NO RESERVE Bibbia. Novum Testamentum Graece. Strasburgo: Wolfgang Köpfel, giugno 1524.Due parti in un volume in-8° (mm 161x95). Carte 160 (erroneamente numerate 60); 118, [2]. Carattere greco, romano e corsivo. Frontespizio con marca tipografica xilografica inquadrato da una cornice formata da quattro legni: i laterali raffigurano i quattro evangelisti, il pannello superiore Dio nell'atto di sorreggere un globo, mentre quello inferiore uno dei simboli della Passione. Grande marca tipografica xilografica al verso della carta P8. Capolettera xilografico su fondo criblé al recto della carta A1. Spazi bianchi per capitali con letterine guida. Buon esemplare, uniforme e lieve brunitura, fioriture, macchie di inchiostro alle ultime carte. Legatura settecentesca in vitello, dorso con cinque nervi, titolo e dati tipografici impressi in oro. Piatto anteriore parzialmente distaccato, mancanze alle estremità del dorso. Antica nota di collocazione vergata a lapis al controbatto anteriore; alcuni marginalia di differenti mani. Al contropiatto anteriore ex libris dalla biblioteca della Law Society of England and Wales, fondata nel 1825.Il rarissimo Nuovo Testamento di Strasburgo del 1524, il primo libro in greco impresso dalla tipografia del Cefaleo, due anni prima dell'Antico Testamento in tre volumi, che lo stesso Wolfgang Köpfel stampò nel 1526. Queste due edizioni costituiscono la prima Bibbia in greco apparsa in paesi di lingua tedesca, nonché la terza Bibbia in greco mai stampata. "The New Testament, printed by Cephalaeus in 1524 [...] makes the set completed in four volumes. It is an esteemed work of great rarity: the type and paper are very good, and the punctuation is, in most places, remarkably judicious" (Dibdin, Introduction, p. 85). L'edizione venne curata da Volfango Capitone (1478-1541), amico di Erasmo, nonché uno dei principali esponenti della Riforma a Strasburgo. Il testo segue fedelmente quello del Nuovo Testamento in greco curato da Erasmo e stampato per la prima volta nel 1516. Two parts in one volume, 8° (161x95 mm). 160 (misnumbered 60); 118, [2] leaves. Greek, roman, and italic type. Title-page within four-block woodcut border, showing at the side the four Evangelists, on the upper panel God handling a globe, anked by two cherubs, on the lower one the symbols of Passion; at centre of the border a woodcut printer's device. Larger woodcut printer's device on fol. P8v. Woodcut decorated initial on criblé ground on fol. A1r. Blank spaces for capitals, with printed guide letters. A good copy, browning and foxing throughout; spotting in places, heavier to the last leaves. Eighteenth-century polished calf, over pasteboards. Spine with five small raised bands, title and imprint in gilt lettering. Corners worn; joints somewhat cracked, minor wear to the extremities of the spine. Pencilled shelfmark on the front pastedown; some marginalia, in two different early hands. Provenance: from the library of the Law Society of England and Wales, founded in 1825 (large ex libris on the front pastedown).The rare Strasbourg Novum Testamentum printed by Wolfgang Köpfel or Cephalaeus in 1524, two years before the three-volume Vetus Testamentum issued in 1526: this set represents the first Bible in Greek to have appeared in German- speaking countries, and the third overall. "The New Testament, printed by Cephalaeus in 1524 [...] makes the set completed in four volumes. It is an esteemed work of great rarity: the type and paper are very good, and the punctuation is, in most places, remarkably judicious" (Dibdin, Introduction, p. 85). The text was edited by Wolfgang Fabricius Capito (1478-1541), a friend of Erasmus of Rotterdam and one of the chief representatives of the Reformation in Strasbourg, and closely follows the Greek Novum Testamentum edited by Erasmus, which first appeared in 1516. The present edition is of the greatest rarity, and represents the first Greek book issued from the press held by Cephalaeus. STC German 84; Darlow & Moule 4600; Die Bibelsammlung der Württembergischen Landesbibliothek Stuttgart. I.3. Griechische Bibeldrucke, Stuttgart-Bad Cannstatt 1984, C14
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![NO RESERVE Warhol Andy. Andy Warhol's Index (Book). New York: Random House, 1967. In-8° (mm 285x217). Pagine [76], profusamen](https://cdn.globalauctionplatform.com/3f3b43b9-6d01-4515-8009-a90000d0409e/9045d7c0-d15f-4cc8-f942-8d8218b0cf2f/468x382.jpg)
NO RESERVE Warhol Andy. Andy Warhol's Index (Book). New York: Random House, 1967. In-8° (mm 285x217). Pagine [76], profusamente illustrate e con numerosi pop-up espressamente preparati da Andy Warhol, mancante il solo palloncino. Brossura editoriale in cartone stampato, piatto anteriore con illustrazione olografica su acetato. Prima edizione, nella tiratura in brossura, di uno dei più celebri libri d'Artista della seconda metà del Novecento, ideato e prodotto nella Factory di Warhol. 8° (mm 285x217). [76] pages, profusely illustrated and contained numerous pop-up illustrations by Andy Warhol, lacking only the balloon (copies with an intact balloon are exceedingly rare). Publisher's stamped wrappers, front cover with holographic illustration on acetate.First edition, in paperback issue, of one of the most famous Artist books of the second half of the 20th century, created and produced in Warhol's Factory.
NO RESERVE Warhol Andy. Velvet Underground & Nico. Velvet Underground & Nico. New York: Verve Record, 12 marzo 1967. Vinile entro custodia in cartoncino illustrata (mm 315x305) dal celebre disegno di Andy Warhol che raffigura una banana gialla con la scritta Peel slowly and see ("sbuccia lentamente e guarda") stampata vicino: rimuovendo la buccia di banana adesiva si trova un'allusiva banana di colore rosa. Esemplare in buono stato di conservazione, lievi segni d'uso. Prima edizione in terza tiratura (con il 'torso' di Eric Emerson ritoccato al verso della custodia) di questo album-simbolo degli anni '60/'70, con le controverse canzoni dei Velvet Underground, gruppo rock divenuto famoso grazie all'incontro con Andy Warhol, avvenuto al Cafè Bizare di New York nel dicembre del 1965, proprio la sera in cui vennero licenziati per aver eseguito l'oltraggiosa Black Angel's Death Song. Warhol venne folgorato da questo gruppo, fino a quel tempo sconosciuto, e presenziò alla registrazione degli 11 brani negli Scepter Studios di New York nell'aprile del 1966. Fu l'artista a volere la modella Christa Päffgen, nota con il soprannome di Nico, per interpretare tre brani tra cui Femme fatale, composto da Lou Reed pensando a Edie Sedgwick, la giovane attrice regina della Factory di Warhol. La copertina è illustrata dal celebre disegno dell'artista, una banana gialla accanto alla scritta Peel slowly and see ("sbuccia lentamente e guarda"): rimuovendo la buccia adesiva compare un'allusiva banana rosa.Vinyl with illustrated cover (315x305 mm). Front cover with the famous print of a yellow banana by Andy Warhol, with the caption 'Peel slowly and see', and the peel-sticker feature. In good condition, a few traces of use. First edition in third issue (with Eric Emerson's 'torso' retouched on back cover) of the debut album of the Velvet Underground, the celebrated rock'n roll group from New York, whose activity was financially promoted by Andy Warhol. The album contains 11 songs, and was registred at the Scepter Studios of New York in April 1966. It is one of the most influential albums ever produced. Three of the 'revolutionary' songs included were interpreted by the German model Christa Päffgen, better known as Nico.The album is well-known for its iconic cover, featuring a Warhol print of a banana with the printed caption 'Peel slowly and see', which invites to peel back the banana skin, revealing a flesh-coloured banana underneath. Copies with the peel-sticker feature, as here, are now rare to be found.
A rare and large Chinese archaic bronze ritual drinking vessel, Hu, Warring States period 5th-3rd century B.C., carved in relief with three registers of ancestral figure scenes of sacrifice, worship and hunting, taotie mask ring handles, brown patina with areas of malachite and cuprite encrustation, approx. 50cm high, repairsLiterature:see Jessica Rawson, Chinese Bronzes: Art and Ritual, British Museum Press, 1987, Fig. 28e with an illustration of a smaller bronze Hu vessel in the Palace Museum Beijing decorated with similar figure scenes.A bronze fanghu (square wine vessel) decorated in the same style but with an inlay technique around the decoration is in the Rietberg Museum, accession no. RCH9A and is illustrated in the Museum Rietberg Zurich Museum Guide, Zurich, 2000, p. 75, fig. 59.A fanghu of this type and style with pictorial decoration in flat relief restricted to three horizontal registers, now without any of the background inlay material remaining, in the National Palace Museum, is illustrated in Catalogue of the Special Exhibition of Shang and Chou Dynasty Bronze Wine Vessels, National Palace Museum, Taipei, 1989, p. 217, plate 77. A third, smaller fanghu decorated in the same technique with silhouetted figures and animals in flat relief shown in various hunting scenes, also now lacking the inlay material which filled the background, in the Freer Gallery of Art, is illustrated by Lawton in Chinese Art of the Warring States Period, Change and Continuity 480-222 B.C., Washington D.C., 1982, p. 33, no. 5The decoration is similar to scenes carved on to later Eastern Han dynasty stone tomb reliefs such as The Wu Family Ancestral Shrine found on the north of Wuzhai Mountain in Zhifang Township, Jiaxiang County of Shandong Province, China.Provenance: the estate of the late Jean-Claude Jean-Claude (1926-2016).Jean-Claude Lepileur was a man of great learning. Born in Lisieux in France, he became a buyer and seller of antiques and formed a partnership with Mrs Senta Christian in a joint antiques venture, travelling to and from England from their early base in Deauville in Normandy. Mr Lepileur was a self-taught historian, chemist and restorer, with a particular love of all things Asian, especially pieces of art from China. And more specifically ancient Chinese bronze artefacts, which he collected avidly all his life.Mr Lepileur and Mrs Christian moved their business to Finchley in London in the 1950s and they continued to operate as a partnership until 1996, when Mrs Christian passed away. Jean-Claude had a very discerning eye for art and at one point even managed to identify two original Rembrandt sketches for sale on a stall on Portobello Market and was able to purchase them for a few pounds. They were later fully authenticated by the Victoria and Albert Museum. Mr Lepileur was also a frequent visitor to the British Museum in those days as he was always keen to compare his latest Chinese bronze acquisitions with those in the collection of the museum. During his life he amassed a collection of some eighty bronzes and a number of ceramics, pictures and scrolls. He also collected over 60 reference books, many of them very detailed, which he used to assist him with his research. Mr Lepileur was still buying and selling up until his death in December last year, aged 90. The collection is presented complete, with no omissions and is a great tribute to his skill in identifying, researching and collecting some wonderful pieces of Chinese art.
A rare second quarter of 19th century mahogany ting-tang quarter striking bracket clock, John Westlake, London, the gothic architectural case with tracery side frets, the signed 6.75 inch silvered Roman dial with subsidiary strike / silent and regulation dials to the arch, the signed double chain fusee movement with anchor escapement, rise and fall regulation, striking the hour on a single bell and each quarter on two bells, the shaped plates with foliate engraved borders united by five knopped pillars, height 19in.
A rare 17th/18th century left handed spur toed golf club, the hand forged iron head with dished face set on an ash shaft, length 42.5in.Provenance: Purchased by the owner's grandfather in the 1950's for 10 shillings and purportedly purchased by the previous owner from a cellar clearance in Leven, Fife.
Pierre-Adrien Dalpayrat, French (1844-1910) - a rare pewter mounted high fired stoneware vase, the near spherical vase with rich mottled red and green flambé glaze, the pierced pewter mounts to neck and base united by opposing handles and stamped S2619 to the base, the vase signed 'Dalpayrat' to base, height 9in.
Cothele Mansion; ' To The Right Honorable Earnest Augustas Earl Of Mount Edgcombe - These Illustrations Of His Ancient Mansion Of Cothele In The County Of Cornwall Are Inscribed As A Small Tribute Of Respect and Gratitude By His Lordships Ever obliged and Very Faithful Servant Nicholas Condy. A 19th century Folio relating to Cothele Mansion including various colour plates , information and plans. Rare.
Claude Monet (1840-1926) & George-William Thornley (1875-1935)La ViaducThe rare lithograph printed in blue, before 1892, signed by both Monet and Thornley in pencil, from the edition of 25, on chine appliqué supported on wove paper, published by Belfond et Cie, Paris, with their blindstamp, with full margins, sheet 398 x 567mm (15 3/4 x 22 1/4in) (unframed)
Claude Monet (1840-1926) & George-William Thornley (1875-1935)La Côte RocheuseThe rare lithograph printed in black, circa 1890, signed by both Monet and Thornley in pencil, from the edition of 25, on chine appliqué supported on wove paper, published by Belfond et Cie, Paris, with their blindstamp, with full margins, sheet 398 x 567mm (15 3/4 x 22 1/4in) (unframed), sheet 398 x 567mm (15 3/4 x 22 1/4in) (unframed)
Claude Monet (1840-1926) & George-William Thornley (1875-1935)Bâteaux de PêcheThe rare lithograph printed in brown, circa 1890, signed by both Monet and Thornley in pencil, from the edition of 25, on chine appliqué supported on wove paper, published by Belfond et Cie, Paris, with their blindstamp, with full margins, sheet 398 x 567mm (15 3/4 x 22 1/4in) (unframed)
δ Pablo Picasso (1881-1973)Nu de Profil: Garde Gauche (Baer 784Ba; Bloch 463; Cramer Books 48)The rare drypoint, 1947, signed in pencil, Baer cites only this single signed impression, there was also an unsigned edition of 66, on heavy wove paper, as included in 'Escrito/Pismo', the sheet edge folded as published, with full margins, sheet 365 x 325mm (14 3/8 x 12 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Dieter Roth (1930-1998)Sausage Power (Die Kraft der Wurst) (Dobke 59)The rare etching, 1966, a state proof, initialled and inscribed 'O.K.' in black ink, the sheet hand-dyed with blue wash, on handmade wove paper, the plate etched at the Rhode Island School of Design, Providence, proofed by Harry Snook, London, the full sheet with a deckle on all four sides, 795 x 565mm (31 ¼ x 22 1/4in) (unframed)
Dieter Roth (1930-1998)Island (Insel) (Dobke 60)Two etchings, 1966, both rare state proofs, the first signed, dated '66-69' and annotated 'A.P. this one: black on orange Papier!' in black ink, the second printed in black on hand-dyed orange paper, initialled and inscribed 'O.K.' in black ink, both on handmade wove paper, the plate etched at the Rhode Island School of Design, Providence, proofed by Harry Snook, London, each the full sheet with a deckle on all four sides, the sheets 395 x 570mm (15 ½ x 22 1/2 in) and 570 x 765mm (22 ¾ x 30 1/8 in) (unframed) (2)
Richard Hamilton (1922-2011) & Dieter Roth (1930-1998)InterfaecesThe very rare essay, comprising 15 sheets of hand-annotated text with a pen and ink drawing on the front page by both artists in red and black, 1978, one of only 15 copies produced for the Hamilton/Roth joint exhibition at Waddington & Tooth Galleries, London, on wove paper, staple bound as issued, housed in a black leather and cloth slipcase, overall overall 340 x 233 x 8mm (13 3/8 x 9 1/8 x ¼) (folio)The present work was produced for the first 15 people to visit the Richard Hamilton and Dieter Roth joint exhibition at Waddington & Tooth Galleries in 1978. Hamilton and Roth hand-annotated each of the 15 copies, with both also adding a drawing to the cover. In the present example the artists drew on the imagery Hamilton had been creating during the 'Shit and Flowers' period in the 1970s and added a drawing of a lump of excrement to the cover. Hamilton's addition clearly is recognisable when compared to those in prints such as Esquisse and Sunset (f) (Lullin 87, and 102 AH CHECK) whereas Roth's is far more fluid.
δ Allen Jones (b.1937)Life Class (Lloyd 48 A-G)The rare complete portfolio, 1968, comprising 16 lithographs printed in colours, each sheet signed in pencil, numbered from the edition of 75 in pencil, printed by Emile Matthieu, Zurich, published by Editions Alecto, London and Arts Moderna, Basel, on wove paper, the sheets in the original plastic sleeves and card portfolio, overall size 820 x 570mm (32 ½ x 22 ¾ in) (16) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Derrière le Miroir No.182 (Cramer 81)The complete publication, 1969, comprising two lithographs printed in colours, each signed in pencil, with text and reproductions, on wove paper, printed by Mourlot, published by Maeght Editeur, Paris, a rare publisher's complimentary copy together with the publisher's card 'Hommage de L'Editeur' signed by Maeght, loose as issued, overall 380 x 280 mm (15 x 11 1/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
John Scott Bradstreet (1845–1914). Straight-backed Arts and Crafts side chair with jin-di-sugi cyprus frame stained green, deep red velvet upholstered seat and back cushions with exposed brass nail heads in a flower shape and gimp braid trim. Legs have flaring lobed feet. Recently reupholstered in the original manner. Unsigned. John Scott Bradstreet was an innovator in late 19th and early 20th century furniture and interior design, turning away from the neo-rococo styles popular at the time to create cleaner, Eastern- and Scandanavian-influenced designs. His Minneapolis-based Craftshouse was the most influential furniture and design house in the midwest, and his involvement in the arts scene led to the foundation of the Minneapolis Institute of Art. This rare chair is representative of the peak of Bradstreet's organic art nouveau style, and bears similarity to many important pieces from the Glensheen mansion. Dimensions: Height: 38 1/2 in x Width: 20 1/2 in x Depth: 20 in.Condition: Inquire for condition report. Images: To view larger images, please visit https://www.dropbox.com/sh/8ed9nhnm5wknrh8/AACsurKHrYImqDg3T-dvZrR1a?dl=0
Original vintage airborne leaflet propaganda flyer issued in Great Britain to be dropped over the Nazi troops. This rare flyer is aimed at the Russian speaking troops fighting on the Nazi side. The Russian Liberation Army (Russian: ??????? ??????????????? ?????, Russkaya osvoboditel'naya armiya, abbreviated as ???, ROA, also known as the Vlasov army (?????????? ?????, Vlasovskaya armiya)) was a group of predominantly Russian forces that fought under German command during World War II. The army was led by Andrey Vlasov, a defected Red Army general, and members of the army are often referred to as Vlasovtsy (????????). In 1944, it became known as the Armed Forces of the Committee for the Liberation of the Peoples of Russia (??????????? ???? ???????? ???????????? ??????? ??????, Vooruzhonnyye sily Komiteta osvobozhdeniya narodov Rossii, abbreviated as ?? ????, VS KONR). A number of such soldiers were on guard in Normandy on D-Day, and without the equipment or the motivation to fight the Allies, most promptly surrendered. There were instances of bitter fighting to the very end, triggered by mishandled propaganda from the Allies that accurately told of the quick repatriation of soldiers back to the Soviet Union after they gave up. Good condition, fold mark, creases, tear, paper losses. Country: UK Year: 1940s Size (cm): 17.5x10.5
Original vintage film poster for The Birds, a 1963 American horror-thriller film directed by Alfred Hitchcock and starring Rod Taylor Jessica Tandy , Suzanne Pleshette and Tippi Hedren. Rare advance promotional poster. The film follows a wealthy San Francisco socialite who pursues a potential boyfriend to a small Northern California town. Things slowly takes a turn for the bizarre when birds of all kinds suddenly begin to attack people. Good condition, fold marks, tears o margin and minor staining on margin. Country: UK, Year:1963, Size (cm):56x48
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