WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "König Nobel und Reineke Fuchs"Lithografie auf Bütten. Im Druck signiert, roter Stempel "Clan-Presse". [1977].Blatt: 42 x 59,5 cm. Gerahmt & hinter Glas49,5 x 67 cm. Deutscher Lithograf, Zeichner und Maler, er erhielt 1971 das Große Bundesverdienstkreuz. 1993 brachte die Deutsche Bundespost im Rahmen der Serie „Deutsche Malerei des 20. Jahrhunderts“ eine 100-Pfennig-Sonderbriefmarke mit dem Motiv "Publikum" zu seinen Ehren heraus. "Ich folge einem Drang und empfinde es als meine Aufgabe, daß ich das, was mich bewegt, bedrückt, mit Sorge erfüllt oder auch amüsiert und belustigt, sichtbar mache, es gestalte. Zumeist kann ich mich wie ein Chronist an die Tatsachen halten. Das aber ist die Gabe: in Bildern zu denken." (Zitat: APW, 1967, gesehen auf https://www.weber-museum.de/html).Literatur : vgl. Dorsch WVZ 1387. WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "King Nobel and Reineke Fuchs"Lithograph on laid paper. Signed in print, red stamp "Clan Press". [1977].Sheet: 42 x 59.5 cm. Framed & behind glass49.5 x 67 cm. German lithographer, draftsman and painter, he received the Grand Federal Cross of Merit in 1971. In 1993, the German Federal Post Office issued a 100-penny special stamp with the motif "Audience" in his honor as part of the series "German Painting of the 20th Century". "I follow an urge and feel it as my task that I make visible what moves me, depresses me, fills me with concern or also amuses and amuses me, create it. For the most part, I can stick to the facts like a chronicler. But that is the gift: to think in pictures." (Quote: APW, 1967, seen on https://www.weber-museum.de/html).Literature : cf. Dorsch WVZ 1387.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) 2 Werke: "Schaukelnde Igelkinder" und "Geteilter Meinung" "Schaukelnde Igelkinder", Lithografie, im Druck signiert, roter Stempel "Clan-Presse", verso violetter Stempel "Nachlass A Paul Weber" mit Bleistiftsignatur "Christian Weber", [1980], Blatt: 65 x 50,8 cm, vgl. Dorsch WVZ 276 | "Geteilter Meinung", Lithografie, roter Stempel "Clan-Presse", Bleistiftsignatur, [1978], Blatt: 65,2 x 50 cm, vgl. Dorsch WVZ 858 Deutscher Lithograf, Zeichner und Maler, er erhielt 1971 das Große Bundesverdienstkreuz. 1993 brachte die Deutsche Bundespost im Rahmen der Serie „Deutsche Malerei des 20. Jahrhunderts“ eine 100-Pfennig-Sonderbriefmarke mit dem Motiv "Publikum" zu seinen Ehren heraus. "Ich folge einem Drang und empfinde es als meine Aufgabe, daß ich das, was mich bewegt, bedrückt, mit Sorge erfüllt oder auch amüsiert und belustigt, sichtbar mache, es gestalte. Zumeist kann ich mich wie ein Chronist an die Tatsachen halten. Das aber ist die Gabe: in Bildern zu denken." (Zitat: APW, 1967, gesehen auf https://www.weber-museum.de/html).Literatur : Vgl. Dorsch. WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) 2 works: "Rocking Hedgehog Children" and "Divided Opinion" "Rocking Hedgehog Children", lithograph, signed in print, red stamp "Clan Press", verso purple stamp "Estate A Paul Weber" with pencil signature "Christian Weber", [1980], sheet: 65 x 50.8 cm, cf. Dorsch WVZ 276 | "Divided Opinion", lithograph, red stamp "Clan Press", pencil signature, [1978], sheet: 65.2 x 50 cm, cf. Dorsch WVZ 858 German lithographer, draftsman and painter, he received the Grand Federal Cross of Merit in 1971. In 1993, the German Federal Post Office issued a 100-penny special stamp with the motif "audience" in his honor as part of the series "German painting of the 20th century". "I follow an urge and feel it as my task that I make visible what moves me, depresses me, fills me with concern or also amuses and amuses me, create it. For the most part, I can stick to the facts like a chronicler. But that is the gift: to think in pictures." (Quote: APW, 1967, seen on https://www.weber-museum.de/html).Literature : Cf. Dorsch.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) 2 Werke: "Lokaltermin" und "Das Gerücht" "Lokaltermin", Lithografie, im Druck signiert, verso violetter Stempel "Nachlass A Paul Weber" mit Bleistiftsignatur "Christian Weber", roter Stempel "Clan-Presse", Blatt: 64 x 76,3 cm, Bleistiftzeichen "B XXXIII aw, handschriftlich betitelt "Lokaltermin", vgl. WVZ Dorsch Nr. 1566 | "Das Gerücht", Faksimiledruck, im Druck signiert, Blatt: 52 x 72 cm, WVZ Dorsch Nr. 837, etwas stockfleckig Deutscher Lithograf, Zeichner und Maler, er erhielt 1971 das Große Bundesverdienstkreuz. 1993 brachte die Deutsche Bundespost im Rahmen der Serie „Deutsche Malerei des 20. Jahrhunderts“ eine 100-Pfennig-Sonderbriefmarke mit dem Motiv "Publikum" zu seinen Ehren heraus. "Ich folge einem Drang und empfinde es als meine Aufgabe, daß ich das, was mich bewegt, bedrückt, mit Sorge erfüllt oder auch amüsiert und belustigt, sichtbar mache, es gestalte. Zumeist kann ich mich wie ein Chronist an die Tatsachen halten. Das aber ist die Gabe: in Bildern zu denken." (Zitat: APW, 1967, gesehen auf https://www.weber-museum.de/html). WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) 2 works: "Lokaltermin" and "Das Gerücht" "Lokaltermin", lithograph, signed in print, verso purple stamp "Nachlass A Paul Weber" with pencil signature "Christian Weber", red stamp "Clan-Presse", sheet: 64 x 76.3 cm, pencil mark "B XXXIII aw, handwritten titled "Lokaltermin", cf. WVZ Dorsch No. 1566 | "The rumor", facsimile print, signed in print, sheet: 52 x 72 cm, WVZ Dorsch No. 837, some foxing German lithographer, draftsman and painter, he received the Grand Cross of the Order of Merit of the Federal Republic of Germany in 1971. In 1993, the German Federal Post Office issued a 100-penny special stamp with the motif "audience" in his honor as part of the series "German painting of the 20th century". "I follow an urge and feel it as my task that I make visible what moves me, depresses me, fills me with concern or also amuses and amuses me, create it. For the most part, I can stick to the facts like a chronicler. But that is the gift: to think in pictures." (Quote: APW, 1967, seen on https://www.weber-museum.de/html).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "Spekulant auf Heldentod"Lithografie auf Bütten. Im Druck signiert, verso violetter Stempel "Nachlass A Paul Weber" mit Bleistiftsignatur "Christian Weber", roter Stempel "Clan-Presse". 1986. Auflage der Nachlassblätter für die Griffelkunst-Vereinigung.Blatt: 64 x 52 cm. Nach einer Zeichnung von 1934 Deutscher Lithograf, Zeichner und Maler, er erhielt 1971 das Große Bundesverdienstkreuz. 1993 brachte die Deutsche Bundespost im Rahmen der Serie „Deutsche Malerei des 20. Jahrhunderts“ eine 100-Pfennig-Sonderbriefmarke mit dem Motiv "Publikum" zu seinen Ehren heraus. "Ich folge einem Drang und empfinde es als meine Aufgabe, daß ich das, was mich bewegt, bedrückt, mit Sorge erfüllt oder auch amüsiert und belustigt, sichtbar mache, es gestalte. Zumeist kann ich mich wie ein Chronist an die Tatsachen halten. Das aber ist die Gabe: in Bildern zu denken." (Zitat: APW, 1967, gesehen auf https://www.weber-museum.de/html).Literatur : Vgl. Dorsch WVZ 2266. WEBER, Andreas Paul(1893 Arnstadt - 1980 Schretstaken) "Speculator on Heroic Death"Lithograph on laid paper. Signed in print, purple stamp on verso "Estate A Paul Weber" with pencil signature "Christian Weber", red stamp "Clan Press". 1986th edition of the estate sheets for the stylus art association.Sheet: 64 x 52 cm.After a drawing from 1934 German lithographer, draftsman and painter, he received the Grand Federal Cross of Merit in 1971. In 1993, the German Federal Post Office issued a 100-penny special stamp with the motif "audience" in his honor as part of the series "German painting of the 20th century". "I follow an urge and feel it as my task that I make visible what moves me, depresses me, fills me with concern or also amuses and amuses me, create it. For the most part, I can stick to the facts like a chronicler. But that is the gift: to think in pictures." (Quote: APW, 1967, seen on https://www.weber-museum.de/html).Literature : Cf. Dorsch WVZ 2266.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
KRESSEL, Diether(1925 Düsseldorf - 2015 Hamburg) 3 mystisch-fantasievolle Werke2 Farbradierungen auf Bütten, 1 Farboffsetdruck. Je mit Bleistiftsignatur.Max. 80 x 60 cm. "Perfectos Finos", mit Widmung "Für Hartmut P.", [19]74, Druckplatte: 29,3 x 16,5 cm, Blatt: 56,4 x 37,1 cm | Plakat "Labskaus", Farboffsetdruck, Blatt: 54 x 38,5 cm, linke obere Ecke mit kleinem Knick | "Scorpaena Porcus", Exemplar: 100/100, [19]74, Druckplatte: 39,7 x 29,5 cm, Blatt: 75 x 56,4 cm Deutscher Maler, Illustrator und Grafiker. "[...] Dafür erzählen seine Bilder Geschichten, die im Kopf des Betrachters entstehen. Es sind Erzählungen mit offenem Ausgang, in dem auch Alltägliches eine eigentümliche Magie entfaltet und mitunter subtile erotische Elemente auftauchen, die nie eindeutig, sondern vielmehr beiläufig sind, aber gerade deshalb Wirkung zeigen: elegante Damenschuhe etwa, oder auch ein herumliegender Slip" (Zitat aus Hamburger Abendblatt, 08.01.2015). KRESSEL, Diether(1925 Düsseldorf - 2015 Hamburg) 3 mystical-fantasy works2 color etchings on laid paper, 1 color offset print. Each with pencil signature.Max. 80 x 60 cm."Perfectos Finos", with dedication "For Hartmut P.", [19]74, printing plate: 29.3 x 16.5 cm, sheet: 56.4 x 37.1 cm | Poster "Labskaus", color offset print, sheet: 54 x 38.5 cm, upper left corner with small crease | "Scorpaena Porcus", copy: 100/100, [19]74, printing plate: 39.7 x 29.5 cm, sheet: 75 x 56.4 cm German painter, illustrator and graphic artist. "[...] For this, his pictures tell stories that arise in the mind of the viewer. They are open-ended narratives, in which even everyday things unfold a peculiar magic and sometimes subtle erotic elements emerge, which are never explicit, but rather incidental, but just therefore show effect: elegant women's shoes, for example, or even a slip lying around" (quote from Hamburger Abendblatt, 08.01.2015).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
SCHIWAL, Abstrakte FigurFarboffsetdruck. Bleistiftsignatur. Exemplar: 40/1050. Blatt: 59 x 41 cm. SCHIWAL, Abstract figureColor offset print. Pencil signature. Copy: 40/1050. Sheet: 59 x 41 cm. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
HAGLUND, Nils(1939 - 1990) Surrealistisches WerkFarboffsetdruck. Bleistiftsignatur. Exemplar: 30/200. Blatt: 64 x 45 cm. Schwedischer Maler und Bildhauer. "In seinen Werken veranschaulicht der Künstler die Symbiose von Mensch und Technik in der modernen Welt. Seine Werkzeuge sind das Reißbrett und das Lineal. Mit Fineliner und Farbe, meist Öl oder Aquarell, sind die Kompositionen in ausgeprägter Akribie angelegt und zeigen ein erprobtes Spiel zwischen Realität und Symbolwelt." (Steve Lombardi über NH, www.sl-modern-art.com). HAGLUND, Nils(1939 - 1990) Surrealist workColor offset print. Pencil signature. Copy: 30/200. Sheet: 64 x 45 cm. Swedish painter and sculptor. "In his works the artist illustrates the symbiosis of man and technology in the modern world. His tools are the drawing board and the ruler. With fineliner and paint, mostly oil or watercolor, the compositions are laid out in marked meticulousness and show a tested play between reality and the symbolic world." (Steve Lombardi via NH, www.sl-modern-art.com). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
JANUS, U "Flüchtlingsmutter 1945"Linolschnitt. Bleistiftsignatur, im Druck signiert. Im Druck datiert: [19]57. Druckstock: 23,5 x 28,3 cm. Hinter Glas40 x 50 cm. Mit Widmung "Hannelore Kaiser zum Dank für ihre mütterliche Betreuung in schweren Wochen! 17.1.1986" JANUS, U "Refugee Mother 1945"Lino cut. Pencil signature, signed in print. Dated in print: [19]57. Print stock: 23.5 x 28.3 cm. Behind glass40 x 50 cm. With dedication "Hannelore Kaiser in thanks for her motherly care in difficult weeks! 17.1.1986" .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Undeutlich signiert: Mythologische Szene mit ReiterLithografie. Kohlesignatur. 1971. "1. Abzug".Hinter Glas60,5 x 89 cm. Indistinctly signed: Mythological scene with riderLithograph. Carbon signature. 1971. "1st print."Behind glass60.5 x 89 cm. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
![KLEINHAMMES, Hans Jürgen(1937 Augsburg - 2008 Augsburg) MetalandschaftRadierung. Bleistiftsignatur. [19]77. Edition Griffe](https://cdn.globalauctionplatform.com/8dc16d45-a509-4960-8b91-b00300f89be9/e1c300d7-c414-46b3-8a0f-b0190186413a/468x382.jpg)
KLEINHAMMES, Hans Jürgen(1937 Augsburg - 2008 Augsburg) MetalandschaftRadierung. Bleistiftsignatur. [19]77. Edition Griffelkunst-Vereinigung Hamburg e.V., Nr. 205 B1.Druckplatte: 22,8 x 32 cm, Blatt: 37,7 x 53,5 cm. Deutscher Maler und Grafiker, Mitbegründer der CO-OP Künstlerkooperative Hamburg im Jahr 1968. KLEINHAMMES, Hans Jürgen(1937 Augsburg - 2008 Augsburg) MetalscapeEtching. Pencil signature. [19]77 Edition Griffelkunst-Vereinigung Hamburg e.V., No. 205 B1.Print plate: 22.8 x 32 cm, sheet: 37.7 x 53.5 cm. German painter and graphic artist, co-founder of CO-OP Künstlerkooperative Hamburg in 1968.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
POLKE, Sigmar(1941 Oels - 2010 Köln) "Wer hier nichts erkennen kann, muß selber pendeln!"Farboffsetdruck auf Transparentpapier. Bleistiftsignatur. Edition Griffelkunst-Vereinigung Hamburg e.V. 1972. Blatt: 45 x 62,5 cm. Kleiner Fleck in der unteren linken Ecke. Einer der einflussreichsten deutschen zeitgenössischen Künstler, dessen experimentelles Werk junge Künstler und Künstlerinnen bis heute inspiriert. Literatur : https://www.anna-polke-stiftung.com/sigmar-polke/. POLKE, Sigmar(1941 Oels - 2010 Cologne) "Who can not see anything here, must commute himself!"Color offset print on tracing paper. Pencil signature. Edition Griffelkunst-Vereinigung Hamburg e.V. 1972. Sheet: 45 x 62.5 cm. Small stain in lower left corner. One of the most influential German contemporary artists, whose experimental work inspires young artists and artists to this day. Literature : https://www.anna-polke-stiftung.com/sigmar-polke/. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
CHRISTO, (1935 Gabrowo - 2020 New York City). JEANNE CLAUDE(1935 Casablanca - 2009 New York City) "Wrapped Reichstag"Farboffsetdruck mit Metallprägungen. Kreidesignatur. Im Druck datiert: 1994. Abbildung: 27,8 x 21,3 cm. Gerahmt & hinter Glas40,5 x 30,5 cm. Künstlerehepaar, das seit den 1960er Jahren mit gemeinsam realisierten spektakulären Verhüllungsprojekten Bekanntheit erlangte - in Deutschland wurde das Paar durch die Verhüllung des Berliner Reichtages im Jahr 1995 berühmt. CHRISTO, (1935 Gabrowo - 2020 New York City). JEANNE CLAUDE(1935 Casablanca - 2009 New York City) "Wrapped Reichstag"Color offset print with metal embossing. Chalk signature. Dated in print: 1994. Image: 27.8 x 21.3 cm. Framed & behind glass40.5 x 30.5 cm. Couple of artists who gained notoriety since the 1960s with spectacular wrapping projects realized together - in Germany the couple became famous for the wrapping of the Berlin Reichstag in 1995. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
SPANIER, Will(1894 Hamburg -1954 Mölln) Abstrahierte Hafenansicht von HamburgRadierung. Bleistiftsignatur. Exemplar: 64/100.Druckplatte: 29,5 x 24 cm. Gerahmt & hinter Glas45,5 x 37,5 cm.Blatt stärker lichtgebräunt. SPANIER, Will(1894 Hamburg -1954 Mölln) Abstracted harbor view of HamburgEtched. Pencil signature. Copy: 64/100.Print plate: 29.5 x 24 cm. Framed & behind glass45.5 x 37.5 cm.Sheet more light browned.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
![REDEKER, Peter(1942 Spital am Semmering - 2022 Hannover) DünenlandschaftFarbradierung. Bleistiftsignatur. [19]67.Druckplat](https://cdn.globalauctionplatform.com/8dc16d45-a509-4960-8b91-b00300f89be9/9b96efae-9343-49c2-b999-b01901862132/468x382.jpg)
REDEKER, Peter(1942 Spital am Semmering - 2022 Hannover) DünenlandschaftFarbradierung. Bleistiftsignatur. [19]67.Druckplatte: 19,7 x 25 cm, Blatt: 34 x 45 cm. Frühes Werk des Künstlers Österreichisch-deutscher Maler und Grafiker, 1975 bis 2008 Professor an der Fachhochschule Hannover. REDEKER, Peter(1942 Spital am Semmering - 2022 Hannover) DunescapeColor etching. Pencil signature. [19]67.Print plate: 19.7 x 25 cm, sheet: 34 x 45 cm.Early work of the artist Austrian-German painter and graphic artist, 1975 to 2008 professor at the University of Applied Sciences and Arts Hannover.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
![ZADKINE, Ossip(1888 Wizebsk - 1967 Neuilly-sur-Seine) "Die zerstörte Stadt"Lithografie. Im Druck signiert. [19]51.Blatt: 4](https://cdn.globalauctionplatform.com/8dc16d45-a509-4960-8b91-b00300f89be9/e2e35fa3-7149-43c0-849a-b01a002b7795/468x382.jpg)
ZADKINE, Ossip(1888 Wizebsk - 1967 Neuilly-sur-Seine) "Die zerstörte Stadt"Lithografie. Im Druck signiert. [19]51.Blatt: 47,2 x 30,2 cm, im Passepartout: 53 x 40 cm. Seitenansicht zur 6,50 m hohen kubistischen Bronzeplastik eines Mannes mit zum Himmel gestreckten Armen "De verwoeste Stad", die 1953 in Rotterdam enthüllt wurde. Das Loch an der Stelle seines Herzens symbolisiert das "Herz der Stadt Rotterdam", das während der Bombenangriffe auf Rotterdam im Zweiten Weltkrieg zerstört wurde Blatt lichtgebräunt und knickspurig.Russisch-französischer Maler; gilt als einer der bedeutendsten Künstler kubistischer Plastiken. ZADKINE, Ossip(1888 Vizebsk - 1967 Neuilly-sur-Seine) "The Destroyed City"Lithograph. Signed in print. [19]51.Sheet: 47.2 x 30.2 cm, in mount: 53 x 40 cm.Side view to the 6.50 m high cubist bronze sculpture of a man with arms stretched to the sky "De verwoeste Stad", unveiled in Rotterdam in 1953. The hole in the place of his heart symbolizes the "heart of the city of Rotterdam", which was destroyed during the bombing of Rotterdam in World War II Sheet light browned and creased.Russian-French painter; considered one of the most important artists of cubist sculptures.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
![Undeutlich signiert: Reiher bei SonnenuntergangFarbradierung. Bleistiftsignatur. [19]86. Exemplar: 63/100. Druckp](https://cdn.globalauctionplatform.com/8dc16d45-a509-4960-8b91-b00300f89be9/3f26b384-a7fd-456e-b5e0-b01a001886dd/468x382.jpg)
Undeutlich signiert: Reiher bei SonnenuntergangFarbradierung. Bleistiftsignatur. [19]86. Exemplar: 63/100. Druckplatte: 23 x 29,5 cm. Gerahmt & hinter Glas46 x 51 cm. Indistinctly signed: Heron at sunsetColor etching. Pencil signature. [19]86. copy: 63/100. Print plate: 23 x 29.5 cm. Framed & behind glass46 x 51 cm. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
NAKAYAMA, Tadashi(1927 Nigata - 2014) 2 abstrahierte PferdeFarbholzschnitt. Bleistiftsignatur, verso mit rotem Künstlerstempel. 1963. Exemplar: 38/80. Passepartoutausschnitt: 52 x 42 cm. Gerahmt74 x 63 cm. Wasserflecken, stark stockfleckig, Glas fehlt. Japanischer Holzschnittkünstler. NAKAYAMA, Tadashi(1927 Nigata - 2014) 2 abstracted horsesColor woodcut. Pencil signature, red artist's stamp on verso. 1963. copy: 38/80. Passepartout cut: 52 x 42 cm. Framed74 x 63 cm. Water stains, heavy foxing, glass missing. Japanese woodblock print artist. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
PANKOK, Otto(1893 Mülheim an der Ruhr - 1966 Wesel) Drei PferdeHolzschnitt. Handschriftlich bezeichnet "Nachlaß Otto Pankok / Eva Pankok". Druckstock: 14,7 x 30 cm. Hinter Glas30 x 40 cm. Deutscher Maler, Grafiker und Bildhauer: „Es ist die vierte Dimension, etwas, das man nicht aussprechen kann, was uns zwang, den Beruf des Malers zu ergreifen. Dieses ist es, wonach man sein Leben lang sucht, weshalb man die Schönheit und gute Malerei verachten muss, obwohl man sich ihrer bedient. […]“ (Zitat: OP, gesehen auf https://www.pankok-museum-esselt.de/home/). Literatur : https://www.pankok-museum-esselt.de/. PANKOK, Otto(1893 Mülheim an der Ruhr - 1966 Wesel) Three HorsesWoodcut. Handwritten inscribed "Nachlaß Otto Pankok / Eva Pankok". Print stock: 14.7 x 30 cm. Behind glass30 x 40 cm. German painter, graphic artist and sculptor: "It is the fourth dimension, something that you can not express, which forced us to take up the profession of painter. This is what you look for all your life, which is why you have to despise beauty and good painting, although you use it. [...]" (Quote: OP, seen on https://www.pankok-museum-esselt.de/home/). Literature : https://www.pankok-museum-esselt.de/. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
STÖRTENBECKER, Nikolaus(1940 Hamburg - 2022 Hamburg) "Phlox"Farbradierung. Bleistiftsignatur. Datiert: "8.X.1985". Exemplar: 12/65.Druckplatte: 30 x 22 cm. Gerahmt & hinter Glas66 x 45,7 cm. STÖRTENBECKER, Nikolaus(1940 Hamburg - 2022 Hamburg) "Phlox"Color etching. Pencil signature. Dated: "8.X.1985". Copy: 12/65.Print plate: 30 x 22 cm. Framed & behind glass66 x 45.7 cm. .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
VASARELY, Victor(1906 Pécs - 1997 Paris) "Cheyt Gordes"Farboffsetdruck. Im Druck signiert. 1972 F. Bruckmann KG, München. Blatt: 69,1 x 62,5 cm. Unterer Rand mit kleinen Wasserflecken. Französischer Maler und Grafiker ungarischer Abstammung. Er zählt als Meister der optischen Täuschungen und zu den Mitbegründern der Kunstrichtung Op-Art: "Wir sollten niemals die Tatsache aus den Augen verlieren, daß die wahren Neuerer immer in der kleinen Minderheit gewesen sind. [...]." (Zitat: VV, 1960. In: Vasarely, 1965). Literatur : https://www.fondationvasarely.org/en/victor-vasarely/. VASARELY, Victor(1906 Pécs - 1997 Paris) "Cheyt Gordes"Color offset print. Signed in print. 1972 F. Bruckmann KG, Munich. Sheet: 69.1 x 62.5 cm. Lower margin with small water stains. French painter and graphic artist of Hungarian descent. He is considered a master of optical illusions and one of the co-founders of the art movement Op-Art: "We should never lose sight of the fact that the true innovators have always been in the small minority. [...]." (Quote: VV, 1960. In: Vasarely, 1965). Literature : https://www.fondationvasarely.org/en/victor-vasarely/. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
SPROTTE, Siegward(1913 Potsdam - 2004 Kampen) "Alge 1971"Farboffsetdruck. Bleistiftsignatur. [1971]. Künstlerexemplar "e.a.". Blatt: 60,5 x 73,5 cm. Blatt leicht lichtgebräunt. Deutscher Maler und Schriftsteller: "Die Horizonte tauschen – darauf kommt es an!" (Zitat: SS). Literatur : https://www.sprotte-stiftung.de/de/siegward-sprotte/biographie. SPROTTE, Siegward(1913 Potsdam - 2004 Kampen) "Alge 1971"Color offset print. Pencil signature. [1971]. Artist's copy "e.a." Sheet: 60.5 x 73.5 cm. Sheet slightly light browned. German painter and writer: "Exchange the horizons - that's what matters!" (Quote: SS). Literature : https://www.sprotte-stiftung.de/de/siegward-sprotte/biographie. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Gründerzeit-Jardinière und 2 Beistellvasen mit BronzemontierungenKeller & Guérin, Lunéville. Stempelmarken, um 1900 und 1920-1961. Kobaltblauer Fond mit floralem Golddruckdekor, teils farbig staffiert, Bronze nachvergoldet. Ovale Tafelschale (L 39 cm) und 2 Balustervasen (H 30,5 cm) mit historistischen Metallmontierungen Founder period jardinière and 2 side vases with bronze mountsKeller & Guérin, Lunéville. stamped marks, circa 1900 and 1920-1961. Cobalt blue background with floral gold print decoration, partly colored staffiert, bronze post-gilt. Oval table bowl (L 39 cm) and 2 baluster vases (H 30.5 cm) with historicist metal mounts .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Biedermeier-Tasse mit JagdmotivUngemarkt, um 1830/40. Polychrome Malerei über Vordruck, Goldstaffage. H Tasse 6,5 cm, Ø ergänzte Untertasse 13,5 cm. Zylindertasse mit Ohrenhenkel. Schauseitig die Darstellung eines Jägers mit zwei Jagdhunden Biedermeier cup with hunting motifUnmarket, circa 1830/40. Polychrome painting over pre-print, gold staffage. H cup 6.5 cm, Ø supplemented saucer 13.5 cm. Cylindrical cup with ear handle. On the front the representation of a hunter with two hunting dogs .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
3 DurchbruchtellerHerend. Verschiedene Stempelmarken, 20. Jh. Polychrom bemalt (teils über Vordruck), goldstaffiert. Ø 24 cm. 2 + 1 Dessertteller mit blütendurchbrochener Fahne und unterschiedlicher Kakiemonmalerei 3 breakthrough platesHerring. Various stamp marks, 20th century Polychrome painted (partly over pre-print), gold decorated. Ø 24 cm. 2 + 1 dessert plates with floral openwork flag and different kakiemon painting .*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
FilzpuppeSteiff. Ungemarkt. 1920er Jahre.L 27 cm. Junge mit drehbarem Kopf, schwarzen Knopfaugen und blonden Mohairhaaren. Altes Hemd, schwarze Filzhose und ergänzte Strick-Kleidung Altersspuren, Defekte im Filz, verstummte Druckstimme.Felt dollSteiff. Unmarket. 1920s.L 27 cm. Boy with turning head, black button eyes and blond mohair hair. Old shirt, black felt pants and supplemented knitwear Traces of age, defects in the felt, muted print voice.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Kommode im Boulle-Stil mit 4 MiniaturporzellanenUm 1900-20. Farbig lithografierte Pappe mit Golddruck. 16 x 24 x 15 cm. 2-schübige Kommode in Puppengröße, mit reliefierten Metallfüßchen. Dazu 4 Teile Porzellannippes (Vase, Tischuhr, Kerzenhalter und Figur) Altersspuren, Defekte. Boulle-style chest of drawers with 4 miniature porcelainsAround 1900-20. Color lithographed cardboard with gold print. 16 x 24 x 15 cm. 2-door dresser in doll size, with metal feet in relief. Plus 4 pieces of porcelain nipples (vase, table clock, candlestick and figurine) Signs of age, defects. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Blonder TeddybärSteiff. Ohne Knopf im Ohr.Mohairplüsch und Filz. L 24 cm. Drehbarer Kopf mit Glasaugen, Glieder mit Scheibengelenken Leichte Altersspuren, verstummte Druckstimme, 1 kleines Loch an der linken Vorderpfote.Blond Teddy BearSteiff. Without a button in the ear.Mohair plush and felt. L 24 cm.Turnable head with glass eyes, limbs with disc joints Slight signs of age, muted print voice, 1 small hole on left front paw.*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
HAMILTON (IAN)A significant series of 88 autograph and typed letters signed ('Ian') to the poet John Fuller (mostly 'My dear John'), the earliest (10 June 1959) enclosing the first issue of Tomorrow ('I would be most interested to hear what you think of it...'), the last in late 2001 ('... As to the illness, it is the big C, I'm afraid... I made the mistake of going to the docs for some quite other thing'), but the vast majority from Sixties relating to their joint work on The Review (detailing strong views on contemporary poets and poetry, progress in finding contributions, finances and practicalities), his reviewing duties (for T.L.S., The Guardian, etc.), and organising a literary programme for the Chichester Festival, as well as private matters relating to his marriage to Gisela Dietzel, money problems, etc., together approximately 130 pages, including airmail letters with integral address, letter cards headed 'The Review', etc. from various addresses (including T.L.S. office), various sizes, June 1959-late 2001, but the majority 1960s; together with complete runs of Tomorrow, The Review, and The New Review, a first edition in dust-jacket of Hamilton's The Visit. Poems (1970), various pieces of ephemera (small archive)Footnotes:'HAVE A POEM FROM LARKIN - PRETTY FEEBLE REALLY BUT PRINTABLE - I'LL SEND TO YOU A COPY '(15 Nov. 1962).A rich series of letters from the poet, literary critic and magazine editor Ian Hamilton (1938-1963) written to the poet John Fuller who was his main collaborator on the influential poetry magazine The Review, edited by Hamilton, 1962-1972. The majority were written during the early sixties, when Fuller was teaching in Buffalo, USA and then Manchester, but heavily involved in all aspects of the magazine [see provenance].Shortly after the first issue had appeared (April/May 1962) Hamilton writes 'Is it worth going on with The Review, you ask... we thought that there was a need for a good, selective, hard-hitting poetry magazine, and we might be able to provide one. Of course, all the cards are stacked against us... We are not, I agree, a close-knit group or anything like one - we don't agree about a lot of things, perhaps very basic things (for example, I loathe leisured 'witty' knowing poetry, I loathe that which is assured because it has so little to be in doubt about... I could go on and list my prejudices... [but] what I am personally convinced is that... you, Francis, Falk and Fried are talented, perceptive, rigorous, and for all your possible differences you make up a group that will generate ideas... [we must not] be utterly demoralised by every trifling set back... And it is more important still not to settle for any old second best... I intend to go on with the thing and hope you will be able to, also', capturing the tone of his, at times, messianic belief in the importance of poetry, and his notoriously forthright opinions, which are expressed throughout the letters. For example, '[Peter] Redgrove I am increasingly less sure about - he seems inventive enough, but that's the point - its all invention: no discrimination, he's overawed by his own fecundity: (in every sense)', 'Edwin Morgan delivered on Macdiarmid and it is'nt too bad at all', and (12 March 1963) 'You heard about Sylvia Plath's death, I guess. App. Hughes had just moved out. Awful. Lucie-Smith wrote to say 'touche - one laughs while one winces and to say how much he hated Roy's poems'.Elsewhere Hamilton expresses his disdain for the influential critic Edward Lucie-Smith ('I keep getting letters from the scrawny, little cock suggesting we meet when he's next in Oxford and all - we must keep cool.'. The issue (October 1963 issue No. 9) devoted to Plath (including 9 recent poems, 2 of which did not subsequently appear in Ariel) was a success, Hamilton writing 'Orders for Plath are pouring in - the Guardian review helped a lot i think - all the main London bookshops have sold out & re-ordered'. Of fellow critic (and supporter of the magazine) Al Avarez's review of a Roy Cambpell volume he states it 'was a disgrace... all his remarks could have been applicable to any dull Movement poet, there was no indication of any sort that he had opened the book, I mean - not one hint, even'. Writing in October 1965, having reviewed Roy Fuller's latest poems for London Magazine he confesses to John that 'I really don't agree very basically with all kinds of technical premises and have said so... one is left more or less assenting that if this and that is true about poetry now, then there really is perhaps no way of writing the stuff. I hope that you and Roy won't hate the review', and feels free to write 'I have'nt made a change to your poem yet, John - it's at the printer. I don't feel comfortable at the responsibility you've so flatteringly handed me... I am irritated whenever (especially in a rhyming poem) I find line-break cutting in on the natural shape of movement of a statement... I am made suddenly aware of how artificial the form is, how pre-judged etc... the struggle is always between experience and form, of course...'. Commenting on a group of poems sent to him by Fuller, Hamilton chooses 'Manzu' and 'Letchworth Park' as 'the best... both seem to have a more movement which I like, there is a voice in them and the images are nicely fractional and alive. I only have one tiny quibble which I know you'll reject and that is the first line of the fourth stanza of Letchworth. Can't the 'on' go the beginning of the next line and the hell with metre...'. Fuller evidently took on board the suggestion as when the poem appeared in issue No.8 of The Review Hamilton's suggestion had been followed.Amongst the letters are many proof copies of Hamilton's own poems, sent for Fuller for comment, for example (2 Oct. 1962) 'Been re-reading Prufrock - could, do you think - Prufrock be a poet, an urban 20C synthesiser and the woman his audience... the last line could be simply an exercise in escapist poetics... The only thing I've brought to completion is the enclosed (not title yet) which I offer for your comments, and to print if you wish. Feel no qualms about rejecting, John, really'. The poem, in greatly altered form was printed as 'Windfall' in Pretending not to sleep. Poems by Ian Hamilton issued as Pamphlet Series No. 3. of The Review (1964). Asking for Fuller's thoughts he sends on a copy of the poem ('effort') 'Wild Oats' offered to The Review by Philip Larkin and quotes Larkin's accompanying message ('I wonder if the enclosed snatch of pseud-autobiography would be of any interest to you? Three guineas, first British rights only'. The poem appeared in issue No.5. The letters convey Hamilton's immersion in all aspects of the magazine, for example writing (undated 1962) 'Baddish news and, I'm afraid, more requests. [Michael] Fried has suddenly welched on his marker [no longer providing an essay on the New American Poetry]... [instead he] has been amassing new and more lucrative assignments. Which leaves me strictly embedded in the shit', (15 Nov. 1962) 'The Eliot no. appeared in all its glory (it really does look rather good) on Friday... On Monday an irateish letter from W.E. For further information on this lot please visit Bonhams.com
FLEMING (IAN)Casino Royale, FIRST EDITION, third impression, owner's presentation inscription to front free endpaper, both free endpapers with some toning and faint tape adhesion marks, label of Foy's Book Dept. on front paste-down, DUST-JACKET (third state, slight vertical crease to front panel, light foxing to rear panel, reverses of flaps toned, price clipped from front flap but intact at rear), [Gilbert A1a (3)], 8vo, Jonathan Cape, 1954Footnotes:FIRST EDITION, THIRD IMPRESSION - IN ITS VERY GOOD ORIGINAL AND UNRESTORED DUST-JACKET. Encouraged by the success of Live and Let Die, Fleming wrote to Cape asking them to print another thousand copies of Casino Royale, resulting in this third impression, the smallest of the three runs and the last to feature the famous red heart jacket before Pat Marriott's playing card design replaced it for all later printings.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
![PALESTINE - INDEPENDENCE OF ISRAELMo'etzet Ha'Am [National Council], 26pp., text in Hebrew, one photographic illustration in](https://cdn.globalauctionplatform.com/1a910766-0dd9-4936-92b0-b01f00d20207/414ce2de-8a5c-42ee-b30f-b01f00d87b04/468x382.jpg)
PALESTINE - INDEPENDENCE OF ISRAELMo'etzet Ha'Am [National Council], 26pp., text in Hebrew, one photographic illustration inside upper cover, light toning, publisher's stapled white printed wrappers, short marginal tear to upper wrapper, Tel Aviv, Government Printing Office, 1948--[The Israeli Defence Forces. Jurisdiction Constitution], 26, [2]pp., text in Hebrew, paper toned, publisher's blue-grey printed wrappers (a few creases), Tel-Aviv, Official Gazette of the State of Israel, 1948, large 8vo (2)Footnotes:A record of the proceedings of the National Council (Mo'etzet Ha'Am) in preparation for the Declaration of the Independence of the State of Israel on 14 May 1948, together a pamphlet print-off ('no. 20') concerning the I.D.F. on the Constitution.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ROYALTY - QUEEN ELIZABETH II AND PHILIP Portrait of Queen Elizabeth II and Prince Philip, Duke of Edinburgh, by Baron Studios, SIGNED BY THE SITTERS ('Elizabeth R. 1954. Philip') on the mount, bromide print, mounted on stiff card, signed by sitters in lower margin of mount (some fading), contemporary blue morocco standing frame by 'H.H. Plante, London', the image 240 x 185mm., full page 290 x 215mm., [1953] For further information on this lot please visit Bonhams.com
SCHUBERT (FRANZ)TELTSCHER (JOSEF) Portrait drawing of Schubert, Anselm Hüttenbrenner and Johann Baptist Jenger, black and red chalk on paper, tipped onto mount with 2 small tabs on reverse, 160 x 206mm., [c.1827]Footnotes:ONE OF A SMALL NUMBER OF SCHUBERT LIFETIME PORTRAITS: JOSEF TELTSCHER'S 'DIE DREI FREUNDE' REDISCOVERED.The image of the 'three friends', Schubert, Anselm Hüttenbrenner and Johann Baptist Jenger, is well known and often considered to include one of the most accurate depictions of Schubert. The exact dating of this portrait remains unclear, as does its relationship to Teltscher's lithographs of Schubert on his own, but it was certainly drawn during Schubert's last two years, which were spent largely in Vienna but with one excursion to Graz in September 1827. It was a period of great creativity and compositional innovation, the composer reaching new artistic heights with works such as the Winterreise cycle, the Impromptus, the Piano Trio No. 2 and the two last symphonies. It was also a period with huge ups and downs in terms of his physical and mental health, his pecuniary situation, and his social life. Luckily Schubert had a circle of close friends and advocates around him, and the frequent 'Schubertiads', were immensely important in sustaining him through the difficult times and in fuelling his creativity.Two of Schubert's closest friends from Graz were the composer Anselm Hüttenbrenner, a friend of Beethoven, and his brother Josef. Anselm wrote his memoirs of Schubert in 1854, and though he admitted that many names had slipped his memory and that he had burned his Vienna diary, he stated that he had 'made Schubert's acquaintance in the year 1815 at the Imperial Court Kapellmeister Salieri's [sic]... we visited each other very frequently, are fond of one another, and became intimate friends and brothers' (Schubert. Memoirs by His Friends, edited by Otto Erich Deutsch, 1958, p.178). Schubert composed a fine set of variations on a theme of Anselm's, who also helped him by arranging symphonies for piano and handling some of his affairs. It was Hüttenbrenner's requiem in C minor that was chosen to be performed at Schubert's memorial service on 23 December 1828.The third of the 'friends' is Johann Baptist Jenger, composer, musician and board member of the influential Gesellschaft der Musikfreunde in Vienna. Like the Hüttenbrenner brothers in Graz, he worked hard to make Schubert's works known in Vienna, and he also arranged the trip to Graz in 1827 to introduce him to the pianist Marie Pachler and her husband Karl, a trip that was postponed from 1826 because Schubert didn't have the money. An entry from Karl Pachler's cash-book dated 16 September 1827: 'several Schubertiads were held in the Pachler house. But for the most part Schubert had to be his own singer... and he frequently played pianoforte duets with Jenger' (Otto Deutsch, Schubert: A Documentary Biography, translated by Eric Blom, 1946).The artist Josef Eduard Teltscher was also an integral member of the Schubert circle of friends. Born in Prague in 1801, he was considered a very gifted portrait painter, but little is known about him before he came to Vienna, where from 1825 to 1829 he mainly devoted himself to the relatively new process of lithography, working from his studio. After Schubert's death, Teltscher went to live with the Pachlers in Graz, developing his own technique of watercolour miniatures to some acclaim, but in 1837 he was to drown during a trip to Greece which he had undertaken with Jenger. Amongst the sketchbooks he left is one containing his pencil drawings of the dying Beethoven on his bed in March 1827, now held at the British Library (Stefan Zweig MS 207). Some accounts state that Schubert was also present with the Hüttenbrenner brothers, but there is no evidence to suggest the two great composers ever met, although Schubert was one of the torch-bearers at Beethoven's funeral.Given that Teltscher was devoting himself to the art of lithography at the time, it is not surprising that his first recorded portrait of Schubert is a lithograph which can be dated to late 1825 from the diaries of the Viennese salonière Sophie Müller. Numerous extracts from these are quoted by Deutsch, including 'In the evening... there was singing... Teltscher brought Schubert lithographed' (11 January 1826, op. cit., p.503), and 'Teltscher, Jenger and Hüttenbrenner came at midday; they brought me the lithographed portrait of Schubert' (24 January, p.505). The following day Jenger and Schubert returned again for dinner, and the latter 'sang new songs' - this on the same day as the first rehearsal of the Death and the Maiden quartet at the home of the violinists Karl and Franz Hacker, two years after it was composed (p.506).According to Maurice J.E. Brown (Essay on Schubert, 1966), the lithograph referred to was the one published by Mansfeld & Co. after Schubert's death, adding that 'copies of the original pressings and of the two later editions are extremely rare'. However, in her 1993 article on the Teltscher portraits ('Schubert und der Maler Josef Teltscher,' in: Schubert durch die Brille, 11 June 1993, pp.118-132), Rita Steblin suggests that the one published in 1828 is a second version dating from that year. Whether it was made in 1825 or 1828, it was the image chosen by his friends to sell in aid of raising funds for Schubert's memorial, and as their abiding memory of him. Certainly, the Wiener allgemeine Theaterzeitung of April 23, 1829 considered it the most successful in 'depicting the true character of Schubert, that of an innocent, childlike, pious and upright spirit'.The present chalk portrait of 'Die Drei Freunde' is generally described as having been drawn in around 1827. Deutsch dated it to that year because Hüttenbrenner visited Vienna in March, but he used to make the journey frequently and the drawing may equally have been made in 1828, the year the resulting lithograph was published by Mansfeld & Co.Although Teltscher had produced lithographs all of the three friends individually, Rita Steblin points out that he clearly drew Hüttenbrenner and Jenger anew for this portrait, both men appearing slightly older, and speculates that the same might be true of Schubert ('Ist es dann nicht wahrscheinlich, dass Teltscher auch Schubert neu gezeichnet hat?').Provenance:According to different accounts the portrait was either drawn for Karl von Schönstein, or was bought by him after the composer's death. Schönstein (1797-1876) was one of the Esterhazy circle and considered the finest singer of Schubert's songs - the 'Schöne Müllerin' were dedicated to him. By 1892, when the drawing was photographed in order to make the colour print by which it is generally know, it was in the possession of his niece Ida von Schweitzer (née von Keyle), of Lengefeld near Krems, Schubert having been a frequent visitor to the family. The drawing was included in the 1897 Vienna Schubert Exhibition and subsequently hung at the family home at Gneixendorf; in 1966 it was recorded as being in the possession of Baron Otto von Schweitzer of Sterbfritz-bei-Schlüchtern in Germany. Despite often being described as 'lost', it has passed down by descent to the present owners.Illustrated: Otto Erich Deutsch, Schubert: A Documentary Biography, translated by Eric Blom, 1946, plate XXVIII.For further information on this lot please visit Bonhams.com
DOBBS (ARTHUR)An Account of the Countries Adjoining to Hudson's Bay, in the North-West Part of America, FIRST EDITION, one folding engraved map of North America (off-setting), occasional spotting, contemporary calf gilt, spines tooled in gilt within raised bands, joints neatly refurbished [Howes D373; Lande 1144; Sabin 20404], 4to (290 x 220mm.), J. Robinson, 1744Footnotes:Dobbs (1685-1765) had first begun his campaign to find the Northwest Passage in 1731, and helped finance an expedition under the command of Christopher Middleton, a captain of the Hudson's Bay Company. The Account includes Dobbs' first attack in print on Middleton, who he believed was undermining efforts to find the Passage in order to protect monopoly of the Company. The description on Hudson's Bay is based on the account of the French Canadian Joseph La France. The map shows the coastline of America from California in the west, to Greenland in the north and down to New York in the southeast.Provenance: Library of Ragley Hall, seat of the Marquesses of Hertford, bookplate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
FLEMING (IAN)Fine and complete set of the 14 Pan paperback editions of the James Bond novels, ALL FIRST PRINTINGS, comprising: Casino Royale, 1955; Moonraker, 1956; Live and Let Die, 1957; Diamonds Are Forever, 1958; From Russia With Love, 1959; Dr. No, 1960; Goldfinger, 1961; For Your Eyes Only, 1962; Thunderball, 1963; On Her Majesty's Secret Service, Pan Canadian Export 60C printing, 1964; You Only Live Twice, 1965; The Man With the Golden Gun, 1966; Octopussy, 1967; The Spy Who Loved Me, 1968, some browning of paper as usual, minor damp mark to top of first few pages of 'Golden Gun', publisher's illustrated wrappers, a little rubbing to some spine ends, foxing to lower cover of 'From Russia With Love', staining to covers of 'Octopussy' but otherwise very good, all preserved within transparent slip-on covers, 8vo, Pan Books, 1955-1968Footnotes:A REMARKABLY FINE SET OF THE FIRST PAN PAPERBACK PRINTINGS OF THE BOND NOVELS, including the 'elusive' Canadian version of On Her Majesty's Secret Service. Notoriously hard to find in anything other than 'dog-eared' condition, these paperbacks rarely survived being read more than once or twice, and finding a complete set in this condition is exceptional.The first printing of On Her Majesty's Secret Service comprised two versions for export only, the 'International Version' and the 'Canadian Version' as here. 'The initial print run of 100,000 copies would suggest that copies are plentiful, but this is simply not the case. First printings were exported all over the... Commonwealth nations, and... it is easy to see why copies are spread far and wide, and why this printing has become one of the most elusive in the entire series' (Gilbert A11a.18.2).This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
BOAC Interest-Two late 1950's/early 1960's BOAC 'All around the World' advertising souvenir paper fans, an early 1960's Sally Bosley BOAC stewardess gilt brevet wing badge by Manhattan Windsor and a late 1950's/early 1960's BOAC Comet 4 Jetliner print souvenir silk scarf, 67cmx67cm, adverting new long-haul routes to Australia, New Zealand, India, Japan, China and Africa featuring iconic tourist monuments from theses countries together with a vintage Hermes scarf slip case. Location:BWROf Interest: The Comet 4 Jetliner was the first Jet engine powered trans-Atlantic flight in 1958.Condition: All items good, scarf never worn hence no stains or pulls.
Hill, David Octavius and Robert Adamson Portrait photograph of Robert Bryson, c.1843-8 salted paper print from a calotype negative, 20 x 14.9cm, mounted, framed and glazed, manuscript provenance note dated 1887 pasted to backboardProvenance: Note: Note: Robert Bryson FRSE (1778-1852) held the royal warrant for clockmaking in Scotland, and worked from premises at 66 Princes Street, Edinburgh, adjacent to Alexander Hill, brother and business partner of D. O. Hill.Provenance:1) Presented by Robert Bryson to Isabella Begg (née Burns, 1771-1858), sister of Robert Burns, the poet (her portrait taken by Hill and Adamson);2) By descent to Agnes (1800-1883; married name Brown) and Isabella Begg (1806-1886), daughters of Isabella Begg;3) Presented on the death of Isabella Begg to David Dunlop, solicitor, Ayr, executor;4) Presented by Dunlop to Robert Adam (fl. 1870s-80s), city chamberlain, Edinburgh, c.1887;5) With Lockharts, solicitors, Ayr.Literature:Sarah Stevenson, David Octavius Hill and Robert Adamson: Catalogue of their Calotypes taken between 1843 and 1847 in the Collection of the Scottish National Portrait Gallery, 1981, p. 46 (version 'a')Colin Ford, An Early Victorian Album: The Photographic Masterpieces (1843-1847) of David Octavius Hill and Robert Adamson, 1976, p. 357.Cf. David Bruce, Sun Pictures: The Hill-Adamson Calotypes, 1973, pp. 180-1 for another version.
Indian lithographic printing Volume of treatises on Arabic grammar Lucknow or Kanpur: Nawal Kishore, 1870s. 4 works in one volume, tall 8vo (27 x 17cm), contemporary red sheep with marbled paper onlays to sides, each work with decorative floral title-page, edges dyed yellow, ownership inscription dated 1294 AH to front free endpaper, worming to spine, loss to marbled paper on rear board. Titles comprise:1) Risalat-i Lamiyah wa-Fusul-i Akbari wa-Guhar-i Manzum ['The Epistle on the letter "L", The Chapters of Akbar, and the Versified Jewel'], [no date, c.1875]. In 3 parts, [1] 8, 94, 14 pp., in Persian, very light worming to upper fore corners, very small worm-hole in text never affecting legibility;2) Shafiyah [by Ibn al-Hajib, active c.1200-1250 CE], 1291 AH [1874/5 CE]. 184 pp., main text in Arabic;3) Kafiyah [by Ibn al-Hajib], 1875 CE [dated in colophon]. 110 pp., main text in Arabic;4) Sharh Kafiyah Manzum ['Explanation of the Kafiyah, in verse'], 1872 CE. 50 pp., in Persian, decorative floral title-page, browning to title-page, variable worming to margins, small repair to foot of last 3 leaves, final leaf tipped to endpaper with consequent paper disruption to gutter, and with additional repair to top edgeNote: Note: The Nawal Kishore Press, founded at Lucknow in 1858 by Hindu entrepreneur Nawal Kishore (1836-1895), 'grew into the largest Indian-owned printing and publishing firm in South Asia. Supported by colonial patronage, the firm published an estimated 5,000 titles in Arabic, Persian, Urdu, Sanskrit and Hindi during Nawal Kishore's lifetime, while it also served as an intellectual hub for scholars, poets and literati. As one observer noted: "No other press in India was fortunate to have such a large number of huffaz, scholars, historians, writers and poets as were gathered simultaneously at this press"' (Ulrike Stark, 'Calligraphic Masterpiece, Mass-Produced Scripture: Early Qur'an Printing in Colonial India', in Reese, ed., Manuscript and Print in the Islamic Tradition, 2002, p. 158).
§ Alfred G. Buckham (1879/80-1956) Edinburgh, c.1920 gelatin silver print photograph, 45.8 x 38.5cm, showing an aerial view of Edinburgh from the north-west, looking towards Salisbury Crags and Arthur's Seat with Edinburgh Castle in the foreground, mounted, framed and glazed, signed and titled by the photographer in pencil on the mount ('Edinburgh, Alfred G. Buckham Capt., late RAF'), oxidisation along edgesNote: Note: Alfred Buckham served as head of aerial reconnaissance for the Royal Naval Air Service during the First World War and subsequently as an officer in the RAF. Despite being invalided out of the RAF after several near-fatal crashes that left him permanently disabled, he went on to achieve renown as a photographer specialising in aerial views 'of such poetic sweep and majesty that ... they remain singular achievements in the art of aerial image making' (American Photographer, August 1989).
![Orkney Collection of rare Court of Session rulings, [Edinburgh], 18th century all disbound, 4to or folio, not in ESTC unless](https://cdn.globalauctionplatform.com/21b99c08-7e41-44b1-b2bb-b00e00af8ab0/9448817a-7361-4e88-ac80-b00e0116572a/468x382.jpg)
Orkney Collection of rare Court of Session rulings, [Edinburgh], 18th century all disbound, 4to or folio, not in ESTC unless otherwise stated, comprising:1. Information for Robert Earl of Morton against James Dunbar, and William Brown and Andrew Ross his Assignes, 22nd January 1718. 25 pp., browning to rear, final leaf near-detached ('The Earl of Orkney and Lordship of Zetland ... were ... given in Wadset to William Earl of Morton ... And its pretended that in 1647 the said Earl gave an Heretable Security to Sir Andrew Dick for the Sum of 100274 Merks ...');2. Information for James Earl of Morton, Walter Macfarlane of Macfarlane, Andrew Ross Stewart-depute of Orkney [etc.] against Sir James Stewart of Burray, and Robert Sinclair Son to Alexander Sinclair of Sixpeny, Pursuers, 29 February 1740. 20 pp. ('The Pannels are accused of an unlawful Convocation of the Lieges in Arms, and of invading Sir James Stewart's Property, and unlawfully carrying off his Servant ...') [ESTC N17130: two copies in libraries worldwide, BL and UCLA];3. Answers for James Earl of Morton, and Mr Andrew Ross his Chamberlaine, to the Petition of Thomas Traill of Westove [and others], 3rd June 1745. 31 pp., ('For some Years last past, these six Petitioners, as well as a seventh Gentleman, Sir James Stewart of Burray, have been backward and irregular in their payments');4. Answers for James Earl of Morton, Pursuer; to the Petition of John Trail of Westove, and others, Defenders, 31st May 1750.16 pp., folding table at rear ('Accompt of the Difference betwixt the Prices libelled, and the highest Prices proved'), ('If the Interlocutor shall not be adhered to ... it will be an Example of the most pernicious Consequence upon the Pursuer and his Estate in that remote Country ...');5. Answers for James Earl of Morton, Defender, to the Additional Petition of Alexander Earl of Galloway, James Traill of Hobister, and others, Udalmen of Orkney, 15th June 1752. 3 pp., splits along folds, soiled;6. The Petition of Alexander Earl of Galloway ... and others, Heritors and Udalers of the Islands of Orkney, 3rd January 1750. 28 pp., ('The family of Morton has been in Use of demanding and exacting the Skat which they claim Right to ... whereby the Heritors in those Islands are subjected to a double Land-tax') [ESTC T60810: one copy worldwide, BL];7. Information for John Trail of Westness, Pursuer, against James Fea of Clestran, Defender, 22nd July 1751. 28 pp.;8. Information for James Fea of Clestron, Defender; against John Trail of Westness, Pursuer, 4th December 1751. 17 pp., contemporary annotation to final page;9. Answers for the Lairds of Gairsey and Breakness. To the Memorial dispersed in Name of the Lairds of Burray and Eagleshaw, concerning the Election for the Stewart-ry of Orknay, c.1700. [4] pp., ('The Jesuits impose upon the World, by making a shew of the greatest Sincerity, when they intend to be the most disingenuous, which is very exactly imitated by this Memorial');10. Information for John Sinclair, Son to Robert Sinclair of Quendale Suspender, against Mr William Maxwell Minister of Rutherglen Charger, 10th June 1751. 4 pp., contemporary annotation at foot;11. Information for Mr William Maxwell late Minister of the Gospel of the united Parishes of Dunrossness, Sandwick, Cummingsburgh, and Fair Island, in Zetland, now Minister of the Gospel at Rutherglen, Charger; against John Sinclair younger of Quendale, Suspender, 13th June 1751. 4 pp., ('Mr Maxwell's Distress during these seven Years was such as very few Ministers of the Church of Scotland could have struggled with ... His whole Stipend was payable by Quendale ... But ... this was a Debt which that Gentleman did not willingly chuse to pay');12. Memorial and Abstract of the Proof. Mr John Ballantyne, Minister of the Gospel of the united Parishes of South Ronaldsay and Burray, Pursuer, against Sir James Stuart of Burray, Defender, 5th June 1744. 2 copies, 4 pp., short splits to folds ('Mr Ballantyne ... was deprived ... by the said Defender's violently and oppressively debarring him from his Right to the Glebe and Pertinents in the Island of Burray ... the grass thereof eaten up by the Cattle of the said Sir James Stuart').Together with a group of similar Orkney items, including: a) A True Copy of Sir Alex. Brand's Accompt of Charge and Discharge of the Rents of Orkney and Zetland, 1798 [i.e. 1708]; A True Copy of Sir Alex. Brand's Suspension, laid before the Lords of Treasury and Exchequer in Scotland, and his Account of Charge and Discharge, 1708; Accompt Sir Alexander Brand, of uncontroverted Articles, whereby the Decreet of Exchequer is satisfied and payed, and a great Ballance due to him, [no date]; Attestation by the Gentlemen and Ministers of Orkney of Alex. Brand's Great Service he did ther for His Majestie and Government, during the Tyme he was Steuart, Justificar, and Leasee therof, [no date]. 4 items, folio, 2 pp., 2 pp., 1 p., 2 pp., side-stitched together;b) Autograph letter from Hugh Moare of Boardhouse, Birsay, to P. Neill of Edinburgh, 25 July 1812, concerning George Lowe (1747-1795), Orcadian scholar, with a transcript 'Description of the Tusk' from Low's manuscripts;c) 4 albumen print photographs of Orkney-related deeds;d) 19th- and early-20th century printed ephemera including: The Memorial of the Reverend Francis Liddell contra the Ministers of Kirkwall Messers. Yule & Stalker. Kirkwall?, 1804. 4 pp., unbound; To Orkney by David Vedder, Music by R. Semple, Kirkwall: William Peace & Son, 1880. 4 pp., unbound; approx. 7 others similar; and numerous Orkney-related newspaper cuttings
![Wrede, Konrad (1865-1947) Streifzüge durch Ceylons Wunderwelt Jahreswende 1893-1894. Hanover: [privately printed], 1939. Firs](https://cdn.globalauctionplatform.com/21b99c08-7e41-44b1-b2bb-b00e00af8ab0/77191169-6ca9-468a-b0c2-b00e01161b56/468x382.jpg)
Wrede, Konrad (1865-1947) Streifzüge durch Ceylons Wunderwelt Jahreswende 1893-1894. Hanover: [privately printed], 1939. First edition, number 18 of an unspecified limitation, inscribed by the author to Frau Martha Loewe on the limitation page, 4to, original quarter cloth, mimeographed typescript, [1] 43 [3] leaves, 11 gelatin silver print photographs on 8 stiff card mounts with typescript captions (6 of them 20 x 15.5cm, the others smaller), plain paper dust jacket;Colebrooke, H. T. Miscellaneous Essays. London: Wm. H. Allen and Co., 1837. 2 volumes, 8vo, later quarter cloth, 7 folding lithographic plates (facsimiles of ancient Indian documents and inscriptions), folding letterpress table, bookplate of Pandit Sundar Lal, advocate, high court, Allahabad, worming, plates browned, plate 1 torn along stub;Hasegawa, Denziro. Travel to India with Leica, Tokyo: Meguro Shoten, 1939 (first edition, 4to, original yellow hessian lettered in brown, 213 pp., text in Japanese and English, 192 halftone photographs (on pp. 1-124), folding map, spine rubbed); and 4 others: E. F. Burton, Reminiscences of Sport in India, London: W. H. Allen & Co., 1885 (first edition, 8vo, contemporary quarter cloth, spine rolled, lending library label to front board, 8 lithographic plates, pp. 207/8 and 289/90 loose, a few blemishes and marks); J. D. Rees, H.R.H. The Duke of Clarence and Avondale in Southern India, with a Narrative of Elephant-Catching in Mysore by G. P. Sanderson, London: Kegan Paul, Trench, Trübner & Co. Ltd., 1891 (4to, recent red cloth, top edge gilt, xvi 213 pp., 5 autotype photographic portrait plates including frontispiece, 24 photogravure plates, folding map, text-leaves partly unopened, browning, worming (stronger towards front of volume, reducing towards middle), plate facing p. 74 chipped along fore edge, text-leaf I1 with closed marginal tears); Wibraham Egerton, An Illustrated Handbook of Indian Arms ... exhibited at the India Museum, London: William H. Allen & Co., 1880 (first edition, 4to, later cloth, folding map, 15 lithographic plates of which 2 in colours and several folding, original front wrapper bound in, lacking final leaf of index, spotting, tape repairs to half-title and index); and Sir John Malcolm, The Life of Robert, Lord Clive, London: John Murray, 1836 (first edition, 3 volumes, 8vo, modern cloth, engraved portrait frontispiece and folding map, ex-library, not collated)Note: Note: Konrad Wrede was a German army officer, collector and arts patron. No copies of Streifzüge durch Ceylons Wunderwelt traced in libraries. WorldCat cites three copies only of Hasegawa's work in libraries world-wide, with none in the United Kingdom.
Bryans, William Antiquities of Cheshire, in Photograph With Short Descriptive Notes: to which are added Views of Several Ancient Buildings in Shropshire and North Wales. Chesters: Hugh Roberts, 1858. First edition, 4to (37 x 27cm), original half morocco, rebacked, purple cloth sides, [9] 55 pp., 25 mounted albumen print photographs, some stripping and wear to backstrip and corners, variable spotting to mounts and text-leaves, silvering along edges of 'Birth-place of Bishop Wilson' (plate no. 8), very short closed tear to mount of 'Waberton Church' (no. 9), 'Tarvin Church' (no. 17) with a few spots within photograph, hint of silvering to 'South Doorway, Edstaston Church' (no. 25), withdrawn from Chester Reference Library with their plate to front pastedown, withdrawal stamp to initial blank, ink-stamp to title-page, and further small ink-stamps to pp. 3 and 55 [Gernsheim, Incunabula of British Photographic Literature, 83]. Together with: Charles Leigh, The Natural History of Lancashire, Cheshire, and the Peak, in Derbyshire. with an Account of the British, Phoenician, Armenian, Gr. and Rom. Antiquities in those Parts, Oxford: for the Author, 1700, first edition, folio, 20th-century half morocco, 24 engraved plates, folding map hand-coloured in outline, lacking portrait frontispiece, ex-Chester Reference Library with associated markings, damp-staining towards rear, text not collated
India - North-Western Province Set of Agra imprints, 19th century 1) Report on Indigenous Education and Vernacular Schools, in Agra, Aligarh, Bareli, Etawah, Farrukhabad, Mainpuri, Mathura, Shahjahanpur, for 1850-51. By Henry Steward Reid, Visitor General of Schools, N. W. P. Agra: Secundra Orphan Press, 1852-3-4. First editions, 3 works in one volume, 8vo, contemporary yellow cloth, [4] 220, [2] 122, [2] 176 pp, blind stamp of the Schlagintweit library to title-page;2) Report on Ajmeer and Mairwara, illustrating the Settlement of the Land Revenue and the Revenue Administration of those Districts, up to ... 1853. By Lieut.-Colonel C. G. Dixon, Commissioner, Ajmeer and Mairwara. Agra: Secundra Orphan Press, 1853. First edition, 4to, later cloth, [2] 199 pp., uniform moderate browning, colour pencil markings to title-page, closed tear in Q4, worming to endpapers now affecting text-block;3) Translation of a Proceeding regarding the Settlement of a Village, according to the System pursued in the North Western Provinces of the Presidency of Bengal. Compiled and published under the Orders of the Hon'ble the Lieutenant Governor, N. W. P. Agra: Secundra Orphan Press, 1847. First edition, 8vo, contemporary half leather (worn), [2] iii 244 pp., 3 hand-coloured lithographic plans, 4 lithographic genealogical tables, 4 letterpress tables, all folding, shelfmark label of Pandut Sundar Lal, High Court, Allahabad to front pastedown, governmental ink-stamp to title-page and final page, a few old repairs to plates, one genealogical table with 10cm closed tear, moderate browning, a few small worm-tracks towards rear, rear inner hinge partly cracked;4) Selections from the Records of Government, North Western Provinces [volume 1]. Agra: Secundra Orphan Press, 1855. Second edition, 8vo, later cloth, vii 1-76 107-222 [1] pp., hand-coloured double-page lithographic plate ('Half elevation, half section and plan of Burdashtkhaneh in the Cawnpoor District'), 3 further lithographic plates (collation not established), cloth mottled, title-page browned and tipped in, variable damp-staining to pp. 107-130;5) The New Code of Civil Procedure. Act No. 10 of 1877. Agra: Elahi Press, c.1877. 8vo, recent red cloth, text in Urdu, lithographed throughout, in 8 parts (separately paginated), browned throughout, contents leaf and title-page chipped, final leaf tape-repaired in gutter, part 2 possibly lacking section-title (but collation not established as no other copy traced)Note: Note: Among the invaluable information provided by Henry Steward Reid's educational reports are lists of the textbooks printed each year by the government of the North-West Province, including details of their authors, content and print runs. Library Hub cites three locations only: LSE (1852-3), Oxford (1852), and SOAS (year not stated). Library cataloguing notes a map for Dixon's work, but none is present in the copy held by the University of Oxford and we have not been able to inspect another copy; it is possible that the map is from C. G. Dixon's Sketch of Mairwara (1850), with which the British Library (India Office Records) copy is bound, and that the description for this particular copy has been generally applied. One institutional copy traced for the Translation of a Proceeding regarding the Settlement of a Village, at the British Library, catalogued as having nine plates (it is unclear whether these include the folding tables).
![Indian lithographic printing Tarikh-i darbar-i taj pushi ['History of the Coronation Durbar'] Lucknow: Nawal Kishore, c.1904.](https://cdn.globalauctionplatform.com/21b99c08-7e41-44b1-b2bb-b00e00af8ab0/eb8de18c-400b-453e-9e5f-b00e0116e7dc/468x382.jpg)
Indian lithographic printing Tarikh-i darbar-i taj pushi ['History of the Coronation Durbar'] Lucknow: Nawal Kishore, c.1904. 4to, recent red leather binding with original gilt cloth sides laid down, 4 12 596 pp., 2 lithographic title-pages printed in red and green, 48 halftone photographic plates, mainly portraits of maharajas (also including portraits of Edward VII, Curzon, the Duke of the Kent and their families, and durbar scenes), text in Urdu, lithographed throughout, cloth rubbed and mottled text-leaves toned, ink-stamps of one C. L. Agrawal to blanks and to margins of pp. 262 and 326Note: Note: Rare fully illustrated Urdu translation of Stephen Wheeler's History of the Delhi Coronation Durbar (1904), no other copy traced in libraries in or in commerce. The Nawal Kishore Press, founded at Lucknow in 1858 by Hindu entrepreneur Nawal Kishore (1836-1895), 'grew into the largest Indian-owned printing and publishing firm in South Asia. Supported by colonial patronage, the firm published an estimated 5,000 titles in Arabic, Persian, Urdu, Sanskrit and Hindi during Nawal Kishore's lifetime, while it also served as an intellectual hub for scholars, poets and literati. As one observer noted: "No other press in India was fortunate to have such a large number of huffaz, scholars, historians, writers and poets as were gathered simultaneously at this press"' (Ulrike Stark, 'Calligraphic Masterpiece, Mass-Produced Scripture: Early Qur'an Printing in Colonial India', in Reese, ed., Manuscript and Print in the Islamic Tradition, 2002, p. 158).
Waugh, Evelyn (1903-1966) The Tragical Death of Mr Will. Huskisson Sept. MDCCCXXX, 1924 print after Waugh's drawing (published in The Golden Hind, Vol. 2 No. 8, July 1924), on wove paper with Joynson's Parchment watermark, inscribed by Waugh 'Joyce from Evelyn' lower right in brown ink, spotting and repairs, mounted, framed and glazed, mount aperture 25 x 33cmNote: Note:Inscribed by Evelyn Waugh for Joyce Gill (née Fagan), a long-standing friend with whom he had a passionate affair during the unhappy period of the drawn-out annulment of his first marriage to Evelyn Gardner. (See lot 284.)Provenance:By direct descent from Joyce Gill.
Fergusson, James Tree and Serpent Worship or, Illustrations of Mythology and Art in India in the First and Fourth Centuries after Christ. From the Sculptures of the Buddhist Topes at Sanchi and Amravati ... Second Edition, revised, corrected, and in great part re-written. London: India Museum, 1873. 4to (33 x 24cm), original red half morocco gilt, xvi 274 pp., lithographic frontispiece, 101 plates numbered 1-100 (including 10A), albumen print photographs or lithographs, photographs mounted as issued (often one on each side of a single leaf, numbered in all cases as separate plates), publisher's postscript slip, joints cracked with front board remaining attached only via new endpapers, frontispiece, title-page and first leaf of text strengthened in gutter, dust-soiling and a few spots to top edges of mounts, numerical ink-stamp to margin of p. 33, mount for photographic plates 95 and 96 creased across upper fore corner [Gernsheim 419];Malcolm, John. Malcolm's History of Persia (Modern) edited and adapted to the Persian Translation of Mirza Hairat, with Notes and Dissertations by Lieut.-Colonel M. H. Court, 15th Bengal Cavalry. Lahore: printed at the "Civil and Military Gazette" Press, Lahore, 1888. Folio (32.5 x 20cm), modern half leather, [2] ix [3] 290, title-page slightly nicked and marked and with small annotation to upper inner corner, light marginal soiling elsewhere, last 2 leaves slightly nicked and with damp-staining to corners;Kaye, G. R (editor). The Bakhshali Manuscript. A Study in Medieval Mathematics. Calcutta: Government of India Central Publication Branch [volume 2, Delhi: Manager of Publications], 1927-33. First edition, 2 volumes, 4to, original blue quarter morocco, photogravure plate (spotted), 47 ?collotype plates, volume 2 spine rubbedNote: Note: James Fergusson travelled to India after leaving school, and within ten years as an indigo planter in Bengal had made a sufficient fortune to dedicate himself to the study of art and architecture. Sanchi, near Bhopal in modern-day Madhya Pradesh, is the oldest Buddhist sanctuary in existence, dating from the 2nd and 1st centuries BC. The stupa at Amaravati, in what is now Andhra Pradesh, was founded around 200 BC. Fergusson's account was first published in 1868. The photographs are by W. H. Griggs and James S. Waterhouse; Waterhouse eventually became surveyor-general to the Monumental Photographic Survey of India. The Civil and Military Gazette, publishers of this edition of Malcolm's Persia, was where Rudyard Kipling began his professional life in India, joining as a sub-editor in 1882.
Caesar, Julius The Commentaries Translated into English. To which is prefixed a Discourse concerning the Roman Art of War. By William Duncan. Illustrated with Cuts. London: J. and R. Tonson and S. Draper, and R. Dodsley, 1753. Folio (43 x 26cm), civ 335 [20] pp., modern panelled calf to style, richly gilt spine, marbled endpapers, edges sprinkled red, 79 engraved plates including frontispiece (plates '3' and '4' in fact one plate), most double-page and 3 (nos. 41, 75 and 78) also folding, 6 folding maps, frontispiece offset onto title-page, title-page additionally somewhat marked, signatures 2A-2B with short closed tear to head, plate 41 (buffalo) with repairs and short closed tears along bottom edge, plate 59 (folding map of Italy) with small repair, plate 75 (elephant) with small tear to intersection of folds and short closed tear to foot [ESTC T136453]Note: Note: First Duncan edition. William Duncan (1717-1760) was professor of philosopher at Marischal College, Aberdeen. The plates, many by Cornelis Huyberts, include depictions of Picts, Britons, and 'Germans', battles including the famous 'Battle with the Elephants' scene, military formations and encampments, aerial city views, and a suite of nine plates after Mantegna's Triumphs of Caesar. Remaining in print well into the 19th century, Duncan's translation was influential the 18th-century revival of interest in Britain's Celtic past and helped inspire his pupil James Macpherson in his creation of Ossian, the mythical Scottish bard. Publishing the work a few years after 1745 Jacobite rebellion, Duncan was evidently concerned to present Caesar as a model of leadership, advising his dedicatee the future George III: 'It is likewise well known, that in dangerous domestic seditions ... nothing tends more to confirm the well-affected in their duty, and to check the machinations of the factious, than when a king every was qualified to command, appears in person at the head of his troops'.
Nicholson, William - Rudyard Kipling Almanac of Twelve Sports London: William Heinemann, 1898. 4to, 12 illustrations by Nicholson, original pictorial boards with cloth spine, slight darkening to boards and a little internal browning and offsetting, some slight rubbing to September 'shooting' printProvenance:Provenance: From the Library of the Glasgow Art Club
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