Marriage.- Dolce (Lodovico) Paraphrasi nella Sesta Satira di Givvenale: nellaque si ragiona delle miserie de gli huomini maritali...Lo Epithalamio di CA-Catullo nelle nozze di Peleo & di Theti, italic type, initial spaces with guide letters, stamp erased from lower corner of title, causing some thinning of paper, lower corners of C1 repaired, affecting a few letters, foxed, occasional staining, 18th century vellum, red morocco label to spine, 8vo, [Venice], [Curtio Navo & brothers], 1538.⁂ Rare first edition of one of Dolce's earliest books, which contains three works on marriage. The third work is a paraphrase of Catullus 64, his longest poem, which concerns the marriage of Peleus and Thetis. It is one of the earliest translations of Catullus into the vernacular. The first work is by Juvenal and the second an original by Dolce. In his dedication to the painter Titian the author talks about how the artist depicts the spirit and soul of his subject with brush and paint in the same excellent way that Juvenal does with his pen. Provenance: shelf-mark 'B IIII 52' to foot of title.
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A COLLECTION OF SILVER AND PLATE INCLUDING A PAIR OF SHORT CANDLESTICKS; the loaded-round candlesticks with reeded borders, Birmingham 1909 by Ellis Jacob Greenberg, 13cm high (5 in); an Art Nouveau pierced round cup holder with a loaded base, Sheffield 1904 by James and Willian Deakin; a middle-eastern probably Egyptian round spice or tobacco box engraved in Islamic style with a 'cusped' trefoil, leaves and scrolls, 7cm diameter, 3.75cm high overall (2 3/4in X 1 ½ in), 72g (2 ¾ oz); the plated includes a stylish 1960/70's round based & wedge-shaped sugar caster with a bark effect panel, 17.75cm high (7 in); a straight tapering coffee pot; a pierced round coaster; a pierced round cake basket; a concave spirit or hip flask; a clip-on round ashtray; two sets of dessert spoons in cases; a brass mug and other items
A mixed selection of modern clear drinking and other glass, comprising; A Marquis pattern decanter and stopper, 31cm high; a pair of tumblers, and an ice bucket en-suite by Waterford, and six Salviati clear and frosted glass tumblers, and a pair of Tiffany & Co spirit decanters, of square section and with faceted ball stoppers
§ANNENKOV, GEORGES (1889–1974) Portrait of Alexander Bozheryanov, signed with initials.Ink and collage with paper on paper, 28 by 43 cm.Provenance: Private collection, Europe.Literature: Yu. Annenkov, Portrety, Petrograd, Petropolis, 1922, p. 111, illustrated; p. 166, listed.The Portrait of Alexander Bozheryanov, offered here for auction, created by the model's friend and fellow artist Yury Annenkov, is part of the celebrated Portraits series, Annenkov’s best-known cycle of works on paper. Moreover, it is undisputedly a classic example of superb portraiture of Annenkov’s Russian period.Annenkov took up the genre of portraiture in earnest only at the end of the 1910s. After successfully executing a few private commissions, he received an offer in 1921 from the publishers Zinovy Grzhebin and Yakov Blokh to produce portraits of several contemporary writers for their forthcoming books. The ostensibly one-off job generated momentum for a whole series of virtuoso portraits of his contemporaries.Inasmuch as the commissioned portraits were to be subsequently reproduced in black and white, it made no sense for Annenkov to execute the originals in oil or watercolour: the comparative advantages of these complex, labour-intensive techniques would invariably be lost. As the artist started the series in 1921–1922, he deliberately stuck exclusively to black ink and lead pencil, creating a uniform style, which encompassed two immutable principles: no full-body portraits (just the head, or, at most, chest- high portrait of the model); and an incisive, economical drawing style with geometrical emphases and fanciful line curvatures in the spirit of European Art Deco. The portraits of writers were soon followed by those of Annenkov’s fellow artists, as well as musicians, thespians, cinematic actors, and members of Soviet government.The portrait of Alexander Bozheryanov (1882–1959) was probably created when the sitter and Annenkov both worked on the production of Nikolai Evreinov’s philosophical harlequinade The Main Thing at the Volnaia Komediia (Free Comedy) theatre in 1921. In his Diary of My Meetings, Annenkov recalls in some detail the project that they found so enthralling: “I engaged one of my friends, the artist Alexander Bozheryanov, in the stage-design aspect of the production as my ‘accomplice’. Bozheryanov and I did all we could — legally and illegally — to get hold of the material for my curtain. That was… difficult. But in certain back alleys and on ‘black’ markets, where dealers would scatter as soon as a policeman appeared, we succeeded, through sheer patience and perseverance, in obtaining the required material.”It is no coincidence that, as Annenkov depicts his companion, he creates not just a portrait, but rather a sociobiographical variant thereof. Bozheryanov is surrounded not only by the tools of his trade — a large bottle of ink and a tube of paint — but also by the snapshots of quotidian life of Petrograd they had witnessed. The resulting image thus conveys both the model’s physiognomical traits and the typical features of artistic life of the early Soviet years.In just over a year, the series was completed, and Annenkov decided to present some of the best works at the World of Art exhibition, held at the Anichkov Palace in Petrograd in May 1922. The exposition made a tremendous impression on the public and the critics, and the Portraits album, released in the autumn of that year, reinforced the impact. Bozheryanov’s portrait was reproduced in the album as an illustration for Mikhail Kuzmin’s article on Annenkov’s oeuvre. Undoubtedly, it is one of the most impressive works in the series.
An early 20th century matched five piece tea service Hamilton & Inches, Edinburgh comprising spirit kettle, water pot, teapot, twin handled sugar basin and milk jug, all of oval demi-fluted form, cast gadroon and shell border, leaf clasped C scroll handles, raised on four bracket feet with shell decoration, initials AE engraved to body; together with a pair of sugar nips marked WB, only probably 18th century (6) Height of spirit kettle: 34.5cm, weight all (in): 133.9oz
Early 20th century electro-plated tea urn of polished circular form with girdled body, pull off domed cover with lidded urn finial and hinged side handles and front mounted tap with baluster turned ebony handle to a waisted circular foot containing a spirit burner on a square socle on ball feet and stamped to the base Elkington with date letter for 1933, height 58cm
![The Spirit (1966-67 Harvey) 1, 2 [vg+/vg], Dick Tracy 143 [gd]. With Doom Patrol (1965-66) 93, 95-101. #95 [gd], balance [vg]](https://cdn.globalauctionplatform.com/56a026d6-0ba9-4a8b-80f8-aa4e00a31eda/b235c7ec-89fa-4bde-81d3-aa5000b4b478/468x382.jpg)
A Victorian silver three piece Tea Set, by Roberts & Belk, hallmarked Sheffield, 1892, of ovoid form with demi fluted decoration, the teapot with ebonised wooden handle and finial, the two handled sugar bowl and cream jug with reeded handles, all crested, approx total weight 25ozt, together with a corresponding silver plated spirit kettle (4)
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49464 item(s)/page