There are 165558 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeBozerian binding.- Bodoni.- Kempis (Thomas à) De imitatione Christi libri quatuor, little foxing at edges, red straight-grain morocco by Bozerian (signed 'Rel. P. Bozerian'), gilt, spine in compartments, some fading to spine, corners little worn, rubbed and marked, a few small stains, g.e., [Brooks 484], folio (text block 428 x 280mm; binding 441 x 301mm.), Parma, Giambattista Bodini, 1793.⁂ The Heber copy (ink stamp to front free endpaper).
19th century photographs.- Baker, of Birmingham. Collection of photographs, 30 albumen prints, including: Anne Hathaway's Cottage Stratford-upon-Avon by FF & Co. with ink stamp of Wm. Stanton Bookseller of Ye Five Gables [now the Shakespeare Hotel Stratford] Stratford, Stonehenge, West Country, "Bicycle Meet at Wolfeton House", "Abbey Church Cirencester", HMS Captain, Fingle Bridge on the Teign by F. Bedford, 13 marked in pencil on verso as "Baker", a few others, "W Sherlock", v.s., v.d. [c. 1880s - 1900].
Chess.- Lopez de Sigura (Ruy) Libro de la invencion liberal y arte del juego del Axedrez, collation: *4 §4 A-S8 T6, first edition, woodcut decorative initials, marginal repairs, some soiling, 19th century half purple morocco, spine richly gilt, spine slightly faded, rubbed, [LN363], small 4to (192 x 138mm.), Alcala de Henares, Andres de Angula, 1561.⁂ First edition of this important work on the theory of chess, with a distinguished provenance. Provenance: Tassilo von Heydebrand und der Lasa, 1818-1899, chess master, historian and theoretician (engraved armorial bookplate, with ms. 'No. 1608 / (925)', his initials and dated 1884 and a tipped-in page of notes by him); Dr. Robert Blass (ink stamp; his sale Christie's, 8th May, 1992, lot 44).
Chess.- Verci (Giambatista) Lettere...alla Nob. Sig. Contessa Francesca Roberti Franco sopra il Guioco degli Scacchi, title and woodcut ornament within woodcut typographic border, woodcut head- and tail-pieces and initials, some spotting and light staining, contemporary limp boards, [LN4156], 8vo, Venice, Giovanni Gatti, 1778.⁂ Provenance: Robert Blass (ink stamp), his sale Christie's 8th May, 1992, lot 162.
Battle of Trafalgar.- Fairburn (John, fl. 1789-1840) Fairburn's Plan of Lord Nelson's Victory over the combined Fleet, off Trafalgar, October 21, 1805, broadside comprising "Plan of Attack on the combined Fleet", "Chart Exhibiting Trafalgar Cardiz", the larger "View of Lord Nelson's Attack on the Combined Fleet off Trafalgar, October 21 1805", and four columns of text below, including letters from Collingwood, and other specifics of the battle, engraving with hand-colouring and letterpress, on wove paper watermarked 'E & P' and dated '1804', sheet 600 x 450 mm. (23 5/8 x 17 3/4 in), red ink duty stamp in the lower right corner, small repairs to nicks and tears at extremities, small area of restored loss to upper left corner but outside of image, minor surface dirt and finger-soiling, unframed, 1805.
Battle of Trafalgar.- Dodd (Robert, London marine painter and publisher, 1748-1815) Plan of the Attack by Lord Nelson, on the Combined Fleet, October 21st 1805, broadside with plan and transcription of letters written by Collingwood, to the Admiralty, describing the battle and the death of Nelson, etching and aquatint with hand-colouring, letterpress below, on wove paper with watermark date '1801', sheet 680 x 480 mm. (26 3/4 x 18 7/8 in), red ink duty stamp in the lower right corner, some repaired tears, one in the lower centre going into text, small area of loss to the centre right extremity, light browning and exposure lines from previous mount, unframed, 1805.
Bookseller's catalogue.- White (Benjamin) A catalogue of a large collection of curious and useful books in most sciences and languages; including the Libraries of The late Rev. Mr. Botham, of Albury in Surry; and of Several other Gentlemen deceased, title mounted on stub, ink stamp to I2, fore-edge stained, lightly browned, modern calf-backed marbled boards, gilt spine in compartments and with black leather label, 8vo, no printer, 1774.⁂ A scarce catalogue. Benjamin White (c.1725-1794), brother of the naturalist Gilbert, and the first publisher to specialise in natural history works, including his brother's own The Natural History of Selbourne, 1789. Indeed, it was Benjamin who introduced his brother to Thomas Pennant and Daines Barrington, the correspondence between whom forms the basis of Gilbert's Natural History.
Christie (Agatha) The Mysterious Mr. Quin, occasional scattered foxing, 1930; The Murder at the Vicarage, light browning to endpapers, light marking to covers, 1930; The Listerdale Mystery, scattered foxing, ink ownership inscription and ink stamp to endpapers and pastedown, light marking to covers, 1936, first editions, original cloth, light fading to spines, 8vo (3)
Lewis (C.S.) [The Narnia Chronicles], 7 vol., first editions, comprising The Lion, the Witch and the Wardrobe, bookplate to endpaper, shelf-lean, fading to spine and top and bottom edges, jacket chipped at head and foot, abrasion to lower panel, internal tearing to spine, blind-stamp to flaps, marking, 1950; Prince Caspian, jacket spine slightly browned, spine ends and corners a little chipped, tape-stain to lower fore-edge, 1951; The Voyage of the Dawn Treader, bookplate to endpaper, jacket spine slightly browned, spine ends and corners a little chipped, tape staining and wear to lower fore-edge, surface soiling,1952; The Silver Chair, bookplate to endpaper, jacket spine a little darkened with chip to head affecting lettering, chipping and creasing to extremities, 1953; The Horse and his Boy, jacket spine faded, tape staining to lower panel, minor chipping to spine ends and corners, 1954; The Magician's Nephew, ink gift inscription to endpaper, jacket tape staining to panel edges, spine slightly faded, extremities a little rubbed, 1955; The Last Battle, jacket spine slightly browned, light rubbing to extremities, 1956, plates, illustrations and maps by Pauline Baynes, including colour where called for, original cloth, dust-jackets, 8vo.⁂ An unsophisticated set, collected by the vendor as a child whose bookplate is occasionally featured.
Crawhall (Joseph) Old Aunt Elspa's ABC, first edition, hand-coloured illustrations, 3pp. advertisements at end, stitching broken, loose in original hand-coloured pictorial wrappers, lower cover with 1858 1d red postage stamp pasted onto easel, slightly frayed at edges, [1884]; I Know what I Know [&] John & Joan, together Parts III & VII (of 8) from 'Crawhall's Chap-Book Chaplets', hand-coloured illustrations, original printed wrappers, uncut, a little spotted and frayed at edges, spines worn, London & New York, 1883; Chorographia, or a Survey of Newcastle Upon Tyne: 1649, hand-coloured coats-of-arms, Edward Gordon Craig's copy with his monogrammed book-label, original half vellum, hand-coloured woodcut vignettes to boards, uncut, 1884; A Beuk o'Newcassel Sangs, list of subscribers at beginning, original buckram-backed pictorial boards, 1888; A Jubilee Thought, browned, title loose, contemporary cloth, original wrappers bound in mounted on stubs, 1887, woodcut illustrations, all rubbed and soiled, the first two Field & Tuer, the last three Newcastle upon Tyne; and another, 4to (7)⁂ "Aunt Elspa" was a family term of endearment for Crawhall's daughter Elspeth. Crawhall himself is pictured at letter R for Rumpus, Rage, Racket & Riot, being chased by a termagant queen.
Newton (Sir Isaac).- Robinson (Bryan) A Short Essay on Coin, 22p., first edition, with final blank but not 8pp. Appendix, [Goldsmiths' 7528], 1737 bound after Miller (Philip) The Gardeners Kalendar, second edition, contemporary ink signature to fore-margin of title (cropped), title and final leaf soiled, light water-staining, by M.Rhames for Richard Gunne [& others], 1735 and Laurence (Edward) The Duty and Office of a Land-Steward, third edition, by and for Samuel Fuller, 1731 and [Ellis (William)] The London and Country Brewer, first Dublin edition (comprising Part I of the first English edition), small hole to title affecting a couple of letters, by M.Rhames for R.Gunne, 1735 and Royal Dublin Society. Instructions for Planting and Managing Hops, and for Raising Hop-Poles, first edition, a few woodcut illustrations, a little browned, by A.Rhames, 1733, together 5 works in 1 vol., the first mentioned bound last, all but the first with titles and final leaves soiled (especially the last), slightly cropped, manuscript list of contents and engraved bookplate of Theobald Woolfe of Blackhall, Co.Kildare on front pastedown, contemporary calf-backed boards, label "Tracts on Husbandry" on spine, trace of name stamp to upper cover, rubbed, joints split, spine ends worn, 8vo, Dublin⁂ Interesting group of mostly agricultural pamphlets, the first including three letters on coinage by Newton as Master of the Mint (pp.3-14); ESTC lists 3 copies in England, 4 in Ireland and 7 in America.
Botany.- Commelin (Caspar) Horti medici Amstelaedamensis plantae rariores et exoticae, first edition, title with woodcut of bowl of flowers & fruit hand-coloured and heightened with gold, 48 etched plates by P.Sluyter expertly coloured in a contemporary hand, many heightened with white and gum arabic, many with caption in ink in contemporary hand in lower margin, some light browning and offsetting, faint heraldic stamp and ink signature "Will. Forsyth" to front pastedown, contemporary mottled calf, gilt, rubbed, rebacked preserving old gilt spine, lacking label, [Nissen BBI 387], 4to, Leiden, Fr.Haringh, 1706.⁂ Scarce coloured copy of Commelin's supplement to his uncle Jan's Horti medici Amstelodamensis of 1697-1701 and containing many plates of new species recently introduced from the Cape, particularly aloes.?Possibly William Forsyth (1737-1804), Scottish botanist and gardener, author of many works on trees, and founding member of the Royal Horticultural Society. Forsyth trained as a gardener under Philip Miller at the Chelsea Physic Garden and from 1784 until his death was superintendent of the royal gardens at Kensington and St.James's palaces.
Xenophon. Omnia quae extant operis, 2 parts in 1, first complete Aldine edition, collation: *4, A-L8; α-ξ8, ο6 (fol. G2 signed ii, fol. H1 unsigned), [4], 87; [119] leaves (with misnumbering), complete with blank leaves L8 and α1, Greek and roman type, text in Greek, woodcut Aldine device on title and on verso of final leaf, blank spaces for capitals, with printed guide letters, a few pale spots and fingermarks, some marginalia in Greek, 17th-century sprinkled calf, gilt spine with raised bands, edges speckled red, spine ends repaired, folio (306 x 209mm.), Venice, Heirs of Aldus Manutius and Andrea Torresano, April 1525.⁂ The first complete edition of Xenophon issued by the Aldine press, edited by Gian Francesco d'Asola, son of Aldus' father-in-law, Andrea Torresano. Alongside Xenophon's short, and still then unpublished, De Atheniensium re publica and De vectigalibus, the Aldine edition of 1525 contains the Agesilao, the text of which had been in the past erroneously attributed - as Torresano states in his preliminary address to readers - to Plutarch, and therefore included in previous editions of the Plutarchean Vitae. The volume also contains Xenophon's Hellenica, a work which had already been published by Aldus Manutius in October 1503. Provenance: from the library of St. Maria Incoronata, Padua (ownership inscription 'Biblioth. Collegij S. Mariae Coronatae Papie[nsis]', and old small stamp on title).Literature: Adams X4; STC Italian 738; Renouard Alde, 100.1; Ahmanson-Murphy 229; Cataldi Palau 94.
GB four Harrington & Byrne Queen Victoria stamp collections including 1856-1883 6d Colour & Plate Stamp Collection, 1875-1881 2&1/2d Rosy Mauve & Blue Complete Stamp Collection, 1880-81 used stamp collection and The United Kingdom Complete Embossed Stamp Collection, each in issue folder from Harrington & Byrne with certificates
GB four King George V Harrington & Byrne stamp collections including The British Exhibition "Wembleys" Stamp Collection, 1912-22 Definitive Unused Stamp Collection and two 2010 Centenary of Accession of King George V 1st Class Silver Stamp Ingot Presentation also French 1937 Duke of Windsor Wedding Pair of Covers set, each in issue folder from Harrington & Byrne with certificate, (5) (collective original retail price around £600)
GB five Elizabeth II Harrington & Byrne stamp collections including 1972 Machin Imperforate £1 Block of Four Stamp Error, 1955 Castle High Value Unused Definitive Stamp Collection, The United Kingdom Unmounted Mint 1953 Coronation Stamp Collection, 1988 Carrickfergus Castle £1 Stamp Perforation Error, and 1953 Cornonation Stamp Cover, each in issue folder from Harrington & Byrne with certificates, (collective original retail cost around £1050), (5)
After Helen Bradley (1900 - 1979) - The Four Seasons, Spring, Summer, Autumn and Winter, artist's signed proofs, all inscribed and bearing a blind stamp for the Fine Art Trade Guild, also bearing facsimile labels describing the artist's story behind each work, coloured reproductions, each 10" x 12.75" (a set of four) **published by Helen Bradley Prints Ltd., **provenance The Horse-Shoe Gallery, Haworth, Nr Keighley
German Third Reich WWII magnetic recording tapes, in five cases three reels bearing Waffenamt ink stamp, labels with dates 1940 - 1946, mentioning 'Kreigsmarine', also 'Oberlunant Hubner', on wooden cradle also Waffenamt stamped, also a sixth cased reel with stamp, an empty reel drum and one other case, together with two British Intelligence Objectives 'High Frequency Magnetophon Magnetic Sound Recorders' Final Report booklets, the reels measure 20cm diameter
Walter Frederick Osborne RHA ROI (1859-1903)A Bit of Sutton Courtney - A Village by the ThamesOil on panel, 41 x 32cm (16 x 12½'')Signed; inscribed versoProvenance: The Rowley Gallery stamp verso, 87 Campden Street, Kensington Church Street, London, whence purchased in the 1920s; hence by descent.Exhibited: The Dublin Art Club, 1887, Catalogue No.129.Literature: Sheehy, Jeanne, 'Walter Osborne', Gifford & Craven, Ballycotton 1974, p.121, no.174; Bodkin, Thomas, 'Four Irish Landscape Painters', Dublin and London, 1920, Appendix XI, p.133; le Harival, Adrian and Michael Wynne, 'Acquisitions, 1984-86, National Gallery of Ireland', Dublin, 1986, p.68, illustrated fig.60b.(note: Osborne titled this picture with the spelling ‘Sutton Courtney’ and this spelling will be used when referring to the painting. The correct spelling of the village is Sutton Courtenay.)Journeying along the river Thames, Cork-born artist Robert Gibbings wrote in 1940 that: “Sutton’s Pool by Sutton Courtenay is a fairy world of falling waters. By moonlight… it is a setting for the rarer moments in life”. Gibbings did not linger in the village, “leaving the last golden hours of evening to the boys fishing on the weirs” (1).In 1887, Walter Osborne had stayed at Sutton Courtenay (then in Berkshire but today in Oxfordshire) and painted the present picture A Bit of Sutton Courtney, A Village by the Thames. It shows a boy leaning against a wooden railing, fishing, while across the river a woman stands and tall red buildings are lit by sunlight. Walter Osborne observes the scene meticulously and the picture has a wealth of detail and a strong human presence. In spite of its rural setting, the painting is aflame with warm, glowing reds and browns, almost unprecedented in Irish art at this time.Having earlier studied in Dublin and Antwerp and painted in Brittany, Osborne spent much of the second half of the 1880s working in English villages and towns, painting a series of village, farming and coastal scenes. These are some of the finest pictures of his career. He painted much in Berkshire and Oxfordshire, for instance at Newbury, Uffington, Didcot and on the Downs. Sometimes he had the company of fellow artist Blandford Fletcher and his friend from Dublin, writer Stephen Gwynn, was in nearby Oxford, 1882-1886, and was teaching at Bradfield School in 1888 (2).Sutton Courtenay was a tranquil and picturesque village just south of Abingdon and north of Didcot, situated in a curve in the river Thames. It had been settled by the Saxons, who built a causeway on the river. In the twelfth century, the village took the name of the Courtenay family, who lived in the manor (3). All Saints’ Church and other fine buildings date from later centuries (4). In the mid-19th century, many villagers were employed in the local paper mill and in domestic service. The most striking features of the village were the causeway and weirs that separated the millstream from the Sutton Pools and Osborne was attracted to the streams where boys fished.From his early days in Ireland, he had depicted several pictures of lads fishing in a stream or canal (5). In A Bit of Sutton Courtney, the figure is placed close to the viewer, leaning against a wooden fence. He holds a fishing rod and looks down at the river. He wears a kind of deer-stalker hat, white shirt and brown waistcoat. Sunshine falls upon his cheek and sleeve. His figure is viewed from behind and his legs are cut by the lower edge of the picture, suggesting a photographic influence. Across the river, a woman with hat and violet apron stands upon the river bank looking at the barge. Even though the figures are separated by the river, visual and, perhaps, emotional affinities between them are evoked - both looking down and both holding a rod or a stick.There is a wealth of detail in the scene: the rough grain of the sturdy wooden fence, with an upright post just visible behind the boy's legs; the reflections and ripples in the river and the little fishing float; the tall buildings with steep roofs, including the uneven structure of the barn and an old cart with large wheels. Although the sky in the background is overcast, here Osborne was inspired by the rich tones of English buildings that glowed warmly in the sunshine: reds and russets of brick walls, brown of timber and maroons of roof tiles, as well as ochre clay and verdant foliage. A Bit of Sutton Courtney is enlivened further by little points of colour; the mauve of the woman’s apron, reds, greens, blues, whites and yellows in the barge and reflected in the water; the stripes of the upright post; red in the boy’s cheek and pocket; the mauve patch on the railing; and the blue of the float.Equally, Osborne’s brushwork is lively and varied: crisp and controlled in some areas, fluid and expressive in others. The ‘square brush style’ is employed, for example, in parts of the boy’s clothing, the woman’s apron and the walls of the barn. Meanwhile, the ripples are painted in a softer, more lyrical way and parts of the foliage and undergrowth are more ‘blurred’, for instance, in the rough grass draped over the river bank.If we look closely at the painting, we notice an interesting detail: the impastoed brushstrokes that depict the fence are visible beneath the figure of the boy. This suggests that Osborne may have added him to the picture at a later date than the landscape. This was not an unusual practice amongst painters, such as Canaletto or Caspar Friedrich (6), but Osborne may have decided to include the figure to give a greater sense of focus, psychological interest and human warmth to his composition. The motif of the figure, viewed from behind, looking into the picture, the Rückenfigur of German Romanticism, can be seen in the paintings of Caspar Friedrich and in Realist pictures by François Bonvin, Henri de Braekeleer and Joseph M. Kavanagh. As in several Osborne pictures of the period, for instance Counting the Flock, 1887 (sold at Adam’s, 30th May 2018) (7), the figure viewed from behind is an individual, but also an archetype, engaging the viewer and adding a sense of mystery.A Bit of Sutton Courtney is painted on a wood panel and is signed lower right with the squared capital letters which the artist employed in this period. Osborne exhibited the picture at the Dublin Art Club (of which he was a co-founder), in 1887, modestly priced at twelve guineas. He made a tiny pencil drawing after the painting, the figure being outlined in ink (in sketchbook in NGI, catalogue number 19, 202, p.14).Sutton Courtenay continued to attract Irish and other artists and writers. John Lavery painted Asquith in an 1891 Elizabeth boat on the river in 1917 (Dublin City Gallery, The Hugh Lane). George Orwell fished there as a boy. Francis S. Walker illustrated a book on the Thames in 1891 (8) and, as noted above, Robert Gibbings passed through Sutton Courtenay and wrote lyrically about it.I am very grateful to Niamh MacNally, Anne Hodge and Andrew Moore, National Gallery of Ireland; John Hutchinson; and Maria O’Mahony for assistance in my research.Julian Campbell, January 20191) Robert Gibbings, Sweet Thames Run Softly, London 1940, p.106.2) Jeanne Sheehy, Walter Osborne, NGI, 1983, p.77; and J. Sheehy, Walter Osborne, Ballycotton, 1974, p.22.3) https://en.wikipedia.org/wiki/Sutton_Courtenay4) Nikolaus Pevsner, The Buildings of England. Berkshire, Penguin 1966, All Saints’ Church and the Norman Hall were built in the late 12th century, and the Abbey about 1300.5) Eg. A Glade in the Phoenix Park, exhibited RHA 1880.6) Canaletto seems to have painted the background of his Grand Canal series first, then added the figures afterwards. See also Joseph M. Kavanaggh, Sheep in a Snowy Field, 1895, where the horizon line is visible beneath the bodies of the sheep. (‘Exhibition of Irish Paintings and Sculptures’, Gorry Gallery, Dublin 2018, no.50.)7) See Counting the Flock, 1887, Important Irish Art, Adam’s, 30th
δ Pablo Picasso (1881-1973) (after)Femme Nue, nos. 11.8.69, nos. I & VITwo lithographs, 1969, on Arches paper, with the Mourlot printed stamp verso, printed by Mourlot, Paris, each 395 x 500 mm (15 1/2 x 19 1/2in) (unframed) (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Pablo Picasso (1881-1973) (after)L'Arlequin et sa CompagneCollotype printed in colours, circa 1960, signed in blue pencil, numbered from the edition of 125 in pencil, published by Guy Spitzer, Paris, with his blindstamp and ink stamp verso, with full margins, image 730 x 590mm (28 3/4 x 23 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Tulips, from 'Culture Carriers Stamp Out Art'Lithograph attached to franked envelope, 1971, signed with initials in black ink, from the edition of 250, on wove paper, the full sheet, 153 x 228mm (6 x 9in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Yoshimoto Nara (b.1959) & Hiroshi Sugito (b.1970)Untitled: Over the RainbowLithograph with unique hand-colouring in pencil crayon, 2004, signed by each artist in pencil, dated in pencil, from the edition of 100, on wove paper, printed by Kido-Press, Tokyo, with their blind stamp, sheet 255 x 210mm (10 x 8 1/4in); housed within the special edition hardback book, overall 270 x 225mm (10 5/8 x 8 7/8in) (vol) (2)
Loading...
![Lewis (C.S.) [The Narnia Chronicles], 7 vol., first editions, comprising The Lion, the Witch and the Wardrobe, bookplate to e](https://cdn.globalauctionplatform.com/095499c2-54c5-4dfc-952f-aa0200d64a2c/b0c1f119-7707-41ab-b151-aa0600cac19c/468x382.jpg)
