We found 255286 price guide item(s) matching your search

Lot to include various drill bit sets, hex bits, star bits, an organiser of nuts, door hinges and other. [W]

A cast brass lion mask door knocker, approximately 24 cm. [W]

Large bronze garden statue depicting Neptune on a shell-shaped rock, surrounded by writhing horses and naked menGrote bronzen tuinbeeld voorstellende Neptunus op een schelpvormige rots, omgeven door kronkelende paarden en naakte mannenH 88 cm

Model BP Building by architect Leon Stijnen, 1960Maquette BP Building door architect Leon Stijnen, 196037.5 x 25 x 25 cm

Imposing French mantelpiece mirror in a richly decorated gilded frame with floral motifs, topped by an exuberant crest decoration in high relief with doves, bows, flowers and acanthus leavesImposante Franse schouwspiegel in een rijkelijk bewerkte vergulde lijst met florale motieven, bekroond door een uitbundige kuifdecoratie in hoogreliëf met duiven, strikken, bloemen en acanthusbladeren160 x 86 cm

Floor lamp model BIS A700 by Bruno Gecchelin for Arteluce, 1970sVloerlamp model BIS A700 door Bruno Gecchelin voor Arteluce, 1970sH 202 cm

Engraving of a standing male nude engraved by Eugène Copman circa 1861, stamp top left of the Royal Academy of Antwerp, signed in the plateGravure van een staand mannelijk naakt gegraveerd door Eugène Copman circa 1861, stempel linksboven van de Koninklijke Academie van Antwerpen, getekend in de plaat40.5 x 27 cm

Men's watch Omega Automatic 18 kt, 1950s, same model was worn by Serge GainsbourgHerenuurwerk Omega Automatic 18 kt, jaren '50, een zelfde model werd gedragen door Serge Gainsbourg

Portrait of a young man in a black coat, early 19th century bourgeois portrait tradition, influenced by neoclassicismPortret van een jongeman in zwarte jas, vroege 19e-eeuwse burgerlijke portrettraditie, beïnvloed door het neoclassicisme65 x 47 cm

Chinese famille rose baluster vase decorated with a lively garden scene with scholars in a bamboo forest-like landscape, surrounded by flowering trees and rockeries, late Qing dynasty (circa 1870–1900), with Chinese writing and probably maker's signatureChinese balustervaas famille rose met decor van een levendige tuinscène met geleerden in een bamboebosachtig landschap, omringd door bloesembomen en rotspartijen, laat-Qing dynastie (circa 1870–1900), met Chinees geschrift en waarschijnlijk handtekening makerH 57.5 cm

Richly carved and gilded processional staff surmounted by three small saint figures, Spain, 18th centuryRijk gesneden en vergulde processiestaf bekroond door drie kleine heiligenfiguren, Spanje, 18e eeuwH 207 cm

Plywood leg splint designed by Charles & Ray Eames, manufactured by Evans Products Company in 1942Plywood leg splint ontworpen door Charles & Ray Eames, gefabriceerd door Evans Products Company in 1942106 x 16 x 9.5 cm The leg splint was one of the first applications of plywood and was designed for the American army in World War II. Laid the foundation for numerous applications of plywood in the chairs of Charles & Ray Eames for Herman Miller, such as the famous Eames Lounge chairDe beenspalk was een van de eerste toepassingen van plywood en werd ontworpen voor het Amerikaanse leger in de tweede wereldoorlog. Legde de basis voor talloze toepassingen van plywood in de stoelen van Charles & Ray Eames voor Herman Miller, zoals de beroemde Eames Lounge chair

Chinese cabinet with openwork door panels and richly decorated with beautiful mother-of-pearl inlay, Late Qing Dynasty or early 20th centuryChinees kabinetje uitgevoerd met opengewerkte deurpanelen en rijkelijk versierd met prachtige parelmoer inleg, Laat Qing-dynastie of begin 20e eeuw45 x 45.5 x 29 cm

Finely crafted 19th century icon with silver riza (oklad) in which Christ is centrally located in the tree of life, surrounded by prophets and apostles, The Tree of Jesse, silver 950Fijn uitgewerkte 19e eeuwse icoon met zilveren riza (oklad) waarin Christus centraal zit in de levensboom, omringd door profeten en apostelen, De Boom van Jesse, zilver 95027 x 22.5 cm

Alessi 'Voilà Voilà' serving dish in polished stainless steel with glass details at the corners by Philippe StarckAlessi 'Voilà Voilà' serveerschaal in gepolijst roestvrij staal met glasdetails aan de hoeken door Philippe Starck45.5 x 30.5 cm

Pair of sphinxes in Impruneta terracotta by Fornace Masini, Italy, 20th centuryKoppel sfinxen in Impruneta terracotta door Fornace Masini, Italie, 20e eeuw51 x 90 x 28 cm

Symbolic apron of a master Freemason, with the central embroidered representation of the Masonic Temple and flanked by the pillars Jachin and Boaz from the Temple of Solomon, USA 1812Symbolisch schootsvel van een meester-vrijmetselaar, met centraal de geborduurde voorstelling van de maçonnieke tempel en geflankeerd door de zuilen Jachin en Boaz van de tempel van Salomon, USA 181256 x 49 cm (the frame) / 39 x 32 cm

Chair designed for Les Arcs by Charlotte Perriand, original example, chromed steel frame with leather seat, 1950sStoel ontworpen voor Les Arcs door Charlotte Perriand, origineel exemplaar, verchroomd stalen frame met zitting in leer, jaren '5082 x 49 x 60 cm

Mobile storage or music furniture (CDs & LPs) in a modern functional design, possibly inspired by Bauhaus or 70s-80s designMobiel opberg- of muziekmeubel (CD's & LP's) volgens een modern functioneel design, mogelijk geïnspireerd door Bauhaus of jaren '70-'80 design44 x 42 x 45 cm

French 19th century Empire style clock set, gilt bronze decorated with rams' heads, floral garlands and amphora, flanked by two five-armed candlesticks with fluted columnsFrans 19e eeuws klokstel in Empire-stijl, verguld brons versierd met ramskoppen, bloemguirlandes en amfoor, geflankeerd door twee vijfarmige kandelaars met gecanneleerde zuilenH 56 - 59.5 cm

Chinese furniture consisting of 2 chests, a two-door cabinet and a small pedestal, decorated with garden scenes and floral motifs, 20th centuryLot Chinese meubelen bestaande uit 2 koffers, tweedeurskastje en kleine piedestal, versierd met tuinscènes en florale motieven, 20e eeuw34 x 69 x 45 cm (2x) / 94 x 63.5 x 30.5 cm / 47.5 x 25.5 x 29 cm

Wooden table with engraved top and two legs, each supported by three carved elephants on round plinths, South Asia, 20th centuryHouten tafel met ingegraveerd blad en twee poten, elk gedragen door drie gesneden olifanten op ronde sokkels, Zuid-Azië, 20e eeuw61 x 121 x 45 cm

Russian Orthodox icon depicting Mother of God 'All the joy of the afflicted', centrally the Mother of God in a mandorla of light, surrounded by angels and believers in prayer, tempera on wood, 19th centuryRussische Orthodoxe icoon voorstellende Moeder Gods 'Alle vreugde der bedroefden', centraal staat de Moeder Gods in een mandorla van licht, omringd door engelen en gelovigen in gebed, tempera op hout, 19e eeuw31.5 x 27 cm

Vintage design chair called Polaris, by Pierre Guariche for the Belgian Meurop, leatherette and chrome, 1960sVintage designstoel genaamd Polaris, door Pierre Guariche voor het Belgische Meurop, skai en chroom, jaren 6075 x 50 x 53 cm

Oak two-door cabinet with curved front, double doors with profiled panels, rocaille decorations and floral motif in Louis XV style, 18th centuryEiken tweedeurskastje met gebogen voorzijde, dubbele deuren met geprofileerde panelen, rocailleversieringen en bloemmotief in Louis XV-stijl, 18e eeuw82 x 116 x 59 cm

Hollywood Regency brass table lamp, designed by Ruf, Germany, 1970sHollywood Regency messing tafellamp, ontworpen door Ruf, Duitsland, jaren '7071.5 x 54 cm

Glass bowl by R. Lalique France decorated with leaping gazelles surrounded by graceful leaf motif, signed R. Lalique FranceGlazen schaal van R. Lalique France versierd met springende gazellen omringd door sierlijk bladmotief, gesigneerd R. Lalique FranceDiam. 29.5 cm

Oil painting on panel, 17th century, depicting the four evangelists at work, surrounded by an angel and heavenly lightOlieverfschilderij op paneel, 17e eeuw, voorstellende de vier evangelisten aan het werk, omringd door een engel en hemels licht70.5 x 107 cm

2 religious wood carvings, Christ on the Cross and Relief in wood (door of a tabernacle), depicting the face of Christ with crown of thorns, probably Southern Netherlands, 17th centuryLot van 2 religieuze houtsnijwerken, Christus aan het Kruis en Reliëf in hout (deurtje van een tabernakel), voorstellende het gezicht van Christus met doornenkroon, waarschijnlijk Zuidelijke-Nederlanden, 17e eeuw27 x 26 cm (corpus) & 37.5 x 21 cm

An oak two door smokers cabinet containing a five pipe rack lift out storage tray and two pull out drawers 30.5cm (h) x 18cm (d) x 25.5cm (w), a carved wooden figure of an eagle, a German 'System Maelzel' metronome and two metal paraffin lights with glass chimneys 15cm (d) x 37cm (h). (5).

A 19th century oak wall hanging corner unit the moulded cornice above a single cupboard door with carved dragon motif [51.5 x 48 x 29.5cm]

A XIX Century Painted Pine Cupboard, with panelled door to internal shelves.106 h x 87 w x 52.5cm d.

A Pine Cupboard, with a glazed and panelled door; together with a pine side table. (2)

An Early XX Century Mahogany Breakfronted Bookcase, with stepped cornice, adjustable shelves and central panelled door on a plinth base, 196cm wide.

A Herbert Terry and Sons Ltd, Redditch Cream Anglepoise Lamp, (untested - sold for parts only); a rectangular metal box with turn lock single door, 26 x 27cm and a wooden panel with handle. (3)

Miguel de Herrera (La Laguna, Santa Cruz de Tenerife, 1696 - Mexico, after 1765)“Allegory and exaltation of the purity and virginity of Mary Immaculate, and symbolism of some lauretan litanies”.Oil on canvas. Signed, dated and located: “Fr. Miguel de Herrera, Augustiniano f. Mexico 1743”. In its original carved, polychromed and gilded wooden frame. 102 x 76 cm.Delicate allegorical work by Miguel de Herrera, a painter from the Canary Islands, also known as Fray Miguel de Herrera, as in 1712 he became a monk, entering the Monastery of the Holy Spirit of the order of St. Augustine.  The painting portrays the theological and devotional exaltation of the purity and virginity of Mary Immaculate, with the symbolism of some lauretan litanies. This painter moved to New Spain in 1719, developing most of his artistic career in Mexico, which is why for a time it was believed that Mexico was his birthplace.It should be noted that in 1753 this painter from Tenerife entered the First Academy of Painting in Mexico. The exact date of his death is unknown, but he remained active at least until 1765.Certainly, this mature work by the Augustinian friar reflects the metaphors that appear in the Bible with mastery.  They are already seen in patristics as prefigurations of Christ and are contemplated here totally in a Marian sense.In a background of purity and mystical light, with delicate tones almost of celestial mist, below and in the background, Nazareth appears, pointed out by Saint Anne as the place of the Virgin's birth, as well as the walls of Jerusalem, where the life and death of her Son will take place.From the union of her two holy parents, Joachim and Anne, the Virgin Mary emerges as a white lily (Lilium Candidum), an emblematic species because of its immaculate white flowers and its deep cultural and religious symbolism, being a botanical hermaphrodite and icon of purity and renewal, which exudes a deep, sweet and intense fragrance.This figure is surrounded by immaculist symbolism and some Laurelian litanies, which were born in the Song of Songs, which became part of the landscape and background of many artworks and which enclosed the iconographic model of the “Tota Pulchra”.On the upper right, “the Door”, Mary is symbolized as the door to heaven through which the Savior has come to us, according to Christian theology, as well as the door that leads us to Him.Below, two angels hold “the Tower of David or Tower of ivory”, in clear parallelism to the tower of the Alcazar in which King David settled when he conquered Jerusalem, symbol of his power and of singular dignity and beauty. The Tower of David, alludes to Mary´s spiritual beauty, her firmness in faith and her dignity as Mother of the Messiah. They also hold the lily, which, like the lilies, signifies her virginal being and her conception without stain of sin. That whiteness is an image of the Virgin's spiritual beauty, and the petals opening upwards are a reference to her openness to God the Father. The petals opening to her sides allude to her generous and essentially missionary motherhood. All the petals form a single flower, an image of fraternity. According to the thought of St. Bernard, Mary's lily is not cultivated and pampered in gardens, but the wild lily of the valley, which sprouts and blooms without the intervention and the hand of man.On the left, above, two other angels hold the Mirror, Mary as “Mirror of Justice”. This Lauretan litany expresses that Mary reflects divine holiness, that is, perfection. In Mary “God was reflected and reproduced through his faithful transcript Jesus, without wounding or altering the mirror itself,” as the Holy Fathers say.The mirror is also related to the soul and the reflection it produces. Therefore, it would come to be one of the faces of truth and, because of its complexity, it would allude at the same time to conscience, clarity and divine intelligence.They also hold an olive branch, which symbolizes peace and values of fecundity, victory or purification applied to the Virgin Mary.The palm or “Palm Tree” which, because of its greenness and life, usually has a meaning related to the hope of salvation. Likewise, recalling the events of the Passion of Christ, the inhabitants of Jerusalem acclaimed Jesus at the entrance of the city as a sign of triumph and victory. In that sense, it evokes ascension, regeneration and immortality. Likewise, we cannot forget that the palm tree was one of the trees that existed in paradise. Iconographically, in the expulsion of Adam and Eve from the Garden of Eden, this element usually appears as an allegory of justice.Finally, a basket of roses speaks of the “Mystical Rose”, as a symbol of the passion and charity of Christ, showing Mary as queen of flowers and queen of virtues, as St. Bonaventure reflected in his work “The Mystical Vine”. 

Novo-Hispanic school. Mexico.  18th century.Table-blazon or crowning piece of a reredos, depicting St. Thomas Aquinas”.124 x 93 cm. Blazon or altarpiece painting, profusely carved and gilded, with incised decoration of scrolls, flowers and geometrical designs made in polychrome and estofado technique, with a biretta in black centered above it.  It has a central cartouche with an oil painting on panel of the Saint and Doctor of the Dominican Church (since 1567, proclaimed by Pope St. Pius V), known as the Angelic Doctor, Common Doctor and Doctor of Humanity, whose work is fundamental for the study of philosophy and theology.  He was the main  defender of natural theology.With the characteristic carving style of New Spanish Mexican art, we contemplate “a complex artifact” that encloses St. Thomas Aquinas, a painting with a frame forming part of a coat of arms, or an isolated crowning piece from an altarpiece or the door of a library or a refectory or chapter room, to which it would have been integrated (in the manner of the doors of the Library of Coimbra of the Jesuit Fathers).This is a baroque artwork that shows unity and coherence, having a style which is difficult to include within formal canons.  This clearly baroque piece is not very dogmatic in its artistic execution, because it shows an extraordinary eagerness for novelty and, in the process of its creation, limitless fantasy that makes it exceptional, unique and unrepeatable.In the center, on a plain panel in the middle of this elaborate frame, we contemplate St. Thomas Aquinas, full-length and standing, depicted in a Dominican monk´s habit, wearing a white tunic with a scapular, and a black cloak with its hood thrown back.  With his right hand he holds a pen from which a halo of light or fire emanates, referring to his books and written doctrine.With the left hand he holds a monstrance. This refers to his devotion to the Blessed Sacrament, which manifested itself in particular in his magnificent composition of his Eucharistic Hymn "Adoro Te Devote."On his chest hangs a sun, which is an attribute to show his wisdom, and behind his back two large wings protrude, which allude to the moment when the angels girded the saint with the symbol of chastity.   Above his head is Christ crucified surrounded by putti, who descend from the heavens to inspire him.    The figure of the saint is depicted as a young man, beardless and with a monastic tonsure. He is superimposed on a landscape in which, at his feet, he treads and defeats the Moors and infidels, in the manner of Santiago Matamoros, as defender of “la verae doctrinae”.In the words of St. John Paul II and Benedict XVI, St. Thomas Aquinas is “the model of the correct way of theology”.   He showed that there is harmony between faith and reason, that faith is not contrary to reason. St. Thomas not only dedicated himself to study and teaching, but also preached to the people. He was a theologian who knew how to speak with simplicity and kindness.   His feast day is celebrated on January 28. Provenance:- Large estate. Seville.'

Over Ten Modern Teddy Bears, including Boyds, Dean's rag book and Russ, plus associated items, all contained in a two door glass fronted cabinet, 90cm w x 42m h x 32cm d.

A Kit Built Brass and White Metal 'O' Guage/7mm Class 43XX 2-6-0 Steam Tender Locomotive, G.W.R green, no R/No; built and painted to a very good standard, however missing its motor, chimney smoke box door, backhead details, etc, custom boxed.

A Wall Mounted Double Door Glass Fronted Display Cabinet with glass shelves 82cm w x 67cm h x 10cm d.

Three 00 gauge LMS locomotives: a boxed Hornby Black Five in LMS livery; a boxed Airfix Royal Scot in BR a livery (with added crew); and an unboxed Hornby 8F in BR livery (missing smoke box door and home-made front coupling; all untested.

Pair of Victorian style Gothic design carved oak church/chapel doors, together with a solid oak cottage front door, with glass and lead panel. (3) (B.P. 21% + VAT)

Edwardian inlaid mahogany china display cabinet, having break front with single door and two fitted glass shelves. 108cm wide approx. (B.P. 21% + VAT)

Edwardian stained mahogany three door mirrored ornately carved wardrobe, on a platform base. (B.P. 21% + VAT)

WEST INDIES -- COLUMBUS -- HERRERA, A. de. Des ammiraals Christoffel Kolumbus derde scheeps-togt Ter Ondekkinge gedaan uyt Kastilien, na de West-Indien, in 't Jaar 1498. (9) lvs. - Id. Twee opmerkelyke Scheeps-togten afgevaerdigd naar de West-Indien in 't Jaar 1502: d'Eerste [door] Antonius de Torres (…) de tweede door den ammiraal Christoffel Kolumbus, in 't zelve Jaar voor de Vierde reys naar d'Indien gevaren. (16) lvs. - Id. Eerste shceeps-togt (!) Ter verder Ontdekking van de West-Indien, door Jean Dias de Solis en Vincent Yanes Pinzon, gedaan naar Jukatan. (5) lvs. - Leyden, P. v.d. Aa, 1706. 3 vols. W. engr. printer's device on all title-p. and tog. 5 engr. in text. Fol. Mod. h. vellum.

MORNAY du PLESSIS, P. de. Mysterium iniquitatis, Dat is Verborghentheydt der Ongherechticheydt Ofte Kerckelijcke Historie des Pausdoms. (…) Nu in Duytsch overgeset door I. Fenacolium (=J. Vennekool). Amst., J. Evertsen Cloppenburgh, 1635. (24), 1077, (1), (164) pp. W. beautiful engr. front. 4°. Cont. vellum w. overl. sides. (Old name entry on free endpaper, a bit browned, faintly stained in places).NOTE: Rare Dutch translation of a vehement anti-papal treatise by the French Protestant writer and statesman Philippe de Mornay, Lord du Plessis Marly (1549-1623), and the foremost Huguenot apologist. First published in French and Latin in 1611. The book caused great controversy, partly because Mornay compared Pope Paul V to the Beast of Revelations, and was condemned in the Sorbonne in August 1611.

PLASTIC SURGERY -- ESSER, J.F.S. Biologische lappen. (…) bewerkt in het Nederlandsch door J.G. Remynse. Leiden, Brill, 1938. 242, 8 pp. W. many b&w plates. Fol. Privately bound in cloth. (Spine & other extremities worn, inside condition clean & unblemished).NOTE: First edition in Dutch, w. several forewords by the translators of the eds. in other languages: J.-L. Faure, F. Demmer, L. v. Blaskovics. - Deriving from the Esser estate.

PSALMS -- MARNIX van St. ALDEGONDE, Ph. v. De CL Psalmen Davids overgeset ende in dichte gestelt uyt den Hebreischen door Philips van Marnix, heere van Ste Aldegonde; voor zijn doot van hem selven overgesien, ende op ontallicke plaetsen verbetert: Ende uyt den Francoischen in dichte gestelt door Petrus Dathenus. Leyden, L. Elzevier, 1617. 2 in 1 vol. (32), (824), (2 blank), 173 pp. W. 2 woodcut printer's marks. Old hcf. extra. (Rebacked w. use of old spine, a bit browned/foxed, inner margin of some pp. stained, but a good and complete copy).NOTE: Extremely rare third edition of this famous translation of the Book of Psalms by Philips van Marnix van St. Aldegonde. The translation by Marnix from the Hebrew, is remarkable for its rhyme and rhythmical language. - Scheurleer p. 23; V.d. Haar, Schatkamer, M55; Willems 122: "Cette édition est donc la meilleure, ajoutons qu'elle est peut-être la plus rare des trois."

PSALMS -- GHYSEN, H. Den hoonig-raat des psalm-dichten, ofte Davids Psalmen met d'andere lof-sangen, op sang-maate gestelt door verscheide autheuren. Amst., G. Borstius, 1686. (592), 32, (2) pp. W. engr. front. & num. musical scores. Cont. vellum. (Small blank corner of front. torn off, lower outer corner faintly stained in places, sl. yellowed).NOTE: Rare first edition (=8°!). Containing at the end 'Catechismus'. - Scheurleer I, p. 86.

NEDERLANDSCH BLOEMWERK. Door een gezelschap geleerden. Amst., J.B. Elwe, 1794. ii, (2), 128, (3) pp. W. cont. handcold. engr. ti-p. by H.L. Myling after P.T. v. Brussel & 53 engr. plates, all in cont. hand colouring. 4°. Cont. hcf. w. marbled paper brds., uncut. (Bind. a bit worn/dam., marbled paper on covers partly gone, inner upper hinge broken, colouring of plate xvii a bit ran out, margins a bit thumbed/soiled in places).NOTE: Hunt, 733: "Nederlandsch Bloemwerk is a symbol and representation of the ascendancy of the Dutch nurseryman, the developer and disperser of tulips, hyacinths, and auriculas at the end of the 18th century. At the same time it takes a backward glance at the art of the gardener and of the flower-painter of a century and a half earlier, the golden age of Tulipomania (...)". The plates are usually assigned to Paul Theodor van Brussel (mainly on the basis of his signature on the title-p.). He closely followed the plates by Robert Nicolas in several of his designs. - Landwehr, Bks. w. cold. plts., 29; Nissen, BBI, 2219.

LUDEKE, C.W. Beschryvinge des Turkschen Ryks (…) in de laatste helft der Agtiende eeuwe. Waar achter volgen Historische Berichten (…) der Osmaanse Monarchie door Peter Businello. Rott., Cornel & v. Baalen, 1803. 2 vols. xvi, 566; (4) 673 pp. W. 3 fold. maps & 9 fold. tables. Cont. hcf. w. spine ruled in gilt w. red & black letterpieces & gilt lettering. (Corners a bit bumped/worn, ex libris on both paste downs, but very clean and fine set).NOTE: Christoph Wilhem Ludeke (1737-1805), evangelical pastor in Smyrna between 1759-68. The dutch transl. is based on the 2nd ed. of the German original. - From the library of A. de Kluijs. - Extremely rare, this edition not in NCC (only the edition of 1782).

HISTORICAL MILITARY MANOEUVRES -- "AFTOGT DER ENGELSCHE en Russchen van de Helder in de Maand November in 't Jaar 1799". Engr. by H. Roosing after J.A. Langendijk. 315 x 425 mm (image size). (Margins cropped, close to plate edge). -- Added: "EMBARQUEMENT des Anglais en Hollande, le trente Novembre 1799". N.d. (1801?). Etched view of the embarkment of the English in Holland after J. Couché after J.-F. Swebach. 258 x 385 mm. (Margins cropped). -- And: "AANVAL BY OUDERKERK AAN DEN AMSTEL, (…) door de pruijsische troepen (…) den 1te october 1787". 1793. Engr. by G. Brouwer after J.D. Teisier, captioned in the plate. 365 x 465 mm. FMH 4965. -- And 1 similar. -- Tog. 4 plates. All hinged to mounts and under passepartouts.

CAMPHUYSEN, D.R. Stichtelycke rymen. (...) veele nieuwe zangen gemaeckt; en alle gecomponeert om te zingen en speelen, met twee stemmen door J. Butler: Bassus. Amst., P. Matthysz, 1652. (3), 106, (2) lvs. W. portr. by S. Savrij after C. Castleijn & num. lvs. w. musical scores. 4°. Cont. mottled cf. w. gilt (faded) centerpieces on both sides. (Ties renewed, extremities skilfully restored, (faintly) waterstained in places, sl. browned).NOTE: With beautiful woodcut initials. - Scheurleer 39.

SECKENDORFF, V.L. v. Uitvoerige en onpartydige historie der Reformatie door Dr. Martin Luther en andere voortreflyke mannen, zedert den Jare 1515 en vervolgens, in Duitschland en de aangrenzende ryken door Godts zegen gewrocht (...). (Vert. & verm.) d. E. Ferickius. Delft, R. Boitet, 1728-30. 4 parts in 3 vols. (46), 562; (2), 574; (2), 234, (40); (28), 316, (4) pp. W. title-vign., portr. of the author, 35 full-p. portrs., 1 double-p. table & many numismatical text-ill. Fol. Cont. cf. w. raised bands, blind tooled sides. (Vol. 1 w. a few pencil annot. in the margins).NOTE: Knuttel, Kerkgeschiedenis, p. 296.

DEKEN, Agatha Pieters (Aagje), (1741-1804). Letter in Dutch to Elias van Nymegen, (De) Rijp, 3 Oct. 1779. 1 fold. leaf, r° only, signed, also by E. (Betje) Wolff. -- Added: Early copy in ms. (written by Deken??) after a printed edition of 'De onveranderlijke Santhorstsche Geloofsbelijdenis In Rijm gebragt door Eene Zuster der Santhorstsche Gemeente. [gevolgd door:] De Menuet en de Dominees Pruik. [en:] Vergeefsche Raad'. Ms. on paper, 22 fold. lvs., r° & v°. -- (2).NOTE: Both letter and manuscript found in a personal archive. The 'Santhorstsche Geloofsbelijdenis' was published/printed in 1772, and, according to Buijnsters, saw many editions (cf. Bibliografie Betje Wolff & Aagje Deken). This ms. version could have been copied after a printed edition because there was no printed version at hand. The ms. resembles Deken's handwriting in some respects. The Van Nymegens' were a Rotterdam family with whom Wolff and Deken had a lot of contact.

SLINGELANDT, Simon v. (1664-1736). ("Verhandelingen over de Hooge Regering" & "Over de Militie van den Staat"). N.d. (2nd h. 18th c.). 2 vols. Manuscript copy containing various chapters on affairs of state/political economy, written in a legible 18th c. hand. On fine handmade paper, r° and v°. Fol. Full 18th c. vellum. -- Added: Id. Staatkundige geschriften. Amst., P. Schouten, 1784-85. 4 vols. Mod. hcl., uncut. All warranted w. a signature by a member of the Van Slingelandt family. -- (6).NOTE: Ad 1: Van Slingelandt's writings were highly sought after in the eighteenth century and only available through copies of his manuscripts such as the ones we offer for sale. In the preface (1784) to the enclosed edition of Van Slingelandt's works the publisher writes: "Het is bekend, dat de nagelaaten Geschriften (…) sedert langen tyd door veelen in ons Land, Regenten en Burgers, met een ongemeene greetigheid gezocht, en door den eenen van den anderen steeds in menigte zyn afgeschreeven (…)". Ad 2: Van Slingelandt was a republican by nature and his ideas were adopted by the Patriots in the generations after his death. His Political Writings were published in 1784-85 which had a great influence at the end of the 18th c. Later in the 19th c. Thorbecke was influenced to a great extent by Van Slingelandt.

HOROSCOPY -- BEKNOPTE HANDLEIDING tot de kunst van het kaartleggen, of aanwijzing om, door middel van zes en dertig speelkaarten, iemands horoskoop te trekken. (4de veel verb. dr). Amst., H. Moolenijzer, n.d. (= after 1833, before 1841). 168, (2) pp. W. oval engr. on ti.-p. depicting a young lady whose hand is read by a fortune teller and 1 fold. table. Sm-4°. Or. letterpress brds., uncut. Very good copy, warranted by the publisher w. a signature. Cf. Waller 672 and 673. -- Added: P.J.D.R.P.O.N. Onderzoek en kort begryp van zeker werk: bygeloovigheden en tooverien der wysgeers, of de duivel-aenbidders der verligte eeuw. Rousselare, 1819. viii, 71 pp. Sm-8°. Old (dam.) wrps., uncut. -- (2).

BRAGA. Dichterlijke Mengelingen uitgegeven door Een Dichtlievend Gezelschap, onder de nooit gebruikte Zinspreuk: "Utile Dulci". Utr., v. Paddenburg, 1843-44. 2 vols in 1. iv, 96; iv, 92 pp. Cont. hcl. (Discrete bookplate on paste down: Bibliotheek Robidé van der Aa).NOTE: First edition of the entire run of the satirical periodical Braga. The first year was filled entirely by A.W. Winkler Prins and J.J.L Ten Kate; the second year (which seems to be of lesser, and less good-natured, quality) was mostly from the hands of H. Kretzer and J.G. de Hoop Scheffer. The magazine's one and only goal was to mock the literati of its time, especially the ones taking themselves too seriously. Only in 1863, when Winkler Prins edited a reprint, was it revealed who the authors of the satire where. (Cf.: D. de Lange. Nederlandse nonsens op rijm. Het Spectrum, Utrecht / Antwerpen, [1953]).

WEST INDIES -- BOSCH, G.B. Reizen in West-Indië, en door een gedeelte van Zuid- en Noord-Amerika. Utr., N. v.d. Monde/L.E. Bosch & Zn., 1829-43. 3 vols. viii, 377; (4), 430; x, 424 pp. W. 3 engr. ti-pp. w. oval views 'De haven van Curaçao', 'St. Thomas' and 'Gouvernements huis te Suriname'. Old hcl. (2) & cont. hcf. (1 cloth spine loosely inserted, other spines dam. repaired with mending tape, a bit foxed/browned in places, some marg. stains).NOTE: Interesting account of Bosch's travels to St. Eustatius, St. Martin, Curaçao, Aruba, Bonaire, St. Thomas and Surinam. - Sabin 6448; Tiele 171; Cat. NSHM I, p. 263.

STOKE, M. Hollandtsche Riim-Kroniik. Inhoudende de gheschiedenissen der Graven van Hollandt tot het Iaer M.CCC.V. Met een voorrede des (…) J. vander Does. Amst., Barendt Adriaensz., 1591. (12), 100, (3) pp. W. woodcut ti-vign. Fol. Mod. hcf. extra antique style w. red letterpiece. (Some marg. stains, sl. foxed).NOTE: First edition. Scheepers I, 13: "(...) zeer zeldzame uitgave. Door een brand in de drukkerij werden de meeste exemplaren dezer uitgave vernietigd". - Typographia Batava 2489.