte Joven" group. In 1928 he was appointed professor at the National School of Graphic Arts. However, as a result of a traffic accident the artist loses an eye and is forced to give up painting, focusing from then on literature. Little by little, he took up brushes again, but he hardly ever painted from life. During the Civil War he lost contact with his brother, who fled to France, and he made a living painting. After the war he continued painting, although only in summer, and writing. In 1940 he again held exhibitions in the art galleries of San Sebastian, Bilbao and Madrid, obtaining great commercial success. In San Sebastian he founds, together with Martiarena, the Artistic Association of Guipuzcoa. In 1952, a year before his death, his success is confirmed with the sale of all his paintings in an exhibition held in San Sebastian. Ricardo Baroja is represented in the Provincial Museum of Lugo, the Fine Arts Museums of Bilbao and Alava, and the San Telmo Museum in San Sebastian, among others.
CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Fisherwomen", 1988.Oil on canvas.Signed in the lower right corner.Measurements: 81 x 100 cm; 99 x 118 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he began his training at the School of Arts and Crafts. During the Civil War he enters the Escuela Superior de Pintura and attends the workshop of Daniel Vázquez Díaz, who will become his teacher, supporting him throughout his career. In his workshop, Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa or San José. In 1946 he presents his work for the first time, in the framework of a collective exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he holds an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics begin to echo his work and he is selected to participate in the exhibition "Spanish Art", held in Buenos Aires and organized by the Ministry of Education. From this moment on, he shows his work in several Spanish cities and in France, and participates in group exhibitions such as the Venice Biennial (1950) or the Salón de los Once (1951). Between 1952 and 1953 he travels three times to Paris thanks to different scholarships. His period of maturity begins with a new visit to Paris at the beginning of the sixties, to later travel to Switzerland, Germany, Holland and Belgium, obtaining several medals in the National Exhibitions of Fine Arts, as well as the Painting Prize of the Hispano-American Biennial of Cuba. Although he is not part of the Second School of Vallecas, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly focused on landscape painting and still lifes, although at first he also dedicated himself to the figure. The painter elaborates his landscapes by means of a direct contemplation of nature, not by copying it, because later in his studio he makes a selection of what interests him. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art of Madrid, the Fine Arts Museums of Bilbao and Oviedo, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.
EUGENIO HERMOSO MARTÍNEZ (Fregenal de la Sierra, Badajoz, 1883 - Madrid, 1963)."Young man with flowers".Oil on canvas.Signed in the lower left corner.Measurements: 75 x 48 cm; 91 x 63 cm (frame).Eugenio Hermoso began his studies at the School of Fine Arts of Santa Isabel de Hungría in Seville, with a scholarship from the City Council and the Provincial Council of Badajoz. In 1901 he moved to Madrid to continue his training at the School of San Fernando, and there he also dedicated himself to making copies of the great masters in the Prado Museum. During these years he frequented the Ateneo and the Círculo de Bellas Artes, being praised by intellectuals such as Pío Baroja, Díaz Canedo and Juan Ramón Jiménez. He then began a study trip that took him to France and Belgium, as well as the most important Italian cities: Genoa, Pisa, Rome, Naples, Florence, Venice and Milan. On this trip Eugenio Hermoso came into contact with the European avant-garde, meeting the Impressionists and admiring the portraits of Egyptian sarcophagi from the Roman period. In 1912 he embarked for England, exhibiting his work in London that same year. In 1918 he settled in Madrid forcibly and definitively. From then on he frequented the nightly gatherings of the Nuevo Levante café, attended by the brothers Ricardo and Pío Baroja, Ignacio Zuloaga, José Gutiérrez Solana and Rafael de Penagos, among others; and the Maisón Doré café, together with Jacinto Benavente, Manuel and Antonio Machado and Francisco Villaespesa. In 1922 he held his first major exhibition at the Museum of Modern Art in Madrid, with public and sales success. Professor at the Escuela Superior de Bellas Artes de San Fernando in Madrid, he was appointed academician in 1941. Seven years later he was awarded the medal of honor at the National. Under the pseudonym of Francisco Teodoro de Nertóbriga he published his "Autobiography" in 1955, and signed his satirical paintings. He is mainly represented in the Fine Arts Museums of Badajoz and Seville, as well as in other public and private collections.
![[FRANK LLOYD WRIGHT]. CARAWAY, Jesse "Carey." A group of architectural drawings, renderings, and blueprints relating to the V](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/406fd664-7acd-4e33-98a9-adc20157406b/468x382.jpg)
[FRANK LLOYD WRIGHT]. CARAWAY, Jesse "Carey." A group of architectural drawings, renderings, and blueprints relating to the Vigo Sunt House, San Marco in the Desert, and Usonian House. Comprising: [VIGO SUNDT HOUSE.] Two original perspective drawings of the Vigo Sundt House by Carey Caraway. "House for Mr Vigo Sundt Madison Wis. Taliesin Fellowship Architect Carey Caraway. Approved" in lower margin. [Ca 1941]. Pencil and color on tracing paper. 2 oblong sheets (522 x 900 mm and 520 x 910 mm). (Second sheet with staining to upper right margin.) 11 original plan drawings in pencil of the Vigo Sundt House, signed "Taliesin Fellowship Architect Carey Caraway. Approved" lower margin, N.p., n.d. [ca. 1941]. Pencil on tracing paper. Including: plot plan (pencil and color), foundation plan, general plan, elevation and section plan, detail sections, roof framing, mill work schedule, diagram of sub-flooring area, glass schedule, roof area, footing and floor framing plan with heating (ink, pencil and color). Oblong sheets (each approximately 620 x 900 mm or smaller). -- 15 sepia diazo prints showing: exterior (3), plot plan, foundation plan, general plan, elevation and section plan, detail sections and roof framing (2), furniture, glass schedule (3). -- Agreement between the Taliesin Fellowship and Vigo Sundt. PLANS FOR WRIGHT'S FINAL (UNBUILT) HOUSE. Plans were delivered to the Van Sundt's just days after Wright's funeral. [SAN MARCOS IN THE DESERT.] 23 sepia diazo prints "San Marco in the Desert for Alexander Chandler, Arizona, Frank Lloyd Wright, Architect'' in block letters along lower margin, [Ca 1936]. Including: sheet 1-5 legends, 6 and 7 dining room, 8 roof plan, 9 foundation plan west wing, 10-12 terraces, 13 foundation plan east wing, 14-16 terraces, 17 section A-A, 18-21 elevations, 22 dining room detail, 23 lower level plan. Oblong sheets (each approximately 925 x 1800 mm or smaller). Wright's plans for the resort, San Marcos in the Desert, were never realized as the project was halted by the Great Depression. [USONIAN HOUSE.] 10 sepia diazo prints "Usonian House for Museum of Modern Art, Frank Lloyd Wright Architect.'' N.p. [1940]. Including: sheet 2 general plans, 3 roof plans, 4 elevations, 5 sections, 6-7 schedule of Walls, 8-9 schedule of roof, 10 reflected plan, 11 perforated board. Oblong sheets (each approximately 750 x 950 mm or smaller). Property of the Caraway FamilyFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[SCIENTIFIC INQUIRY] -- A group of 2 works related to scientific inquiry, comprising: VOLTAIRE, Francois Marie Arouet d](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/7fb09746-d10f-4222-92bf-adc2017c21c6/468x382.jpg)
[SCIENTIFIC INQUIRY] -- A group of 2 works related to scientific inquiry, comprising: VOLTAIRE, Francois Marie Arouet de (1694-1778). Les Singularites de la Nature. Paris or Geneva: [Cramer], 1768. 8vo (190 x 118 mm). Woodcut on title-page. (Light toning or occasional staining.) Modern quarter calf, marbled boards, spine gilt, red morocco lettering-piece gilt, edges stained red (some minor rubbing). FIRST EDITION, FIRST ISSUE of Voltaire 's work containing his observations of natural history, science, law, medicine, philosophy, and religion. Cioranescu 64840. [With:] BROWNE, Thomas, Sir (1605-1682). Pseudodoxia Epidemica: Or, Enquiries into very many Received Tenents and commonly presumed Truths, Together with the Religio Medici Together with many more Marginal Observations, and a Table Alphabetical at the end. London: Printed by J.R. for Nath. Ekins, 1672. 4to ( 222 x 162 mm). Engraved portrait frontispiece, woodcut initials and headpieces. (Some browning or light offsetting.) Later roan gilt, spine gilt(front joint repaired, some rubbing). Sixth and last edition of Browne 's popular work, corrected and enlarged with additional explanations, in which he refutes superstitious contemporary beliefs based on empirical observations in line with the Baconian method. The work is organized into books based on the renaissance scale of creation: mineral, vegetable, animal, man art, geography and history, and astronomy and the cosmos. Keynes 79; Wing B5165. Property from the Thomas Sills Trust, Chicago. IllinoisFor condition inquiries please contact lesliewinter@hindmanauctions.com
![[BOOKS ABOUT BOOKS]. A group of 22 books about books and book-collecting in the 19th- and 20th-century, including: Book](https://cdn.globalauctionplatform.com/972f54cb-c6fc-4bf1-9d72-adc10131c7e7/a5ae70da-591b-41b9-869d-adc2014ef532/468x382.jpg)
[BOOKS ABOUT BOOKS]. A group of 22 books about books and book-collecting in the 19th- and 20th-century, including: Book Collecting. Edited by Richard Booth. Florence, AL: House of Collectibles, 1976. 4to. Original publisher 's cloth, dust jacket. -- WOOLF, Leonard (1880-1969). Letters of Leonard Wolf. Edited by Frederic Spotts. San Diego, New York, and London: Harcourt, Brace, and Jovanovich, 1989. 8vo. Original publisher 's cloth-backed boards, dust jacket. First edition. -- BASBANES, Nicholas (b. 1943). A Gentle Madness: Bibliophiles, Bibliomanes, and the Eternal Passion for Books. New York: Henry Holt and Company, 1995. 8vo. Original publisher 's cloth-backed boards, dust jacket. First edition. -- BASBANES. Among the Gently Mad. New York: Henry Holt and Company. 8vo. Original publisher 's binding, dust jacket. First edition. -- SALISBURY, Laney and Aly Sujo. Provenance: How a Con Man and a Forger Rewrote the History of Modern Art. New York: The Penguin Press, 2009. 8vo. Publisher 's original binding, dust jacket. -- MAYS, Andrea E. The Millionaire and the Bard: Henry Folger 's Obsessive Hunt for Shakespeare 's First Folio. New York, London, Toronto, Sydney, New Delhi: Simon & Schuster, 2015. Original publisher 's cloth-backed boards, dust jacket. First edition. -- And 18 others. Together 22 works in 22 volumes, all in original publisher's bindings, condition generally fine. Complete list available upon request.From the Private Collection of Richard CadyFor condition inquiries please contact lesliewinter@hindmanauctions.com
A QUANTITY OF BOOKS ON SHOOTING, i.e Wrinkles by Old Shakarry 1874, two volumes from the Badminton Library:- Moor & Marsh and Field & Covert 1893 by Lord Walshingham, two volumes of The Modern Gunsmith by Howe 1941, two copies of The Big Shots Edwardian Shooting Parties by Ruffer 1979, The Country Gentleman's Estate Book 1910, Notes on Shooting Rifles by Burrard 1953, A Handbook on Weapon Training by Lt Col Thornton 1952, Shooter's Delight by C.W. Thurlow Craig 1952, Shotgun & Cartridges by Gough Thomas 1963, Home Guide to Muzzle Loading by G. Nonte, Eley Book of Shooting Technique - Jackie Stewart, Art of Shooting by Charles Lancaster, The Shooter & his Gun by C. Trench 1969 and Game Rearing Nobel Industries Ltd 1923
John Frederick Herring, Sr. (British, 1795-1865): equine double portrait, depicting a mare and her foal in a landscape, the black mare with white speckles to her back, standing facing away looking over to the left, and the chestnut foal with white socks grazing, a low vertical cliff to the right and a sweeping woodland away to the left, signed 'J. F. Herring. Snr. 1834', oil on board, label verso 'Alfred J. Mucklow, Picture Frame Maker & Dealer in Works of Art, Carver & Gilder, 35 Cranbourn St, Leicester Square, London, W', the board stamped 'Roberson & Co, 51 Long Acre, London', 24 by 29cm, in a modern gilt frame, 31 by 36.5cm.
A Japanese aubergine and turquoise-glazed vase,19th century, of baluster form rising to a flared rim, decorated in relief with shou roundels among lotus between ruyi-shaped borders, all glazed in turquoise and aubergine, the base unglazed written with Kairakuen sei, 37cm highKairakuen was the official kiln of the Daimyo (provincial lord) of Kii (modern-day Wakayama prefecture), who was a member of the ruling Tokugawa family. In response to the revival of interest in Chinese art during the late 18th and early 19th centuries, many of the kiln's wares imitated Chinese ceramics - in this example, the Fahua ware of the Ming dynasty.For a similar item, but Japanese Edo period, c.1800-1850 with impressed mark, see Victoria and Albert Museum, Accession Number 289-1877. Condition report: Cracked and restored to rim and neck. Firing cracks to body.
A set of five 'Dartmouth Britannia Designs' ceramic tankards, treacle glaze, depicting scenes of steam engines, together with a Border Fine Art model turkey (162A) Davenport collector plates, Aynsley cabinet pieces, advertising 'Guinness' glassware, wicker basket, four modern prints and other wares. (3)
"THE CHINESE EMPIRE AND THE CHINESE TARTAR", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 34), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 48.5 x 55.5 cm (print); 53 x 76 cm (paper).The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, published in 1784, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.
"BRITISH ISLANDS", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand-numbered on the reverse (no. 40), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 49 x 66.5 cm (print); 53 x 76 cm (paper).The present copy depicts the territory corresponding to the British Isles, comprising the kingdoms of England, Scotland and Ireland, divided into large provinces. It includes a supplement of the Orkney Islands, in the north of Scotland, and of the Schetland Islands, a group of islands in the North Atlantic located between the Faroe Islands, the southwest coast of Norway and the island of Great Britain. The document is guided by the observations of the French geographer S. Janvier.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even the latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.
"GRAN MAP OF ITALY", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 82 x 68 cm (print); 95,5 x 78 cm (paper).Large map of Italy published from the indications of Monseigneur Le Duc d'Orleans, premier Prince du Sang. Derived from the original map made by the prominent cartographer Jean Baptiste Bourguignon D'Anville.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even the latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.
"INDIAS ORIENTALES", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Italian edition M. Remondini, Venice, 1784.Hand-numbered on the verso (no. 36), corresponding to the numbering stipulated in the index.The lot is accompanied by a copy of the title page of the Atlas.Measurements: 49.5 x 58 cm (print); 53 x 76 cm (paper).The map in question brings together the territory corresponding to the East Indies, where the empires and kingdoms it contains are distinguished, including the Maldives, the Bay of Bengal, the Gulf of Siam and part of China. The document derives from the Neptune Orientale, a work comprising maps, plans and nautical charts of the coasts of almost the entire world, published by the French Hydrographic Department in the middle of the 18th century.The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, published in 1784, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.
"KINGDOM OF HUNGARY", map belonging to the "Atlas Universel, dressé sur les meilleures cartes modernes", second half of the 18th century.Illuminated engraving (color demarcations).Edition M. Remondini, Venice, 1784.Hand numbered on verso nº52. According to the numbering stipulated in the index, it should be nº51 IIº (cartes nouvellement ajoutées).The lot is accompanied by a copy of the title page of the atlas.Measurements: 49 x 69 cm (print); 53 x 76 cm (paper).The origin of the "Atlas Universel, dressé sur les meilleures cartes modernes" (Universal Atlas made from the best modern maps) dates back to 1757, when Gilles Robert de Vaugondy (1668-1766) and his son Didier Robert de Vaugondy (1723-1786), geographers to the King of France, formed one of the most renowned map and globe making and manufacturing workshops in France. The excellent position of the Vaugondys in the field of topography, added to the family ties that united them with Nicolas Sanson, one of the most important cartographers of the 17th century, led the Vaugondys to inherit much of the cartographic material that the latter had accumulated over the years, leading to the birth of the ambitious and unique Universal Atlas of which our map is a part. The copy became a commercial and cartographic success with enormous influence in all Europe, reason why the brothers Paolo and Francesco Santini, Venetian engravers, did not let escape the opportunity to acquire the original plates to the Vaugondy. Thus, in 1776, the Santini brothers commissioned the production of new copper plates, while substantially maintaining the original design, keeping the toponyms and the inscriptions in French as defined in the 1757 copy. Due to their knowledge of the Italian territory, the Santini's changes mainly affected the maps of the Italian regions. The following year, Paolo Santini ceded all his publication rights to M. Remondini, who in 1777 and 1784 republished the same Atlas, but with his name.The copy of which our map is part, edited in 1784 by M. Remondini, maintains the exceptionality of the original work of the Vaugondy: the meticulous treatment of the information (based on the revision of the oldest maps available, buying them with the most updated material at the time); the incorporation of the latest academic research in force at the time; the integration of their own astronomical observations (correcting if necessary even the latitude and longitude) or the great decorativism of each of their maps. As in the great majority of cartographic documents produced in France during the 18th century, the map in question is characterized by its enormous pictorial value and great attention to detail.Antique maps are one of the most complete documentary typologies. Their double nature, cartographic and historical, attracts the attention of the most demanding collectors, who see in cartography the faithful reflection of the past, betting on its purchase and its diffusion in the art market. The rarity of some of the editions, added to the longevity of many of the specimens, make the possession and enjoyment of antique cartography an increasingly fashionable pleasure among art lovers. Understood as authentic reminiscences of the past, antique maps become a conscientious reflection of how the territory was divided long ago, or how geographical features define our world. Their decorative character, added to the meticulous and ambitious work of cartographers, turn these pieces into authentic works of art.
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