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Lot 344
ANDREW DAVIDSON; a stoneware bottle with blue and sea green decoration on pitted white ground, impressed AD mark, height 24.5cm. Influenced by the work of Lucie Rie, pots by Davidson are comparatively rare. He worked alone never making more than a few hundred pots a year. Standards were high and seconds were generally smashed. He is no longer potting following a car accident in 2008. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 1
Marcia Hafif (American, 1929-2018)#196 1968 signed and dated 1968 on the overlap, signed and dated 1968 on the stretcheracrylic and lacquer on canvas100 by 100 cm.39 3/8 by 39 3/8 in.Footnotes:ProvenanceMarisa Volpi Orlandini Collection, RomePrivate Collection, Rome (by descent from the above)Acquired directly from the above by the present owner LiteratureÉric de Chassey, Marcia Hafif - La période romaine / Italian Paintings, 1961-1969 précédé d'un entretien avec l'artiste, Geneva 2010, p. 125, no. 196, illustrated in black and whiteFormerly in the collection of esteemed curator and art historian Marisa Volpi Orlandini, Marcia Hafif's #196 is a masterfully simple, vivid painting that demonstrates the American artist's ties to Pop Art and Minimalism. Characterised by a melodious enamel surface over a seething, crisp underpainting, #196 is an exemplary work from Hafif's Roman period that saw her engage directly with the surface, exacting forms and colour. Resident in Rome between 1961 and 1969, #196 is from an instrumental passage in Hafif's career that would establish the timbre of her investigations into, what she called, 'Pop-Minimal' painting. Of the 210 paintings she produced over the course of the decade, only half of them survive, making them still more rare and significant. In the present work Hafif's nuanced synthesis of pop colours and minimal structures produces a superbly chic canvas, boasting an erudition and confidence of a consummate master of geometric painting.Born in 1929 in Pomona, California, Hafif closely studied the art of the Italian Renaissance, captivated by the sumptuous panels and frescoes of Fra Angelico. Introduced to collectors and curators including Volpi Orlandini during her tenure in Rome, she was quickly recognised for her talent and significance as an artist at the forefront of the painterly avant-garde of the 1960s, aligning herself with Italian Pop as well as with artist Francesco Lo Savio who was himself a pivotal influence and precursor to American Minimalism. Returning to New York in 1971, she garnered attention for her monochromatic paintings that were a continuation of her earlier Roman works, culminating in her inclusion in Abstract Painting: 1960-69 in 1983 at the P.S.1. Museum, New York, alongside the likes of Brice Marden, Robert Ryman, and Agnes Martin.Across an oeuvre that has been overlooked and considerably undervalued, Hafif has proven herself to be one of the most serious minimalist painters and theoreticians, consistently pushing the significance of the materiality and synesthetic affects of paint. Writing in Artforum in 1978, she commented: 'The options open to painting in the recent past appeared to be extremely limited. [...] we may be ready to enter still another phase of abstraction, a synthetic period' (Marcia Hafif, 'Beginning Again', Artforum, September 1978, No. 17, Vol. 1, online). In the present work, the canvas ebbs and flows under a radiant orange hue, abutted by a sine wave of marine blue enamel. A painting that demonstrates all the subtlety and skill of a refined master drawing upon the palettes of Pop Art and the aesthetics of Minimalism, #196 is a fresh to market work of exceptional provenance by an artist whose career is overdue an institutional and market reassessment.For further information on this lot please visit Bonhams.com
Lot 14
Carla Accardi (Italian, 1924-2014)Negativo (ideogramma) 1954 signedenamel and casein on canvas88.5 by 116.5 cm.34 13/16 by 45 7/8 in.This work was executed in 1954.Footnotes:This work is registered in the Archivio Accardi Sanfilippo, Rome, under no. 50.ProvenanceArchitetto Luigi Moretti Collection, RomeThence by descent to the present ownerExhibitedParis, Galerie Rive Droite, Individualités d'aujourd'hui, 1955LiteratureGermano Celant, Carla Accardi. La vita delle forme, Rome 2011, p. 320, no. 1954 40, illustrated in colour; p. 321, illustrated in black and white (installation view)Negativo (ideogramma) from 1954 is a rare and intricate painting by Carla Accardi which was purchased by renowned architect Luigi Moretti in the mid-1950s and has stayed in his family collection since.Luigi Moretti was one of the most prominent Italian architects and designers of the Twentieth Century having worked on the design of landmark buildings of pre and post WWII. His projects have included the design of Casa del Balilla (1932-1937) and Accademia di Scherma (1936) in Rome, the house Il Girasole in 1949, which is considered one of the earliest example of postmodernist architecture, as well as the Watergate Complex in Washington (1962-1971) and the Stock Exchange House in Montreal, which by the time it was completed in 1964 was the tallest building in Canada. Luigi Moretti was also an intellectual and a writer; in 1950 he founded the architectural magazine Spazio and in 1954 he opened Galleria Spazio in Rome. Open for two short years, the gallery hosted an exhibition of Carla Accardi's work in 1955. This painting, thanks to art critic Michel Tapié, who met Accardi in 1954 and who became extremely interested in her works, was also exhibited at Galerie Rive Droite in Paris in 1955 alongside works by Franz Kline, Georges Mathieu, Karel Appel and Claire Falkenstein. This work was executed in a pivotal moment in the artist's career; in 1953, after a period dedicated to constructive-concrete paintings, Carla Accardi started to focus on pseudo-calligraphic signs and it is in 1954, the year of the execution of the present work, that she started to alternate black and white segments which would evolve into the increasingly complex structures, that are visible in the present work. This painting is considered a 'negativo' (negative), here the white and dark grey segments are painted alongside one another on a black background in opposition to her 'positivo' (positive) works which are conceived the other way around. This 'language' which explores the relationship between figure and ground will become the leitmotiv of Carla Accardi oeuvre and one which would continue to evolve until Accardi's death in 2014. Today Carla Accardi is finally regarded as the most important Italian female artist of the Post-War period and her works are held in the most prestigious public collections such as the Guggenheim in New York, the Centre Pompidou in Paris, Galleria Nazionale d'Arte Moderna in Rome and the Fondazione Prada in Milan.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 17
Lucio Fontana (Italian, 1899-1968)Crocifisso 1948-1950 painted and glazed ceramic37 by 21.6 by 12.8 cm.14 9/16 by 8 1/2 by 5 1/16 in.This work was executed in 1948-1950.Footnotes:This work is registered in the Fondazione Lucio Fontana, Milan, under no. 2240/16, and is accompanied by a photo-certificate of authenticity.ProvenancePrivate Collection, FranceAcquired directly from the above by the present ownerA work of supreme, transcendent beauty, Lucio Fontana's Crocifisso (1948-1950) is a sterling demonstration of the artist's ineffable capacity for pushing his materials and methods to their technical limits. Appearing to emerge from the lustrous black of the painted ceramic cross, arms raised aloft, Fontana's Christ is a devotional image laden with Baroque curlicues, spiritual force, and aesthetic drama that is prototypical of the Spazialismo movement Fontana founded in 1947. An artist revolutionising the aesthetic and theoretical parameters of art in the traumatic fallout of World War II, Fontana's importance as a figurehead of the Modern period cannot be understated. Moulded, painted, and fired during this hugely influential period of cultural redefinition, the present Crocifisso is testament to Fontana's lifelong appreciation of art as a key to the nether dimensions, a means to communicate with and pass through the envelope of our veiled perception. A sculpture of enduring beauty, with comparable works held in the collection of MoMA, New York, and the Musei Vaticani, Rome Fontana's Crocifissioni have formed key displays in retrospective exhibitions of the artist's oeuvre, most recently at the Terra e Oro (Earth and Gold) exhibition at Galleria Borghese in Rome. Over the course of one of the most subversive and thought-provoking careers, Fontana consistently challenged predetermined notions of creative methodology. Whilst tackling one of the oldest themes of art history, Fontana's Crocifisso presents a timeless vision of Christ in flux, the feathered tips of clay forming ornate leaves that reach into space, creating deep crevices between the limbs of the soaring Messiah and dissolving the distinction between the body and its support. 'We live in the mechanical age', the artist declared in the Manifesto Blanco, published in Buenos Aires in 1946, 'painted canvas and upright plaster no longer have any reason to exist' ('Manifesto Blanco', 1946 in E. Crispolti and R. Siligato Eds., Lucio Fontana, Milan 1998, p.115). Expressing one of the starkest images of human suffering, Fontana's Crocifisso emerges in the aftermath of global violence and captures the the vision of an artwork that goes beyond its medium and beyond the conditions of the present reality, materialising from a blackened precipice. A glazed ceramic that floats and twists with the weightlessness of silk drapery, the present work belies the weight of its earthenware, disguised under ethereal threads of clay and paint. Fontana's sculptures remain overlooked as fundamental objects that offer a significant insight into the artist's practice. Originally trained as a sculptor, first under his father Luigi, before studying at the Accademia di Belle Arti di Brera in Milan between 1928 and 1930, Fontana's relationship and theoretical interest in the space occupied and delineated by the art object is, first and foremost, grounded in his understanding of sculpture. In the present work this becomes tacitly clear. Modeling and moulding the clay with his hands, the Crocifisso boasts an immaculate surface of fleurettes, crevices and cascades, coalescing and springing from the body of the clay, realising Fontana's vision of 'neither painting nor sculpture [...] but [a] continuity of space in matter' (the artist in: E. Crispolti and R. Siligato Eds., Lucio Fontana, Rome 1998, p.118). Not only is Christ present as a being that transcends notions of the physical and spiritual worlds, but also as one who passes between dimensions, emerging from a lucid, alien form that conjures images of galaxies, neutron stars and the sprawling material of the monumental cosmos. The timelessness and supernatural appearance of Fontana's Crocifisso demonstrates the incredible ability of the artist to synthesise art historical, material and stylistic tropes into a single, radical form. To Fontana, '[the] Baroque was a leap ahead [...] it represented space with a magnificence that is still unsurpassed and added the notion of time to the plastic arts. The figures seemed to abandon the flat surface and continue the represented movements in space' ('Manifesto Blanco', 1946, in op. cit.). Projecting from the corpus of the ceramic, the stylistic character of the work is compelling and dynamic, channeling the energy of El Greco's florid Christ on the Cross (1600-1610) with the solidarity of its making. A breathtaking sculpture whose delicacy and craftsmanship is matched by its impassioned visual power, Fontana's Crocifisso is a rare and extraordinary artwork by one of the most important artists of the Twentieth Century.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 6
Christo (American, born 1935)The Pont Neuf Wrapped (Project For Paris), in two parts 1979 signed, titled and dated 1979 on the upper panel; variously inscribed on the reverse of each panelpastel, wax crayon, charcoal, graphite and printed paper on card laid on board, in a Perspex frameUpper Panel: 38 by 244 cm.14 15/16 by 96 1/16 in.Lower Panel: 107 by 244 cm.42 1/8 by 96 1/16 in.Footnotes:ProvenanceCarl Flach, SwedenSale: Sotheby's, London, Post-War and Contemporary Art, 3 December 1992, Lot 68Galerie Bernard Cats, BrusselsAcquired directly from the above by the present owner in 1994Over the course of one of the most enchanting and beloved artistic careers – famed for producing some of the greatest monumental and dramatic works of public sculpture to ever be realised – American artist Christo and his wife Jeanne-Claude have redefined the notion of public sculpture, bringing their 'wrapped' projects to cities including Berlin, Chicago, Milan, and Paris. Presented here are two sterling examples of Christo's preparatory artworks for The Pont Neuf Wrapped and The Umbrellas, each project realised in 1985 and 1991 respectively. Internationally lauded and collected by museums that include the Art Institute of Chicago, the Cleveland Museum of Art, USA, and the Tate collection, London, the Centre Pompidou in Paris will play host to a major retrospective of Christo and Jeanne-Claude, opening in March 2020, before presenting one of their most significant and highly anticipated wrapped monuments in September; covering the Arc de Triomphe in Paris with 25,000 square meters of fabric for a period of 16 days. Contemplative and beautiful, Christo's practice emerged from the Nouveau Réalisme movement in Paris in the early 1960s alongside artists including Yves Klein and Jean Tinguely. Having fled the Eastern Bloc, escaping from Czechoslovakia to Vienna in 1957 before making his way to the French capital, the artist found his quintessential style early on, wrapping cans, bottles, shoes, and chairs in his Paris attic studio, before meeting his lifelong collaborator and wife Jeanne-Claude in 1958. Offered for sale are two preparatory renderings of a pair of enormously complex projects Christo and Jeanne-Claude would undertake years after their conception. The Pont Neuf Wrapped (Project For Paris) (1979) – one if the largest Christo works to ever come to market – and The Umbrellas (Joint project for Japan and USA) (1990) illustrate the extravagant conceptual mind that made Christo and Jeanne-Claude two of the most celebrated and admired creative visionaries of the last half century. The Pont-Neuf bridge was first completed in July 1606 and is the oldest bridge crossing the river Seine in the French capital. An icon of Paris, joining the left and right banks and the Île de la Cité for over 400 years, it has been immortalised in paint by J.M.W. Turner, Pierre-Auguste Renoir, and Camille Pissarro alike. Joining such a canon of artists to tackle this historical site, the present work by the artist is a rare, large-scale, two-part study for the proposed project that took ten years of negotiations and two rejections before it was finally executed in 1985. Turning one of the most important pieces of architecture in Paris into a uniform façade of folds and bindings, Christo and Jeanne-Claude drew attention to the history, the design, and the mythology of the 'City of Light', highlighting the building blocks of a culture and a nation; appreciating them by veiling them. Documenting the ephemeral, 14-day event, the energetic diptych, The Pont Neuf Wrapped (Project For Paris), depicts a charming blend of studied, expressive and technical marks, combined with notes and comments by the artist's hand, capturing the committed and all-encompassing approach to what would become one of the duo's most iconic wrapped monuments. A thought-provoking and more politically weighted piece, The Umbrellas (Joint project for Japan and USA) depicts one of Christo and Jeanne-Claude's most elaborate and poignant works of public sculpture, ambitiously constructed between two continents either side of the Pacific Ocean in 1991. From 9th October that year for 18 days, 3100 oversized umbrellas standing at little over 6 meters high, divided between two valleys in Japan and California, USA, were opened and stood silently and proudly as objects that sheltered and mirrored one another across nations that had previously known intolerable war against one another. Often rebutting the political or historical reading of their work, the couple's temporary monuments nonetheless consistently nudge a reading of them as being bound to their sites and their shapes, drawing attention to their location and social currency. In the present work, Christo's Japanese umbrellas dance through the valley of the Sato River, wonderfully depicted in vivid hues of green and blue, inscribed exuberantly in pencil on paper, alongside a technical map of the lowland in the Prefecture of Ibaraki. As much technical drawings as they are visions of a project to-be, the two diptychs by Christo offered here are superlative examples of the artists' fleeting monumental projects and their lasting preparatory studies. Works of art in their own right, they stand as exquisite landscapes that chart the magnificent and provocative impact Christo and Jeanne-Claude have had, not just as great sculptors, but as an artist-duo who have made history and culture their very medium.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 115
NO RESERVE Globes.- Lefebvre (Jean) Description et usage du planisphère, title with woodcut decoration, woodcut initials and head-pieces, modern boards, [Tomash & Williams F50], 4to, Paris, widow of Antoine Lambin, 1700.⁂ Rare. Jean Lefebvre was an instrument maker in Paris on the Quay des Morfondus.
Lot 125
Hedraeus (Benedictus) Nova et accurata astrolabii geometrici structura ... Nec non, quadrantis astronomici azimuthalis, title printed in red and black with woodcut device, woodcut initials, head- and tail-pieces, illustrations and diagrams, 5 folding woodcut plates (printed on later, 18th century paper), modern calf, some spotting to title, [Tomash & Williams H94], small 8vo, Leiden, Willem Christiaens van der Boxe, 1643.⁂ Rare. Hedraeus was a professor of mathematics at the University of Uppsala and an instrument maker. He is known to have constructed an observatory near Uppsala (evidently the first in Sweden)" - Tomash & Williams.
Lot 143
Horology.- Pennington (Robert) The Description of a Sector... Of great use to all clock and watch makers, first edition, folding engraved frontispiece, title and A4 folding at foot, both with notes in a contemporary hand, modern stiff wrappers, [Baillie p.308; Tomash & Williams P35; not in Bromley, The Clockmaker's Library], 8vo, Richardson & Urquhart, 1780.⁂ Rare, ESTC lists 4 copies only. The note to foot of the title reads: "The author of this Pamphlet resided at Camberwell and was the ingenious mechanist who constructed Mr Mudge's time-piece & made Drawings for Mr M's description of it."
Lot 153
Jevons (William Stanley) The Principles of Science, A Treatise on Logic and Scientific Method, 2 vol., first edition, frontispiece, occasional foxing or marginal browning, vol. 1 upper hinge broken and lacking front free endpaper, vol. 2 upper hinge starting and with portion of front free endpaper torn away, contemporary ink ownership inscriptions, bookplate, original red-brown cloth, spine ends and corners bumped and worn, splitting to joints, rubbed, preserved in custom drop-back boxes, [Tomash & Williams J17], 8vo, 1874.⁂ Rare, especially so in the original cloth. "This is Jevons' major work. It contains all his advances to the development of logic set in the framework of the philosophy of science. He insisted that absolute certainty of observation is impossible for a human, and thus all logical deductions from laboratory experiments must be considered true only within a certain probability. He was an early explorer of the methodology of measurement and associated errors." - Tomash & Williams.
Lot 187
NO RESERVE Mensuration.- Zobel (Johann G.) and J. Muller. Beschreibung einer Flächen-Berechnungs und Theilungs-Maschine, 3 folding engraved plates, later boards, a little chipped, preserved in custom drop-back box, [Tomash & Williams Z9], 4to, Munich, Joseph Lindauer, 1815.⁂ Rare. "Nothing is known of the authors other than that Zobel had the title of trigonometer to the king and was apparently working for the Bavarian tax authorities while Müller was a mechanical craftsman who built the instrument described here. When Bavaria was attempting to reform its tax system it became obvious that the existing land surveys were out of date and that the measurement of irregular plots of land was the root of the problem of creating accurate assessments. This problem was remedied by a new survey and the use of an integrating machine to determine the areas. The machine apparently worked by dividing irregularly shaped plots into small slices whose areas could then be easily added up. This is essentially an analog of the mathematical procedure known as Simpson's Rule for integrating functions." - Tomash & Williams.
![[Babbage (Charles) and John Herschel]. Memoirs of the Analytical Society 1813, first edition, errata f., ink inscription to h](https://cdn.globalauctionplatform.com/61a4a151-6f7d-45c1-ab46-ab5900fbf121/595ea491-9e8d-4439-b082-ab5a0116314e/468x382.jpg)
Lot 19
[Babbage (Charles) and John Herschel]. Memoirs of the Analytical Society 1813, first edition, errata f., ink inscription to head of contents p., Cambridge, 1813 bound with Agnesi (Maria Gaetana) Analytical institutions... translated into English by John Colson, vol. 2 only, half-title, Taylor and Wilks, 1801 together 2 works in 1 vol., occasional light foxing or finger-soiling, both title-pages cut down at head and restored, lacking front free endpaper, 19th century half morocco, extremities rubbed, [Origins of Cyberspace 17-18 (copy lacking two leaves of the Babbage paper); Tomash & Williams B67 & A41; Van Sinderen 1-2], 4to.⁂ Rare. "Driven by their desire to modernize the teaching of mathematics at Cambridge when they were undergraduates there, Babbage, Herschel and Peacock founded the Analytical Society in 1813. The contents were of surprisingly high quality (often written by the founders and their friends). This volume contains a preface and three articles. Babbage was certainly the author of the preface and the first article, and he might well have written the second" - Tomash & Williams.
Lot 199
Meteorology.- Richardson (Lewis F.) Weather Prediction by Numerical Process, first edition, frontispiece, diagrams and illustrations, original cloth, dust-jacket, spine ends and corners a little chipped, some splitting and wear to lower joint, [Tomash & Williams R88], 4to, Cambridge, 1922.⁂ Rare landmark work on weather forecasting.
Lot 210
Neve (Richard) Mathematicks made plain, in the solution of variety of useful propositions... all perform'd by that excellent line of numbers, commonly call'd Gunter's-Line. Being a necessary companion for gentlemen, military officers, engineers, architects, first edition, occasional spotting or light browning, ink stamp to title, 20th century calf, [Tomash & Williams N26], 8vo, W. Pearson, 1708.⁂ A rare little work, designed for use by tradesmen. Provenance: John Thomas Barber Beaumont (1774-1821, ink stamp).
Lot 212
Newton (John) A Help to Calculation. Or two tables: the one of decimal numbers, and the other of their logarithmes, for the ready converting of sexagenary tables into decimal, and the contrary, first edition, title within ruled border, tables, ink stamp to title verso, 20th century half morocco, [Tomash & Williams N33; Wing N1060], small 4to, Joseph Moxon, 1657.⁂ Rare. "The present work, published by Joseph Moxon for sale in his instrument shop, is designed to aid in the conversion from sexagesimal to decimal numbers so that problems in astronomy, navigation, etc. can more easily be solved using the standard logarithmic tables. After a short introduction, the majority of the volume is taken up by the tables." - Tomash & Williams.Provenance: The Royal Society (ink stamp).
Lot 225
Paricius (Georg Heinrich) Praxis Arithmetices, Oder Gründliche Anweisung Zu Der Im Gemeinen Leben Und Wesen Anschicklich-Und Dienlichen Rechen-Kunst [Part 3: Kurtz-Und Richtige Auflösung Eines Vierfach-Verknüpfften Rechen Knopffs], 3 parts in 1 vol., first title double-page and printed in red and black, T7 with repaired tear running into text, occasional very light spotting, contemporary speckled calf, chip to foot of spine and upper fore-edge, [Tomash & Williams P14 & P15], 8vo, Regensburg, Johann Zacharias Seidel, 1706-1705.⁂ Rare. "Paricius was a mathematician and writing master from Regensburg who is known primarily for his books on writing. However, this is a book on arithmetic that deals mainly with commercial calculations involving grain prices, profit and loss, money changing, etc." - Tomash & Williams. Tomash & Williams describe this as two works, albeit one an extension of the other. However the second part ends with the catchword "Kurtz" (on 2D7) suggesting that they are intended as one. The pages at the end of part 2 are confused: 2D7 is followed by two duplicated leaves (pp.39-42, i.e. T6-7, from part 2), then an errata leaf.
Lot 229
Pitiscus (Bartholomaeus) Sinuum tangentium et secantium canon manualis, first edition, title with woodcut decoration, the odd spot or neat ink correction, occasional light damp-staining or browning, ink name erased from title, contemporary vellum, light staining, later endpapers, [Tomash & Williams P90; VD17 14:634982P], 12mo, Heidelberg, Johannes Rosae, 1613.⁂ Rare first edition of Pitiscus's separately-issued trigonometric tables. Pitiscus created the modern field of trigonometry and gave it its name, we can trace only 2 other copies at auction in the last 50 years.
Lot 231
Playford (John) Vade mecum, or the necessary companion, containing, 1. Sir S. Morland's perpetual almanack... 2. The computation of years... 3. The reduction of weights and measures. 4. The ready casting up any number of farthings [&c.] With Sir Samuel Morland's new table for guinneys... 5. The interest, and rebate of money, the forbearance, discompt, and purchase of annuities, at 6 per cent. 6. The rates of post-letters... 7. The rates or fares of coach-men [&c.], first edition, dedication f., engraved portrait of Samuel Morland, 3 engraved and numerous woodcut tables, small repair to title fore-margin, modern morocco-backed boards, [Kress (Supplement) S.595; Tomash & Williams P95; Wing P2505], small 8vo, by A. G. and J. P., 1679.⁂ Rare in first edition. Provenance: Royal Society, London (ink stamp to foot of dedication).
Lot 238
Rea (Roger) The sector and plain scale compared, first edition, title within double-ruled woodcut border, 3 folding woodcut plates, contemporary calf, some splitting to joints, extremities a little rubbed, [Tomash & Williams R18], J. Cluer for the author, 1717; and another, Stone on sectors, 8vo (2)⁂ Rare.
Lot 268
Surveying.- Wing (Vincent) Geodætes practicus: or, The art of surveying, first edition, woodcut initials head- and tail-pieces, tables and diagrams, 2 engraved plates (1 folding), H6 a cancel (stub visible), occasional light spotting, 20th century calf, [Tomash & Williams W91; Wing W2991], 8vo, William Leybourn for George Sawbridge, 1664.⁂ Rare. One of the first books of surveying to be written for use as a handbook.
Lot 32
Babbage (Charles) Letter From Mr Babbage To The Members Of The British Association For The Promotion Of Science, first edition, the odd spot, original wrappers a little soiled, splitting to joint ends, [Tomash & Williams B28; Van Sinderen 53], 8vo, Richard Clay, 1839.⁂ Rare. Babbage's account of the circumstances surrounding the withdrawal of his and Herschel's names to stand for President of the British Association for the Promotion of Science.
Lot 41
Babbage (Charles) Observations addressed... to the president and fellows of the Royal Society, first edition, original printed wrappers, margins creased and darkened, vertical crease, [Tomash & Williams B43], 8vo, 1856.⁂ Rare. Babbage's paper directed to the awards committee of the Royal Society in which he attempts to draw their attention to Per Georg Scheutz's difference engine.
Lot 49
Berkeley (Edmund C.) Giant Brain of Machines That Think, second printing, signed presentation inscription from the author to Erwin Tomash to front free endpaper, illustrations, original cloth, dust-jacket, spine ends and corners a little chipped, repaired tear with creasing to head of spine, lower fore-edge chipped, rubbing to extremities, [Origins of Cyberspace 463; Tomash & Williams B139], 8vo, New York, 1950.⁂ Works signed by Berkeley are rare."One of the first [books] to popularize computers and a major reason for the association of brain with computer. It covers all the major machines... and speculates on what the future would bring" - Tomash & Williams.
![Bernegger (Matthias) Manuale Mathematicum, darinn begriffen Die Tabulæ Sinuum, Tangentiu[m], Secantium, Gothic letter, title](https://cdn.globalauctionplatform.com/61a4a151-6f7d-45c1-ab46-ab5900fbf121/528c7323-4fdc-4450-9140-ab5a011672a5/468x382.jpg)
Lot 50
Bernegger (Matthias) Manuale Mathematicum, darinn begriffen Die Tabulæ Sinuum, Tangentiu[m], Secantium, Gothic letter, title within woodcut ornamental border, title trimmed at lower margin, woodcut initials and diagrams, tables, occasional browning, contemporary vellum, spotted, [Tomash & Williams B142; VD17 39:115055E], 8vo, Strassburg, Anton Bertram, 1619.⁂ Rare. The first book by Bernegger who would later translate two of Galileo's works into Latin.
Lot 63
Borgo (Pietro) Aritmetica mercantile, first edition, 118 leaves, 36-38 lines, gothic type, woodcut initials, printed marginal calculations, occasional foxing and soiling, small wormhole throughout textblock, central fold of each quire reinforced and browned, good margins, modern limp vellum with paper label to spine, slightly bowed, 4to (201 x 152mm.), Venice, Erhard Ratdolt, 1484.⁂ Rare first edition of only the second treatise on commercial arithmetic to be printed in Italy, after Larte dela merchadantia, Treviso, 1478, which was never reprinted. Borgo's work was more detailed and influential and further incunable editions appeared in 1488 and1491 followed by many more in the 16th century. Only 2 copies at auction prior to this one - the Honeyman copy in 1978 (£7,000) and the Shuckburgh copy (lacking 2 leaves) in 1993 (£3,600).Provenance: early unidentified ink inscription to b4 recto. Literature: Tomash & Williams B208; Smith, Rara arithmetica, p.16; ISTC ib 01034000.
Lot 68
Brown (John) Horologiographia: or, the art of dyalling, being the second book of the use of the trianguler quadrant, first edition, 25 engravings cut out and tipped onto margins of text leaves (originally printed on 41 leaves), lacking frontispiece and some diagrams, blindstamp to head of title and first 2 text ff., bookplate to pastedown, contemporary calf, rebacked, [Tomash & Williams B274; Wing B5042], 8vo, John Danby and others, 1671.⁂ Rare, often found defective.Provenance: The Earls of Macclesfield (bookplate and blindstamps).
Lot 7
Alexander (Andreas) Logometron architecturae militaris Freitagianae, kunstgemass der Freitagschen Bevestigung, first edition, 12 engraved plates, 2 double-page, additional large folding plate loosely inserted, browning to text, contemporary vellum, lacking ties, [Tomash & Williams A58], oblong 8vo, Arnheim, J. F. Haag, 1665.⁂ A rare work on the sector. "After introducing the history of the sector and giving credit to Galileo, he describes the scales and tables on the instrument and the elementary operations it can perform. This is followed by some simple arithmetic problems. He then quickly introduces more complex problems involving military fortification, geometry, and surveying" - Tomash & Williams.Provenance: Bibliothek des K. S. Artilleries-Corps, Saxony (ink stamps to title).
Lot 8
America.- Abel (Thomas) Subtensial Plain Trigonometry, Wrought with a Sliding-Rule, with Gunter's Lines: and Also Arithmetically, in a Very Concise Manner. Ant this Method Apply'd to Navigation, first edition, 7 engraved folding plates, spotting and browning, repairs and restorations to plates, bookplate to pastedown, 20th century half calf, [Tomash & Williams A2], 8vo, Philadelphia, Printed and Sold for the Author, by Andrew Steuart, 1761.⁂ Rare, the first American book on trigonometry and the work "which introduced the slide rule in America" (Karpinski, Bibliography of mathematical works printed in America through 1850, p.66). The author, a schoolmaster in Philadelphia, financed this book by soliciting advance subscriptions. In the book's preface, he boasts "I have 830 Books subscribed for"; in a newspaper advertisement (Pennsylvania Gazette, November 19, 1761, p.4), he begs those who had promised to subscribe to keep their promise, for otherwise he and his family would be ruined.Provenance: Yale University Library (bookplate).
Lot 86
*** Please note, the description of this lot has changed ***Congregatio Major Academica Bambergensis. Fontes biblici, divinae, humanaeq[ue] scientiae rivis sonori ac divites, 2 parts in 1 vol., folding engraved frontispiece and 7 folding plates (5 with volvelles), a few ff. closely shaved at upper and lower margins, occasional light foxing, bookplate of the Dukes of Arenberg to pastedown, contemporary speckled calf, [Tomash & Williams F83; VD17 12:119208Y], Bamberg, Typis Episcopalibus, apud Johann Jakob Immel, 1698 § Muncker (Philipp) De intercalatione variarum gentium, et præsertim Romanorum, libri quatuor, title with woodcut device, woodcut initials, occasional light foxing, contemporary vellum, printed paper label to spine, [Tomash & Williams M147], Leiden, Jacobus Hackius, 1680 § Schillgren (Nicolaus) Computus manualis breviter expositus quem favente deo & suffragante ampliss, folding table, light soiling and marginal browning, disbound and loosely inserted into later marbled wrappers, [Tomash & Williams Q1], Lund, Habereger, 1726, 8vo (3)⁂ A good set of 3 rare works on calendars.
Lot 109
Fine and rare late 17th Century James II or William & Mary horn and cedar oval snuff box, the cover with central lozenge dated 1688 within motto 'It is a frend to whom I lend', within dotted borders to cover and body, 9.5cm long Literature - Three similar examples are illustrated by Evan-Thomas, Owen, in 'Domestic Utensils of Wood', Stobart Davies, 1992, pl.38 Condition: Minor light wear including fine cracking to cover commensurate with age and use, together with a few minor holes and imperfections to foot rim but overall in very nice condition. **General condition consistent with age
Lot 116
Rolex - Very rare stainless steel manual wind bracelet watch with Kew 'A' Certification. The Oyster Speedking ref: 5056, with a signed off-white dial having Arabic numerals, black outer minute track and subsidiary seconds dial, blued steel baton hands and inscribed 'Kew 'A' Certificate' - The screw down crown signed 'Rolex Oyster', the screw-down case back stamped '5056', case number 628XXX. The signed 18 jewel bi-coloured movement number 4255, inscribed 'Kew xAx Tested', 'Time with screws on balance', the freesprung Breguet type balance with timing screws, 30mm diameter, together with copy of hand written Register of Watches from The National Physical Laboratory (Teddington). During the 1940's Rolex submitted 145 watch movements to the Royal Observatory at Kew for chronometer testing. These 18 jewel movements had hand-made balance staffs, wheels and cocks, the main plates being coloured rose gold with the balance cock in stainless steel. Regulation was achieved by two screws with three spare screw holes each side for compensation. All these watches were adjusted in Geneva and overseen by the Rolex master timer Jean Matile. This movement no: 4255 passed certification on 20 January 1949. There is no known history to this watch and it is being sold for a local Cancer Charity without any vendor's commission. Movement currently functions, dial has an even patina as one would expect for a 1940's dial, hands are good and original, wear to case is likewise and unpolished, crown does pull out and pushes back however it does no-longer screw-down tight, movement is clean, riveted and spring Rolex bracelet with wear as expected and date coded 4/72 - **General condition consistent with age
Lot 132
Rare late 18th Century 'Ormskirk Chaff-Cutter' pocket watch movement, H. (Hugh) Garratt (Garrett), Ormskirk, No499, the movement with pierced balance bridge and Bosley regular scale over cylindrical pillars, sold with Arabic enamel dial but no hands or case, 42mm diameter approx Condition: Hair cracks to dial as per cataloguing, no case etc, movement untested and sold as seen - **General condition consistent with age
Lot 134
Rare late 17th/early 18th Century pocket watch movement (only), Isaac Birdwhisell, London, No. 411, chain fusee verge movement with engraved back cock, square baluster pillars, 44mm diameter Condition: Movement only, untested and sold as seen, not currently ticking, lacks dial or case, for parts or museum reference - **General condition consistent with age
Lot 176
Aviation Interest - Rare George V silver novelty miniature airplane, with rotating propeller, primitive wings, half balloon-shaped body and cruciform carriage with three rotating wheels, Reg'd 607564 (1912), sponsors S.Blanckensee & Son, Birmingham 1912, 9.2cm long, 0.6toz approx Condition: lacks central plush-covered pin cushion. One wing has a small rust spot to upper surface, plus slight area of solder, the other has darker area of solder above and below, has possibly been a biplane or has perhaps had a figure performing a wingwalk, otherwise sound. **General condition consistent with age
Lot 218
Hukin & Heath - Rare Edward VII silver patent double preserve pot, comprising: two removable cylindrical glass preserve pots, each with hinged circular cover and opening simultaneously via a single handle which operates on a cam from either side, all on ring base hallmarked Birmingham 1906, sponsors John Thomas Heath & John Hartshorne Middleton (subsequently Hukin & Heath Ltd), 22.5cm wide, 12.2toz gross approx (excluding glass liners) Condition: Mechanism very slightly loose but still operates well, spoons are missing otherwise sound - **General condition consistent with age
Lot 556
Charles Brannam, Barnstable - Rare mid Victorian dated slipware pottery jar and cover, the domed cover with six spokes and button finial, the ovoid body having slipware decoration of a Wyvern, a sea serpent and a swan or similar, incised beneath Ch. Brannam, Barnstable Pottery Aug 13/79 [1879], 26cm high Condition: general rubbing to cover including to edges of finial. General flaking to rim of body, a few flake losses and rubs to edges of slipware decoration, some surface scuffing, kiln inclusions, glaze pops etc but no cracks or restoration. **General condition consistent with age
Lot 727
Rare late 17th/early 18th Century Italian brass and iron lantern or chamber clock with six-hour dial, circa 1700, the 4.25-inch Roman dial with fleur-de-lis half hour divisions, in a quarter hour track and matted centre with iron or steel single hand, the movement with verge and crown wheel escapement, count wheel-striking on a bell, the architectural case with ring-turned spire finials and posted iron frame, sold with two small cylindrical bob weights and two larger, later wooden bracket and glass dome, the clock 22.5cm high From the Italian Renaissance, the division of the day into four six-hour sections, with day beginning at sunset, allowed for more accurate time keeping. This system was used particularly in the Papal States until the Napoleonic invasion of Italy following the French Revolution when the twelve-hour system was introduced. The Italian system also conformed to Canonical hours, with Evening Prayers commencing the day. Most bells on clocks of this type are iron and are smaller/deeper than the current example, therefore this maybe an old replacement. The mechanism appears otherwise in good order but is untested and sold as seen. Later bracket and dome as catalogued. We do not guarantee the movement or accuracy of clocks - Please see extra images and TELEPHONE department if you require further information.
Lot 93
Rare Victorian book - "The Splendid Procession of Queen Victoria, on the 28th June, 1838, Displaying every Portion of the Royal Cortege, on that memorable Occasion, as well as The Whole Line of Streets, with their numerous Decorations, from the Duke of York's Pillar to Her Majesty's Entrance at Westminster Abbey, published by Relfe and Fletcher, 17 Cornhill, London, containing twenty-two coloured lithographic concertina sections, opening to 9 x 330cm, in original gilt embossed green board binding.Condition report: The book contains twenty-two sheets. Please reference images for condition report.
Lot 118
Extremely rare Lowestoft punch pot circa 1765 , painted with a lady sat under a parasol in under glaze blue, 17cm high See Steven Goss - British Blue and White Saucers 1745-1795 plate 334 page 178 for a similar pattern.Condition report: Body cracks, handle re-stuck. Old restoration to the spout.
Lot 160
Music rare double signed 1978 Royal Philharmonic Society programme, Signed by Conductor Mariss Jansons and Violin legend Victor Tretiakov. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 170
Motor Racing Hakkinen and Raikkonen with Flying Finn rare dedication signed 12 x 8 colour photo of both in relaxed pose in jackets outside building, Slight whitening mark across photo which is only apparent when looked at side on, Prices accordingly. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 3
FDC collection 62 fantastic covers some early and rare includes 1908 painted cover, 1943 Jersey Occ, cover, 1969, British Ships, 1969 British Post History, 1973 Royal Wedding, 1974 Fire Service, 1977 British Wildlife, 1981 National Trust, 1980 Sport, 1983 British Fairs, 1985 Composers, 2005 Farm Animals plus many more fantastic and interesting covers houses in an Benham cover album. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 80
German Stamp collection includes mint Reich 20 Milliones stamp sheet, mint 10 Milliones stamp sheet and two full pages of used German stamps some rare interesting postmarks. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 809
WW2 Capt John Foote VC signed rare 6 x 4 inch b/w photo, some light creasing, signed on back and front. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 815
WW2 rare Escaping Society cover signed by Padre Arnold comete line and Luftwaffe ace Gen Adolf Galland KC, Raf Duke of Yorks Westland Lysander cover. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 9
Vintage postal collection dating back to the 1930s includes interesting handwritten letters , documents, air mail, stamp sheets and envelopes from some interesting locations such as the house of commons letters with some rare stamps. Good Condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
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