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Click here to subscribePAUL INSECT (20th century); colour screen print on Colourplan Real Grey 270gsm paper, numbered 44 of an edition of 250, entitled 'Dunce Boy', signed and numbered by the artist, published by Pictures on Walls 2007 and with POW Printmaking blind stamp lower-left and figural blind stamp lower-right dated '07, 52 x 76.5cm, framed and glazed. † CONDITION REPORT This lot may qualify for Artist Resale Rights. For further information, please visit
BANKSY; an original piece of artwork spray graffiti on box canvas, depicting Banksy's 'Bad Panda', with Dismaland stamp to the edge of the canvas, 19.7 x 19.7cm, purportedly obtained from Dismaland as part of the hidden 'Free Art' notion. Various pieces of artwork would be hidden around Dismaland for members of the public to find and keep, pieces were few and far between and were allegedly dumped by Banksy and other exhibiting artists, although Pest Control refute this.
BANKSY; an original piece of artwork spray graffiti on box canvas, depicting the Dismaland Castle with 'Dismaland - Where Nightmares Come True' inscribed underneath, with Dismaland stamp to the edge of the canvas, 30.4 x 40.5cm, purportedly obtained from Dismaland as part of the hidden 'Free Art' notion. Various pieces of artwork would be hidden around Dismaland for members of the public to find and keep, pieces were few and far between and were allegedly dumped by Banksy and other exhibiting artists, although Pest Control refute this.
BANKSY; a Dismal Art Dismal Dollar canvas titled and dated August/September 2015, location Weston-Super-Mare verso, also stating 'This Dismaland souvenir work is an original work of art', with Dismaland stamp, the front depicting little girl with heart-shaped balloon, 11.2 x 26.5cm, unframed.
A large quantity of first day covers to include five 'The Disney World of Postage Stamps Collection', 'Tales of Terror', 'Legends of Speed', 'Millennium', 'The Queen's Heraldic Beasts', 'The Queen's Horses', first day covers for the world's first postage stamp, the Penny Black, World War Two, Westminster etc (2).
Two hallmarked silver cuff bangle with foliate engraving, a hallmarked silver bangle, a hallmarked silver stamp case, Chester date mark rubbed, a white metal marcasite set brooch in the form of a peacock, two white metal fobs in the form of pistols, an Edwardian silver circular brooch, a silver oval locket with inset cameo, a white metal Art Deco marcasite brooch, a hallmarked silver Art Deco engine turned small compact, and an early 20th century ivory fob with cigar cutter.
Aristoteles. Trattato dei governi... tradotto di greco in lingua vulgare fiorentina da Bernardo Segni... Firenze, Lorenzo Torrentino, 1549.In-4° (mm 210x130). Segnatura: A-Iii⁴. 420, [20] pagine. Iniziali silografiche. Fioriture, qualche carta brunita. Legatura successiva in pergamena su cartone, titoli in oro su tassello al dorso, contropiatti e sguardie in carta decorata a pettine, tagli gialli. Qualche lieve alone. Timbro della Biblioteca del cardinale Renato Imperiali al frontespizio 'Ex Bibl. Ios. ren. Card Imperialis' e etichetta ex libris 'Tammaro De Marinis' al contropiatto anteriore; antica segnatura al recto della seconda carta di guardia anteriore; lunga nota manoscritta al verso dell'ultima carta. Esemplare di illustre provenienza di questa prima edizione, non comune, della traduzione di Bernardo Segni (1504-1558), dedicata a Cosimo de Medici, del testo aristotelico. Le venti pagine in fine contengono un vasto indice: "tavola delle cose più notabili della politica di Aristotile". Torrentino Annali, 66; Cranz-Schmitt, 52.4° (210x130 mm). Collation: A-Iii⁴. 420, [20] pages. Woodcut initials. Foxing, some brownings. Vellum over pasteboards, gilt title on lettering-piace on the spine, decorated pastedowns and flyleaves. Light stains on the covers. On the title-page stamp of Cardinal Renato Imperiali Library 'Ex Bibl. Ios. ren. Card Imperialis', on the front pastedown ex libris 'Tammaro De Marinis'; early ink shelfmark on recto of the second front flyleaf; manuscript note on verso of the last leaf. Rare first edition of this translation of Aristoteles' work by Bernardo Segni (1504-1558), dedicated to Cosimo de Medici. The last twenty leaves contain a wide index. The copy was property of Cardinal Renato Imperiali (1651-1737) and of bookseller Tammaro De Marinis. Torrentino Annali, 66; Cranz-Schmitt, 52.
Doni Anton Francesco. I marmi... cioè ragionamenti introdotti à farsi da varie conditioni d'huomini, à luoghi di honesto piacere in Firenze... Diviso in quattro libri... Venezia, Giovanni Battista Bertoni, 1609. Una parte (di 4) in-4° (mm 195x140). [8], 66 pagine. Marca silografica al frontespizio, illustrazioni, capilettera, testatine e finalini tutto inciso su legno. Vignetta silografica entro cornice incisa al verso dell'ultima carta. Gore e tracce di polvere vaste e diffuse sulle carte, alle carte degli ultimi 2 fascicoli restauri integrativi ai margini superiore e inferiore che talvolta toccano i titoli correnti o il testo. Legatura rimontata in pergamena su cartone, timbro in oro al piatto anteriore Inner Temple. Aloni e macchie ai piatti. Timbro di appartenenza 'Inner Temple' ripetuto più volte al frontespizio e varie pagine; timbro 'Shelf List' al recto della carta di guardia anteriore.Solo prima parte di questa seconda edizione della raccolta di Ragionamenti di Anton Francesco Doni (1513-1574), che deve il suo titolo allo svolgersi delle discussioni e dei dialoghi inclusi nell'opera sui gradini in marmo del Duomo di Firenze.One part (of 4), 4° (195x140 mm). [8], 66 pages. Woodcut printer's device on the title-page, woodcut illustrations, initials, head- and tailpieces. Woodcut vignette on the verso of the last leaf. Waterstains, dusted, some restorations to the upper margins of the leaves of the final quires, sometimes affecting the text. Vellum over pasteboards (recased), gilt stamp on the upper cover (Inner Temple). Spots and stains on the covers. Ownership stamp 'Inner Temple' on the title-page and on other leaves; stamp 'Shelf List' on the front flyleaf. Only first part of the second edition of this collection of Ragionamenti by Anton Francesco Doni (1513-1574). The title of the work - I Marmi - is due to the marble step of the Florentine Cathedral where the dialogues take place.
Manso Giambattista. Vita di Torquato Tasso... Bologna, Riccardo Masi, 1832. In-8° (mm 150x80). 340 pagine. Marca xilografica al frontespizio. In barbe, qualche arrossatura. Brossura coeva in carta azzurra, leggeri segni d'uso ai piatti. Timbro con monogramma al frontespizio e firma di possesso di Giorgio Petrocchi. 8° (mm 150x80). 340 pages. Woodcut printer's device on the title-page. Uncut, foxing. Contemporary azure wrappers. On the title-page stamp with monogram and ownership inscription by Giorgio Petrocchi.
NO RESERVE Pellè Clement - Galibert Leone. L'Inghilterra... Traduzione di A. F. Falconetti adorna di incisioni Tomo secondo [-quarto]. Venezia, Antonelli, 1848.Tre volumi (di 4) in-8° (mm 223x145). 560; 471, [1]; 584 (di 585) pagine, mancano le tavole incise. I Tomi II e III privi del frontespizio. Qualche arrossatura e gora. Legatura coeva in cartonato rivestito con carta decorata marmorizzata ai piatti e al dorso. Abrasioni ai piatti, rotture ai dorsi e lungo le cerniere. Alla carta di guardia di ogni tomo Ex libris Biblioteca Palazzi e timbro 'Masimiliano Mattioli - Milano'.Three volumes (of 4), 8° (223x145 mm). 560; 471, [1]; 584 (of 585) pages, wanting the engraved plates. Tomes II and III lacking the title-page. Some foxing and waterstains. Contemporary cardboards, marbled covers. Covers abraded, damages and losses to the joints. On the front flyleaf ex-libris Biblioteca Palazzi and stamp 'Masimiliano Mattioli - Milano'.
Petrarca Francesco. Le Rime... Riscontrate co i Testi a penna della Libreria Estense, e co i fragmenti dell'Originale d'esso Poeta. S'aggiungono Le Considerazioni rivedute e ampliate d'Alessandro Tassoni, Le Annotazioni di Girolamo Muzio, E le Osservazioni di Lodovico Antonio Muratori... Terza edizione... Venezia, Bonifacio Viezzeri; Domenico Occhi, 1759. In-4° (mm 230x165). xxiv, 728 pagine. Diffuse fiortiure e aloni, alcune carte con forte ossidazione dello specchio di stampa, strappo restaurabile che non tocca il testo al margine inferiore di c. E1. Legatura coeva in pelle, dorso liscio con titoli in oro su tassello e ferri floreali sempre impressi in oro, contropiatti in carta decorata, tagli rossi, segnalibro in seta verde. Cofanetto cartonato marmorizzato. Restauri alle cuffie, qualche forellino di tarlo al dorso. Ex libris della famiglia Tassoni al contropiatto anteriore e timbro della medesima proprietà al recto della carta di guardia anteriore; stemma della stessa famiglia impresso in oro anche al piatto anteriore. "Ristampa dell'antecedente (1741, ndr) pubblicata dallo stesso Viezzeri e forse men brutta di quella" (Marsand, 392). Entrambe queste edizioni veneziane di Viezzeri seguono l'impressione del Coleti del 1727, modellata a sua volta sull'apprezzata stampa modenese di Soliani del 1711, la prima con le Osservazioni di Muratori.4° (230x165 mm). xxiv, 728 pages. Foxing, tear without losses to the lower margin of l. E1. Contemporary leather, smooth spine with gilt title on lettering-piece, decorated pastedowns, red edges, silk bookmark. Marbled slipcase. Restoration to the headcups, few wormholes to the spine. Ex-libris of Tassoni family on the front pastedown, stamp of the same family on recto of the front flyleaf; Tassoni family's coat of arm gilt tooled on the upper cover. Reprint of the edition printed by Viezzeri in 1741: both editions follow the printing of Coleti dated 1727, that was modelled on the appreciated one by Soliani (1711).
Tassoni Alessandro. La secchia rapita. Poema eroicomico... Colle Dichiarazioni di Gaspare Salvini Romano, E le Annotazioni del dotto Pellegrino Rossi Modenese. Venezia, Giuseppe Bettinelli, 1739.In-8° (mm 161x98). [16], xlviij, 450, [6] pagine. Antiporta calcografica e ritratto dell'Autore incisi su rame. Marca silografica con monogramma al frontespizio. Frontespizio controfondato, gore e qualche fioritura, leggermente brunito. Legatura ottocentesca in mezzo marocchino verde, percallina decorata a secco ai piatti. Al centro del piatto anteriore stemma della famiglia Tassoni impresso in oro; dorso liscio decorato da ferri impressi in oro, titolo dorato. Cofanetto cartonato rivestito con carta marmorizzata. Al frontespizio nota di possesso di difficile lettura datata '1748'. Ex libris della famiglia Tassoni al contropiatto anteriore e timbro della medesima proprietà al recto della carta di guardia anteriore. Esemplare dell'edizione veneziana di Bettinelli, nella versione senza le tavole incise da Menescardi e Filosi. Al poema è premessa la Vita di Alessandro Tassoni di Ludovico Antonio Muratori. La stampa veneziana di Bettinelli è conosciuta anche per aver suscitato - ad opera di Giovanni Andrea Barotti o di Domenico Vandelli (per la paternità vedi Melzi, II, 392) - una Querela in cui si denunciavano presunti errori e imprecisioni, il tutto nell'ambito di una polemica tra editori: il modenese Soliani aveva infatti accusato Bettinelli di avergli rubato l'idea di un'edizione annotata del poema tassoniano.8° (161x98 mm). [16], xlviij, 450, [6] pages. Copper engraved frontispiece and portrait of the author. Woodcut printer's device with monogram on the title-page. Title-page reinforced, slightly waterstained and browned, few foxing. 19th-century half morocco, smooth spine gilt tooled, gilt lettered title. Tassoni family's coat of arm in gold on the upper cover. Marbled slipcase. Ink note on the title-page dated '1748'; ex-libris of Tassoni family con the front pastedown, stamp of the same family on recto of front flyleaf. Venetian edition printed by Bettinelli, issue without plates engraved by Menescardi e Filosi, including the biography of Tassoni by Ludovico Antonio Muratori. This edition is well known bacause of a querelle, due to Giovanni Andrea Barotti (or to Domenico Vandelli; see Melzi, II, 392): the printing was accused of many mistakes and it was the reason of a polemy between two printers, Soliani from Modena and Bettinelli. Soliani accused Bettinelli to have stolen the idea to print the Secchia rapita with commentary and notes.
Tassoni Alessandro. La secchia rapita, poema eroicomico... Colle Dichiarazioni di Gaspare Salviani Romano, E le Annotazioni del Dottor Pellegrino Rossi Modenese. Rivedute, e ampliate. Venezia, Giuseppe Bettinelli, 1763.In-8° (mm 175x115). [16], xxxviij [i.e. xxxxviii], 488 pagine. Vignetta silografica al frontespizio, finalini incisi su legno. Fioriture, qualche traccia di polvere sulle carte. Legatura coeva in pergamena su cartone, titoli in oro su tassello dipinto al dorso. Cofanetto cartonato marmorizzato. Leggeri aloni e tracce di polvere ai piatti. Al frontespizio nota di possesso ' Sorrentino'. Ex libris della famiglia Tassoni al contropiatto anteriore e timbro della medesima proprietà al recto della carta di guardia anteriore; stemma della stessa famiglia impresso in oro anche al piatto anteriore. Edizione veneziana stampata da Bettinelli che ripropone la versione annotata da Pellegrino Rossi già apparsa, per lo stesso editore, nel 1739 (vedi lotto 000). Puliatti, 135.8° (175x115 mm). [16], xxxviij [i.e. xxxxviii], 488 pages. Woodcut vignette on the title-page, woodcut tailpieces. Foxing, slighlty dusted. Contemporary vellum on pasteboards, gilt title on painted lettering-piece on the spine. Marbled slipcase. Slightly stained and dusted. Ownership inscription on the title-page 'Sorrentino'. Tassoni family's ex-libris on the front pastedown, stamp of the same family on recto of the front flyleaf; Tassoni family's coat of arm gilt tooled on the upper cover. Venetian edition printed by Bettinelli, in the version edited by Pellegrino Rossi just printed by Bettinelli in 1739 (see lot 000). Puliatti, 135.
Tassoni Alessandro. La secchia rapita... Arricchita di annotazioni. Parigi, Marcel Prault, 1768.In-12° (mm 140x80). xx, 386, [2] pagine, con ritratto dell'autore in antiporta e frontespizio incisi su rame. Poche leggerissime fioriture. Legatura coeva in pelle, titoli in oro su doppio tassello al dorso, dentelles, contropiatti e sguardie in carta azzurra, tagli dorati. Ex libris della famiglia Tassoni al recto della sguardia anteriore e timbro della medesima proprietà al recto della carta di guardia; stemma della stessa famiglia impresso in oro anche al piatto anteriore; altro ex libris 'Sir Robert Smyth-Bart' al contropiatto anteriore.Graziosa edizione parigina di piccolo formato, impreziosita da un'antiporta calcografica con ritratto di Tassoni siglato 'Demautort Sculp. 1768' e con bel frontespizio - sempre inciso in rame - realizzato da François-Antoine Aveline (1718-1780), dell'omonima nota famiglia di incisori francesi, su disegno di Jean-Michel Moreau (1741 - 1814).12° (140x80 mm). xx, 386, [2] pages. Copper engraved frontispiece with portrait of the author, copper engraved title-page. Slighlty foxing. Contemporary leather, gilt title on double lettering-piece on the spine, dentelles, blue paper pastedowns and flyleaves, gilt edges. Tassoni family's ex-libris and stamp on the recto of the two front flyleaves. Tassoni family's coat of arms tooled in gold on the upper cover; ex-libris 'Sir Robert Smyth-Bart' on the rear cover. Very nice edition printed in Paris, enriched by the copper engraved portraits of Tassoni signed 'Demautort Sculp. 1768' and by an elegant title-page designed by Jean-Michel Moreau (1741 - 1814) and copper engraved by François-Antoine Aveline (1718-1780).
Dante Alighieri. La Divina Comedia di Dante di nuovo alla sua vera lettione ridotta con lo aiuto di molti antichissimi esemplari. Venezia, Gabriel Giolito de' Ferrari e fratelli, 1555.In-12° (mm 134x74). Segnatura: *12 **6 A-Z12 AA-BB12. [36] 598, [2]. Carattere corsivo e romano. Richiami a stampa lungo i margini. Marca tipografica incisa su legno al frontespizio; una variante di questa marca al verso dell'ultima carta. Al verso della carta *5 ritratto silografico di Dante entro medaglione ovale. Illustrato da 12 legni su 2/3 di pagina, che si richiamano, alle silografie eseguite per la Commedia stampata Marcolini nel 1544. Iniziali silografiche ornate. Legatura settecentesca in pergamena su piatti in cartone, titolo manoscritto al dorso. Esemplare in buono stato di conservazione: piccolo restauro all'angolo inferiore bianco del frontespizio, lieve gora alle ultime carte; qualche piccolo foro di tarlo lungo il margine superiore bianco di alcune carte. Esemplare di illustre provenienza con timbro di Walter Ashburner (1864-1936; timbro con leggere abrasioni), grande bibliofilo, professore ad Oxford e co-fondatore del British Institute di Firenze. Ex-libris di Francesco Verlicchi al contropiatto anteriore. Edizione tra le più rare ed eleganti del XVI secolo del poema dantesco;la prima in cui la Commedia è designata, nel titolo, con l'aggettivo 'Divina'. Il testo è preceduto dalla dedica a Coriolano Martirano, da un sonetto del Boccaccio con il ritratto del poeta fiorentino, dalla biografia redatta da Lodovico Dolce (1508-1568), dal dizionario dei vocaboli più oscuri, e in ne dall'indice delle 'apostille' stampate lungo i margini. Benché Dante fosse già da tempo chiamato Divino, l'introduzione del titolo definitivo del poema - Divina Commedia - si deve al Dolce, che compose le chiose di questa edizione, mai più ristampata da Giolito. Della presente stampa sono note due tirature che presentano rilevanti varianti nei fregi e nella impaginazione del testo e che sono facilmente riconoscibili dalla presenza - come nel caso dell'esemplare qui descritto - delle note tipografiche al frontespizio, o dalla loro assenza. "Dei due che ne possiede la Palatina, uno ha questo di singolare, che per le prime sei facce il numero delle linee non è lo stesso, né sono gl'istessi que' orami, quelle iniziali e quelle vignette che vedonsi dal principio no al canto XVI dell'Inferno (fac. 87)".De Batines II, 90-91; Mambelli, 39; Bongi, 475-76; Adams D,101.12° (134x74 mm). Collation: *12, **6, A-Z12, AA-BB12. [36], 598, [2] pages. Italic and roman type. On the title-page and on the verso of the last leaf woodcut printer's device. Woodcut medallion portrait of Dante on fol. *5v; twelve woodcuts in text, mostly smaller copies of the woodcuts in the Marcolini edition of 1544. Woodcut initials and headpieces. Woodcut initials. 18th-century vellum over pasteboards, ink title on the spine. Fine copy, small restoration to the title-page, light waterstain to the final leaves; wormholes to the upper margin of some leaves not affecting the text. On the title-page ownership stamp Walter Ashburner (1864-1936; stamp slightly abraded). On the front pastedown ex-libris di Francesco Verlicchi. One of rearest edition of the Commedia printed in 16th-Century, the first with the adjective 'Divina'. The dedication to Coriolano Martirano, a sonnet by Boccaccio, the biography of Dante by Lodovico Dolce, a dictionary of "vocaboli più oscuri" and the Index of marginal notes (apostille) preceed the Commedia. The introduction of the adjective Divine is due to Lodovico Dolce, author of the commentary printed in this edition and never reprinted by Giolito. The copy belongs to issue with typhographical notes on the title-page. De Batines II, 90-91; Mambelli, 39; Bongi, 475-76; Adams D,101.
Astronomia/Astronomy. Stadius Johannes. Ephemerides... secundum Antvverpiae longitudinem, ab anno 1554. usque ad annum 1606. Iam recèns ab auctore auctae adiecto quoque Canone sinuum, vel semissium rectarum, in circulo subtensarum, eodem auctore. Koln, Arnold Birckmann, Erben, 1581.Due parti (scompleta la seconda) in un volume in-4° (mm 200x150). Segnatura: [croce]⁴ (manca fascicolo [2croce]²) a-v⁴; A-Pppp⁴ (mancanti i fascicoli Qqqq-Aaaaaaaaa4 Bbbbbbbbb²). [4] (di 6, manca fascicolo [2croce]2), 60 , [20]; 332 (di 742, mancano i fascicoli da Qqqqq4 alla fine). Marca silografica ai frontespizi, iniziali e fregi incisi su legno, alcune illustrazioni silografiche nel testo raffiguranti schemi o fasi lunari. Leggermente brunito, fioriture e qualche gora, alcune carte con piccole macchie o tracce di polvere. Legatura successiva in mezza pergamena, carta marmorizzata ai piatti, titoli in oro su tassello al dorso a 3 nervi. Lievi abrasioni ai piatti, minimi difetti al dorso. Al frontespizio timbro Seminario vescovile di Savona, al taglio di piede 'C.4' manoscritto in inchiostro.Esemplare dell'edizione originale delle Ephemerides curate dall'astronomo fiammingo Johannes Stadius (1527-1579), che comprende gli anni 1554-1577: quelle dell'anno 1554 iniziano con proprio frontespizio a c. A1r. Lo scienziato e matematico, il cui nome olandese è Jan Van Ostaeyen, è noto anche con il nome francese di Jean Stade. Molte le copie mutile censite nelle biblioteche, dovuto alla circolazione autonoma e indipendente che poteva avere ogni singola annata.Two parts in one volume (the second one not complete), 4° (200x150 mm). Collation: [croce]⁴ (lacking quire [2croce]²) a-v⁴; A-Pppp⁴ (lacking quiresQqqq-Aaaaaaaaa4 Bbbbbbbbb²). [4] (of 6, lacking quire [2croce]2), 60 , [20]; 332 (of 742, lacking quires from Qqqqq4 to the end). Woodcut printer's device on title-pages, woodcut head- and tailpieces, some woodcut diagrams and aillustrations in the text. Light browning, foxing, waterstains, some leaves slightly spotted and soiled. Not contemporary half vellum, marbled paper, spine with 3 raised bands with gitl title on lettering-piece. Slighlty abraded, small damages to the spine. On the title-page stamp 'Seminario vescovile di Savona', inked shelfmark 'C.4' on the tail edge. Copy of the Ephemerides by the flemish astronomer Johannes Stadius (1527-1579), including years 1554-1577: many copies described in public libraries are not complete, due to the indipendent diffusion of every single year. The dutch scientist and mathematics is also well-known with the French name, Jean Stade.
De Grassis Padovano. Concilium Pauli. Auctore fratre Paduano Barletta in gimnasio domus magnae Venetiarum. Theologiam publice profitente, Dydimo & Philothæo colloquentibus... Venezia, Al Segno della Speranza, 1552. In-8° (mm 145x100). Segnatura: [ast]8 A8 (contenente l'Errata in hoc libro..., come da Variante B censita in ICCU Opac SBN) A-M8 N4. [10], 99, [1] carte. Marca silografica al frontespizio, capilettera incisi su legno. Leggere fioriture e tracce di polvere, foro all'ultima carta bianca. Legatura coeva in pergamena su cartone, titoli manoscritti al dorso, tagli scuri. Piatti con qualche alone, macchia e segno di sporco, rotture alle cerniere. Timbro di appartenenza sbiadito al verso del frontespizio e a c. N3v. Bella edizione veneziana di questa opera teologica del francescano Padovano De Grassis, teologo e filosofo, professore a Venezia alla metà del secolo XVI, nativo di Barletta. L'opera è costruita in forma di dialogo tra l'autore e due immaginari interlocutori, Didimo e Filoteo, su passi delle Lettere di San Paolo Apostolo raffrontati con brani dei Vangeli. Opera non riscontrata nei repertori generali consultati e mancante sia a STC che ad Adams. Edit16 16373.8° (145x100 mm). Collation: [ast]8 A8 (including the Errata in hoc libro..., as in Variante B described in ICCU Opac SBN) A-M8 N4. [10], 99, [1] leaves. Woodcut printer's device on the title-page and initials. Light foxing and dust traces, hole to the last blank page. Contemporary vellum on cardboards, inked titles on the spine, dark edges. Covers spotted and soiled, joints cracked. Faded ownership stamp on the title-page verso and fol N3v.Beautiful Venetian edition of this theological work of the Franciscan Padovano De Grassis, theologian and philosopher, professor in Venice in the mid-sixteenth century, born in Barletta. The work is thought as a dialogue between the author and two imaginary interlocutors, Didymus and Philoeus, following the Letters of St. Paul the Apostle, compared with passages from the Gospels. Work not found in general repertoires consulted and missing both in STC and Adams. Edit16 16373.
Fiamma Gabriele. Rime Spirituali... di nuovo ristampate, & datte in luce... Venezia, Francesco De Franceschi, 1573.In-8° (mm 180x115). Segnatura: a⁸ A-Ll⁸. [16], 502, [42] pagine. Marca silografica al frontespizio, iniziali incise su legno. Gore e tracce di sporco al frontespizio e sulle carte, antico restauro integrativo al frontespizio lungo il margine destro, fioriture, strappo restaurabile al margine bianco di c. B4. Legatura coeva in pergamena floscia con unghie, fori per bindelle. Piatti con segni di sporco e aloni, rotture lungo le cerniere. Timbro di appartenenza al frontespizio ripetuto a c. a8v e alla pagina del Registro, al frontespizio ex libris 'Jo. Baptiste Guazzalii', nota manoscritte moderne al contropiatto anteriore e alla carta di guardia posteriore.Seconda edizione - la prima risale al 1570 - delle Rime spirituali di Gabriele Fiamma (1533-1585 ca.) teologo, predicatore e oratore tra i più celebri del suo tempo. L'opera, dedicata a Marc'Antonio Colonna duca di Tagliacozzo, ebbe vasta fortuna e diffusione nella letteratura madrigalistica spirituale di fine cinquecento. Gamba, 1392; Graesse, II, 575.8° (180x115 mm). Collation: a⁸ A-Ll⁸. [16], 502, [42] pages. Woodcut printer's device on the title-page, woodcut initials. Leaves and title-page soiled and waterstained, early restoration to the title-page along the right margin, foxing, tear without any loss to the blank margin of fol. B4. Contemporary limp vellum with yapp edges, holes for ties. Covers soiled and stained, joints cracked. Ownership stamp on the title-page repeated on fol. a8v and on the Registro page; on the title-page ex libris 'Jo. Baptiste Guazzalii', recent handwritten notes on the front pastedown and the rear flyleaf. Second edition - the first dates back to 1570 - of the Rime spirituali of Gabriele Fiamma (1533-1585 ca.) theologian, preacher and orator among the most famous of his time. The work, dedicated to Marc'Antonio Colonna, Duke of Tagliacozzo, had wide success and diffusion in the spiritual madrigal literature of late 17th Century . Gamba, 1392; Graesse, II, 575.
Tomitano Bernardino. Ragionamenti della lingua toscana, dove si parla del perfetto oratore, et poeta volgari... Venezia, Giovanni Farri e fratelli, 1545.In-8° (mm 148x95). Segnatura: a-z8 aa-dd8 ee4 ff2. 439, [5] pagine. Marca silografica al titolo, capilettera incisi su legno. Piccola gora marginale al frontespizio e alle prime carte, fioriture, macchia al taglio verticale. Legatura coeva in mezza pergamena (di recupero da codice manoscritto del secolo XVI), ai piatti carta da libro a stampa con notazione musicale su pentagramma impresso in rosso, titoli manoscritti al dorso e al taglio di piede. Tracce di polvere ai piatti. Timbro al frontespizio 'G. Romagnoli Li. Edit. Bologna', nota bibliografica manoscritta al verso della carta di guardia anteriore, marginalia lungo il testo.Prima edizione di questa interessante opera di poetica e retorica sulla lingua italiana divisa in tre libri: "Nel primo si pruova la philosophia esser necessaria allo acquistamento della rhetorica et poetica. Nel secondo si ragiona de i precetti dell'oratore. Et nel terzo, delle leggi appartenenti al poeta, et al bene scrivere, si nella prosa, come nel verso". L'autore, il letterato padovano Bernardino Tomitano (1517-1576) fu membro dell'Accademia degli Infiammati. Edit16 39253.8° (148x95 mm). Collation: a-z8 aa-dd8 ee4 ff2. 439, [5] pages. Woodcut printer's device on the title-page, woodcut initials. Small marginal waterstain to the title-page and first leaves, foxing, edges spotted. Contemporary half vellum (from a 17th-century manuscript), paper with pentagram e music (from a printed book) on the covers, ink title on the spine and on the tail edge. Covers dusted. Stamp on the title-page 'G. Romagnoli Li. Edit. Bologna', manuscripted notes on verso of the front flyleaf and on the margins along the text. First edition of this interesting work dealing with italian languange and its use, divided into three books. The author, Bernardino Tomitano (1517-1576), was member of Accademia degli Infiammati in Padua. Edit16 39253.
Ridinger Johann Elias. Neue Reit-Kunst... L'art de monter à cheval en tailles douces. Inventées et dessinées par Jean Elie Ridinger. Augsbourg, aux depens de Jeremie Wolff marchand en tailles douces, 1722. In-folio oblungo (mm 330x490). 23 carte incise su rame, di cui una contenente il frontespizio e 22 tavole numerate incise da J.B. Prost e J.D. Hertz su disegni di Ridinger, con didascalie in tedesco e francese. Fioriture, qualche piccola gora marginale, tracce di polvere. Legatura coeva in mezzo marocchino con angoli, carta arancione ai piatti, bordura vegetale in oro ai piatti, titoli e fregi a forma di cavallo in oro al dorso, contropiatti e sguardie in carta marmorizzata. Leggere abrasioni. Al contropiatto anteriore doppia etichetta 'Biblioteca di S.A.R. il Duca di Genova' e 'Biblioteca di S.A.R. il Principe Tommaso di Savoia Duca di Genova' (con segnatura), timbro della stessa proprietà su alcune carte; al verso del frontespizio altro antico timbro di collezione francese.Prima edizione - l'opera riapparve nel 1744 presso Leopold - di quello che viene considerato un capolavoro di incisione a tema equestre. Ridinger (1698 - 1767) è stato uno dei principali e più prolifici artisti di animali del XVIII secolo: divenne pittore ufficiale di diversi aristocratici appassionati di caccia e divenne conosciuto proprio per le sue raffigurazioni di animali in mezzo a splendidi paesaggi. Sul frontespizio l'Autore si ritrae impegnato in una conversazione con Minerva, dea delle arti e mestieri, accanto alla statua di un cavallo. Huth, 29; Mennessier de la Lance II, 428; Nissen ZBI 3413; Schwerdt III, 142.Oblong folio, (330x490 mm). 23 copper engraved plates, one containing the title-page and 22, numbered, engraved by J.B. Prost e J.D. Hertz based on the drawings by Ridinger, with captions in German and French. Foxing, a few marginal waterstains, dust traces. Contemporary half-morocco, orange paper on the covers, gilt decorations on the covers, titles and decorations shaped as horses on the spine, pastedowns and flyleaves in marbled paper. Slightly rubbed. To the upper pastedown double lettering-piece 'Biblioteca di S.A.R. il Duca di Genova' and 'Biblioteca di S.A.R. il Principe Tommaso di Savoia Duca di Genova' (with shelf mark), stamp of the same ownership on some leaves; on the title-page verso another stamp of a French collection.First edition - the work reappeared in Leopold in 1744 - of what is considered a masterpiece of equestrian-themed engraving. Ridinger (1698 - 1767) became one of the leading and most prolific animal artists of the eighteenth century: he became the official painter of several aristocrats passionate about hunting and well known thanks to his depictions of animals in the midst of beautiful landscapes. On the title-page, the author paints himself engaged in a conversation with Minerva, goddess of arts and crafts, next to a statue of a horse. Huth, 29; Mennessier de la Lance II, 428; Nissen ZBI 3413; Schwerdt III, 142.
Architettura. Vignola. Lotto di 3 opere del Vignola [toponimo di Jacopo Barozzi].Il lotto comprende:Regola delli cinque ordini d'architettura di m. Iacomo Barozzio da Vignola. Roma, Matteo Gregorio Rossi, [1719].In-8° (mm 208x130). 47 (di 48, manca c. 42) carte, stampate in calcografia solo al recto o al verso e numerate in cifre arabe o arabe e romane. Ritratto calcografico dell'autore in antiporta e una tavola incisa su rame più volte ripiegata in fine (strappata e divisa in due parti lungo una delle piegature). Fioriture e diffuse tracce di polvere, qualche macchia e gora. Legatura coeva in pergamena su cartone. Piatti con aloni, macchie e qualche menda, rotture alle cerniere e qualche mancanza al dorso. Timbro di possesso 'Geometra Bardesono' ripetuto più volte, anche al verso della tavola ripiegata; alcune note manoscritte della stessa mano tra cui 'Venationecte Antonius Pantaleo Biandralensis' a c. 4r e a c. 6r. Al recto dell'antiporta firma di appartenenza 'Bardesano Faustino', vari numeri manoscritti e disegno a inchiostro e lapis raffigurante l'Annunciazione.Il Vignola illustrato da Giambattista Berti architetto vicentino. Padova, Fratelli Gamba, 1822. (Legato con:) Moisy Alexandre. Il Vignola de' propietarj, ovvero I cinque ordini d'architettura... co' dettagli concernenti l'arte del legnajuolo, del falegname e del magnano per Thiollet. Paris, J. Langlumé e Peltier, 1845. Due opere in un volume in-4° (mm 245x190). I. 103, [1] pagine, con 1 tavola non numerata e XXXII tavole numerate. II. 32 pagine, con 48 tavole numerate. Diffuse fioriture, brunite alcune carte della prima opera legata, tracce di polvere. Legatura coeva in mezza pelle, carta marmorizzata ai piatti, titoli in oro al dorso, tagli spruzzati in azzurro. Lievi abrasioni soprattutto al dorso e alle cuffie. Architecture. Vignola. Lot of 3 works by Vignola [toponym of Jacopo Barozzi].The lot includes:Regola delli cinque ordini d'architettura di m. Iacomo Barozzio da Vignola. Roma, Matteo Gregorio Rossi, [1719].8° (208x130 mm). 47 (of 48, lacking fol. 42) leaves, copper engraved only on the recto or verso and numbered with arabic or roman numbers. Copper engraved portrait of the author on the frontispiece, 1 copper engraved plate, folded (with tears and divided into two parts). Foxing, traces of dust, some spots and stains. Contemporary vellum over pasteboards. Spots, stains and some losses to the covers, damages to the joints, losses to the spine. Ownership stamp 'Geometra Bardesono' repeated on many leaves and on the verso of the plate; some notes by the same hand as 'Venationecte Antonius Pantaleo Biandralensis' on fol. 4r and on fol. 6r. Ownership inscription on the frontispiece 'Bardesano Faustino'; on the frontispiece ink numbers and a drawing .Il Vignola illustrato da Giambattista Berti architetto vicentino. Padova, Fratelli Gamba, 1822. (Bound with:) Moisy Alexandre. Il Vignola de' propietarj, ovvero I cinque ordini d'architettura... co' dettagli concernenti l'arte del legnajuolo, del falegname e del magnano per Thiollet. Paris, J. Langlumé e Peltier, 1845. Two works in one volume, 4° (245x190 mm). I. 103, [1] pages, with 1 not numbered plate and XXXII numbered plates. II. 32 pages, with 48 numbered plates. Foxing, some leaves browned, traces of dust. Contemporary half leather, marbled covers, gilt title on the spine, speckled blue edges. Slightly abraded (spine and headcups).
A BRITISH INDIA CO. PRESENTATION STANDISH, CIRCA 1911 constructed in gilt brass and alloy, comprising two pen rests, two inkwells and a stamp holder, inscribed to front CHIEF ENGINEER N.J. JACKSON, S.S. ELLENGA, 1ST MARCH 1911, ALEXANDER STEPHENS & SONS, LINT HOUSE, GOVERN , mounted on four ball feet -- 9in. (23cm.) wide Built by Stephens of Linthouse and completed in March 1911 for the British India S.S. Co., Ellenga was a large passenger/cargo ship of nearly 5,200 tons. Her twin triple expansion steam engines gave her a healthy service speed of 16 knots, something that seems to have been recognised by the presentation of this standish to her Chief Engineer. Surviving both Wars, she was broken up at Bombay in 1948.
A 8IN. RADIUS DOUBLE-FRAMED PLATINUM-SCALED SEXTANT BY EDWARD TROUGHTON, LONDON, CIRCA 1820 the ebonised T-frame with polished brass arc signed Troughton London and inscribed Platina and with later owner's stamp EE the inset scale divided to 150°, vernier with bridge mounted swivelling magnifier, braced index arm, two mirrors, seven shades, contained within fitted keystone case with securing hook -- 10in. (25.5cm.) wide
A continental white metal and enamel circular filigree pin tray, raised gallery decorated with floral designs in blue and white, 8cm, together with an Art Nouveau belt buckle in Scottish School style, 8.5 cm; a pewter and enamel Art Nouveau stamp box, 11.5 cm; a set of six Art Deco dress buttons; and various simulated turquoise jewellery
A late 19th Century Fischer pottery ewer, the ovoid shaped vessel decorated in aesthetic taste with fans, flying cranes, fish, and floral design, against a blue ground heightened in gilt, marked to base with printed factory stamp and impressed 36 cm highminor chip to the spout, light crazing and surfaces scratches, otherwise generally good condition, no obvious signs of significant damage or repair
19th century envelope of Rimmel scent, entitled 'Beautiful Eyes' underneath a floral design, the back sealed with a stamp stating 'E. Rimmel, 96 Strand, London', together with a wreath composed of fabric leaves and flowers with wax beads, Honiton lace collars, design of a 1911 crown, a handkerchief and a selection of 20th century purses, belts and fans parcel)
Battlefield Pick-Up Prussian Enlisted Mans Pickelhaube, a highly interesting helmet, which could be termed as a battlefield relic being an all leather pickelhaube of upper medium size with its original field cover. The shell is slightly distorted with much crazing, all of the fittings are totally original to the helmet in brass, the back strap and circular spike base have oxidised to a green colour, the Prussian front plate still retaining some brass finish with its original chinstrap, correct national and Prussian State cockades, front peak trim good. To the interior the 9 tongued liner all intact with faint traces of the original drawstring remaining. Faint date to the inner rear peak of ‘1900’. The helmet is complete with its original enlisted ranks cover with green numbers ‘11’ to the front which have been attacked by moth. Slight damage to both sides of the cover. Remains of a maker’s mark and a stamp ‘56’ to the interior of the cover. We believe that the original brass spike was blown off due to battlefield damage, a field grey spike has been fitted inside the cloth spike cover for display purposes only.
M.15 Pickelhaube to the Prussian 73rd Fusilier Regiment, a very rare pickelhaube, as shown on pages 178, 179 of Feldzug 15 being a good size 57 all leather pickelhaube, the skull is excellent, both front and back peaks are securely attached to the main body, all of the fittings, which include the back strap, removable spike and circular spike base, Prussian front plate with Peninsular, Waterloo scroll, front peak trim and all strap fixings in matching field grey. The interior retaining much of the original colour, its 9 tongued leather liner all intact with original drawstring, regimentally marked to the inner rear peak ‘R.73’ with the acceptance stamp of the 10th Army Corps, dated ‘1915’ with regimental stamp ‘FR.73’.
Virtually Mint Condition German M.17 Trench Helmet, a most wonderful condition M.17 trench helmet marked ‘SI82’, all of its matt apple green finish remaining to the exterior with just very minor surface abrasions. Complete with its 1917 steel liner band, which has attached all three of the white/cream leather pads, the front pad with obvious more wear use than the other two, slightly rotted but complete with its inner horsehair pad, the last two virtually mint with slight evidence of wear use, again complete with their horsehair. Two metallic strap attachment clips still fitted to the matching posts. A rubber ink stamp letter ‘K’ into the rear skirt.
WW1 German MG08/15 Ersatz Tool Roll, photographed on pages 186 and 187 of Feldzug 18, constructed in the rare paper cloth material, it is complete with all its leather strapping and buckles, the one tool remaining is the large spanner and hammer, which are marked ‘MG’ with the maker’s mark and traces of the Imperial acceptance stamp. Two leather belt supports at the rear and faint traces of a maker’s circular stamp to the exterior.
Rare Medical Gas Mask for Soldiers with Head Wounds, the rare gas mask for using on wounded soldiers with head wounds in the event of a gas attack on the aid station or hospital. There is another example photographed on page 184 of Feldzug 18. The mask is in excellent condition with the rubberised material being extremely supple with its wrap and ties, both eyepieces complete, in its container with full stencilled instructions to the exterior. Red cross on white background, also stencilled. Faint traces of an over-stamp in the white field of the red cross. Some abrasions, minor indentations, missing its carrying string.
WW1 German Bread Bag and Water Bottle Set, a nice field service used and matching quality set comprising of a heavy duty canvas bread bag with all of its leather fittings and zeltbahn buttons present and with its totally original matching shoulder strap, which is marked with the original soldier’s name, who was a member of the 11th Company 15th Infantry Regiment, with other ink stamp markings which unfortunately are indecipherable. Attached, clipped to the bread bag is the soldier’s water bottle, standard aluminium bottle, leather cradle, which is good and strong and aluminium screw top.
WW1 German Fighting Knife with Paper Provenance, a very nice chunky handled fighting knife measuring 28cm long overall with a 15cm blade, undamaged wood ribbed grips, blackened cross guard. The blade is in excellent condition with cross grain finish remaining. Manufactured by Demag of Duisberg, also with Imperial acceptance stamp to the blade, in its original scabbard, which has lost the majority of its black painted finish. The belt loop leather is supple, male/female closure stud to hilt retaining strap good, with old label attached, which reads in script ‘Knife found on German prisoner when searched on the day of the battle of Wytschaete Ridge 7.6.17’.
Unusual WW1 German Fighting Knife, being a example with a more oval shaped long wood ribbed grip, wood excellent, overall length 28cm with a 15cm blade, which is generally good, double edged, maker marked ‘Ernst Busch, Solingen’, complete with Imperial acceptance stamp to the reverse side of the blade, in its original black painted scabbard with supple leather belt loop and hilt retaining strap with a fully operational male/female closing stud.
German Model 1884/98 Bayonet, excellent blade, maker marked ‘C.G.Haenel of Suhl’ in its undamaged wood grips, regimentally marked ‘R.7.45’ with Imperial acceptance stamp at the tip of the hilt, in its original leather and steel mounted scabbard, with its original frog and the remains of a bayonet knot. Faint maker markings to the leather frog, also army group marked but unfortunately a hole has been cut through the back of the belt loop for suspending the dagger on a wall display and has cut through the army groupings of ‘B.A.XIII’ (Army Group 8).
WW1 German All Steel Ersatz Bayonet, the M88/98 all steel knife bayonet with pressed steel hilt and upswept quillon. Excellent condition blade with Imperial acceptance stamp to the flat back of the blade, faint traces of the field grey paint remaining to the all pressed steel hilt with a fully operational bayonet retaining lug, in its original scabbard, which has a good degree of field grey paint remaining, fitted with its leather bayonet frog and NCO’s knot.
WW1 German Bavarian Aviators Flying Helmet, the Bavarians generally used a different style of helmet than the Prussians, modelled on the Franco/British Roold helmet but slightly shallower, this example clearly photographed on pages 24, 25, 26, 27, 28 and 29 of Feldzug 18. Excellent condition with its complete light tan 9 tongued liner, original paper size label ‘56’ applied to the interior with the original maker’s stamp of ‘Lorenz Stanko of Munich’ plus a clear date ‘1918’ to the very tip of the brown leather chinstrap. Both earpieces complete. Some light discoloration to the leather covering mainly to the front of the helmet. A rare piece of aviation headdress.
WW1 German Prussian Air Service Flying Helmet, the standard form of black leather over felt crash helmet with short front peak, earpieces and neck flap, the markings to the neck flap very large ‘FLG.BEKL.’ (Flieger clothing) ‘DOBERITZ (Flying Training School) with large date ‘1917’. The inner liner still with all of its light tan colour, size stamp ‘59’. The helmet is virtually unworn, very good example.
5x Items of WW1 German Soldiers Leisure Pieces, consisting of a small chess board and figures all fitted into a feldpost marked card case. A pass holder, silver blocked Iron Cross to face with the date ‘14/15’ which appears to be for a woman’s association in Berlin. A field post hard card letter containing a photograph of a soldier and a 100 Mark Reich banknote with interior calendar dated ‘1915’. A glass bottle with porcelain screw lid in a feldpost marked container. Finally a Prussian regimental rubber ink stamp.
Cased Imperial German Iron Cross 2nd Class, cross with dark patina to silver, ‘V’ maker’s stamp on ring. Photo of probably the original recipient in uniform with peaked cap pasted inside lid. Case covered in dark red leatherette, impressed with outline of an Iron Cross on lid. Very good condition.
WW1 British 2nd Pattern Brodie Steel Helmet, retaining much of its original dark rough textured combat paint finish to the exterior of the shell. Complete with its original oilskin liner and leather chinstrap. Complete with the pink “Brodie” stamp to the underside of the oilskin liner. Very good example.
Great War British 2nd Pattern Brodie Steel Helmet with Painted Divisional Insignia of the 17th (Northern) Division, good example retaining much of its original combat paint finish to the exterior of the shell. Both sides have painted divisional insignia of the 17th (Northern) Division. Helmet is complete with its original, however loose, oilskin cloth liner with pink Brodie stamp to the underside. Helmet has been fitted with old replacement leather chinstrap. Overall a good example with original divisional markings.
WW1 British Other Ranks Foreign Service Sun Helmet, complete with regiment / battalion cloth pagri badge, being a diamond with white top and pale blue lower section. ‘WD’ stamp inside. Very sun bleached and cork top collapsed. Good iconic item from the First World War as worn by British soldiers at Gallipoli.
WW1 British Other Ranks Greatcoat, heavy khaki wool example with brass general service buttons to the front. Shoulder boards fitted with brass Royal Warwickshire regimental shoulder titles. Lower pockets with plain flaps. Partial white cloth lining to the interior with remains of the original red issue label to the lower section and American film studio stamp inside the arm. Remains in good condition overall.
WW1 Stormtroopers Arm Badge in Commemorative Frame, a highly attractive illuminated citation, wooden framed, the frame measuring 71 x 53cm with the central illuminated scroll measuring 34 x 48cm. At the top of the frame a painted Iron Cross 2nd class, the scroll, which is an Ehren Chronical awarded to Wilhelm Schneider with a photograph of Schneider who was part of the Guard Field Pioneer Unit, Flamethrower Abteilung. A small oval picture of Schneider to the centre wearing the cloth skull and crossbones arm badge to his left sleeve. To the lower left hand section of the frame is the original arm badge of the skull and crossbones, which Schneider has removed from his tunic and placed in the frame with the central over-stamp of the Prussian 3rd Guard Pioneer Battalion 12th Company. Very nice illuminated artwork of a storm trooper wearing the Grenade badge around his shoulders carrying grenades in his hand and belt. The reverse of the frame is lined with just post WWI German newspaper.
A good collection of WWII medals, to include an India Service medal 1939-45, two War medals, a Defence medal, a France and Germany Star, a Pacific Star, an Air Crew Europe Star, Burma Star, Atlantic Star, two 1939-45 Stars, two Italy Stars, and three Africa Stars, one having 8th Army Clasp, together with a pair of Respirator spectacles, and a National Stamp Savings book (parcel) Air Crew Europe Star is a reproduction
Attributed to Joseph Beuys, gouache, study of a stag bears signature. This an ink drawing, signed, not a studio stamp, on Ingres paper which Beuys often used. Its one of his stag pictures which was a favourite subject. There is no record about provenance. There were some slight wrinkles in the paper which have been restored and the work has been reframed. The vendor took the picture to Bonhams who valued it at £10,000-15000, provided of course, that the provenance was established. they therefore sent it to Beuys' widow, Eva, now aged 84. Bonham's warned the vendor that this could take a long time. Given that there was no reply after many months, Bonhams returned the picture.£800-1,200 24 x 34cm
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