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Lot 154
Cassou (Jean) Cezanne. Les Baigneuses number 48 of 500 copies signed by the editor and printmaker 8 tipped-in colour plates foxed original wrappers loose in original boards portfolio joints splitting spine ends worn Paris London & New York 1947 § Durer (A.) Apocalyse introduction by Erwin Panofsky catalogue facsimile limited edition number 330 of 550 copies original quarter morocco slipcase Eugrammia Press 1964 § Blake (William) 2 vol. facsimile reproduction and introduction and notes by Martin Butlin limited to 800 copies original calf-backed buckram slipcase Heinemann 1969; Another copy both slightly rubbed v.s. (4) (4)
Lot 164
Durer Society (The). Second Series separately bound introductory notes by Campbell Dodgson and 30 facsimile plates tipped onto 19 captioned stiff cards supports a few corners chipped one print detached in publisher`s printed portfolio rubbed with ties 1899 § Players of the Day A Series of Portraits in Colour of Theatrical Celebrities of the Present Time colour illustrations mounted on captioned leaves interleaved with biographical text occasionally spotted blue half morocco worn George Newnes [c.1900] folio (2)(2)
Lot 1513
ALBRECHT DURER (1471-1528) THE FOUR AVENGING ANGELS 1498 Original woodcut from the Apocalypse (Hollstein-Medar 171) A fine impression from the edition of 1498 with Latin text on verso with thread margins or trimmed to borderline. Occasional pale staining, a tiny mended tear bottom right. Provenance: GALERIE ANDRE CANDILLIER, 26 Rue de Seine – 75006 Paris.
Lot 28
After Albrecht Durer (German 1471-1528) CALVARY an early engraved copy of the original woodcut (Bartsch 059, Neder 180) possibly that referred to in Heller`s 1827 catalogue (no. 1641) differing slightly in small details, particularly the stones in the lower right foreground 20.8 x 14.8cms; 8 1/4 x 5 7/8in., unframed.
Lot 170
Artists A-D a large group of portraits of painters architects and sculptors including Michelangelo Buonarotti Albrecht Durer John Constable Cornelius Le Bruyn Maria Cosway and many others engravings mezzotints stipple-engravings 150 x 120mm. to 515 x 390mm. some trimmed and mounted on supports occasional handling creasing spotting browning frayed edges and other minor marginal defects includes a few duplicates mostly 17th to 19th century (c.115)
Lot 475
Picart (Bernard). Receuill de Lions. Dessines d’apres Nature, Amsterdam, 1729, additional engraved title, title printed in red and black with engraved vignette, twenty-eight (of 30) full-page engraved plates of lions, twelve half-page engravings on six sheets after Picart, Rembrandt, Le Brun and Durer, occasional light soiling, front endpaper detached, contemporary calf backed boards, some wear, oblong folio. (1)
Lot 597
Wilde (Oscar). Salomé, Drame en un Acte, 1st ed., Paris & London, 1893, title with device by Félicien Rops, contemp. silver print photograph of Moreau’s watercolour of Salomé dancing, tipped in as frontis., author’s signed presentation inscription to second blank verso and sl. offset to half title, ‘à Gustave Moreau, Hommage respectueux, Oscar Wilde’, with Wilde’s trademark paraph to the last letter of his name, some light browning to first two blanks and half title, orig. purple wrappers printed in silver, somewhat faded and with marginal browning, the whole (including spine) bound by Pagnant in contemp. boards with a stencilled floral decoration design in red, green, blue and yellow, embossed ex libris stamp of Oscar Molinari to additional blank front free endpaper, the endpapers being two identical gilt pictorial designs of Saints, leather title label to spine and gilt dated imprint at foot, worn along joints, 8vo. An outstanding and previously unknown association copy, gifted to the current owner by his mother’s landlady in Paris some forty years ago. Mason 348: ‘Salome was being rehearsed in June 1892 for production at the Palace Theatre, London, by Madame Sarah Bernhardt (with M. Albert Darmont as Herod) when the Lord Chamberlain withheld his licence on the ground that the play introduced biblical characters.’ The play which Wilde began writing in 1891 eventually found its first performance at the Theatre de l’Oeuvre in Paris on 11 February 1896. The English translation of the text first appeared in 1894. The influence of the celebrated French Symbolist painter Gustave Moreau (1826-1898) on Oscar Wilde’s vision for his play Salome is often cited as self-evident yet there is scant documentary evidence. It is not known that they ever met, and indeed Moreau is not mentioned once in the Complete Letters of Oscar Wilde (2000). Oscar Wilde complained to Charles Ricketts after seeing Aubrey Beardsley’s drawings for the English edition: ‘My Herod is like the Herod of Gustave Moreau, wrapped in his jewels and his sorrows. My Salome is a mystic, the sister of Salammbo, a Saint Therese who worships the moon.’ This inscribed copy puts beyond doubt Wilde’s admiration for and his debt to the great French painter.. In May 1884 Wilde visited Paris as a newly wed with his wife Constance just weeks after the publication of Joris-Karl Huysman’s influential decadent novel A Rebours. While there Wilde visited the Louvre to see Moreau’s celebrated The Apparition. This watercolour of Salome dancing before Herod had been exhibited alongside another oil painting of the same subject at the Paris Salon of 1876. The exhibition drew newspaper reports and the crowds with over 500,000 people flocking to see the two pictures. Moreau set in train Symbolist ideas and the artistic craze for the femme fatale Salome which Wilde was so keen to turn into French words and stage design. Moreau himself returned to the theme often, producing some nineteen paintings, six watercolours and more than 150 drawings of the same subject. Interestingly, the frontispiece to this lot (inserted by Wilde?) is a photograph from a watercolour of Salome Dancing from c. 1886 now hanging in the Musee d’Orsay. It shows Salome more richly robed and with a more Pre-Raphaelite look than the two famous pictures of 1876. After 1880 Moreau never exhibited at the Salons (or anywhere) again and refused to allow his pictures to be reproduced. Where this photographic frontispiece then came from is not the only question left begging. Are the endpapers and binding decoration from Moreau’s designs and did Wilde or Moreau or another insert the photograph? Moreau was himself influenced by Gustave Flaubert’s novel Salammbo (1862) but Moreau’s influence on the arts was to be more profound, most notably through Huysman’s novel A Rebours where the aesthete Des Esseintes sees Salome not as the dancing girl of the New Testament, but ‘she had become in some way, the symbolic deity of indestructible lust, the Goddess of immortal Hysteria, the accursed Beauty exalted above all other beauties … the monstrous Beast...’ Des Esseintes hangs Moreau’s two famous Salome paintings side by side at his home so that he could: ‘consider the beginnings of this great artist, this mythical pagan, this seer who could conjure up in the everyday world of Paris such visions and magical apotheoses of other ages.’. Richard Ellmann in his noted biography of Oscar Wilde (1988) wrote: ‘The principal engenderer of the story was an account in the fifth chapter of Huysmans’s A Rebours of two paintings by Gustave Moreau, and in the fourteenth chapter of the same book a quotation from Mallarme’s ‘Herodiade’. In one painting the aged Herod is being stirred by Salome’s lascivious but indifferent dance; in the other Salome is being presented with the Baptist’s head giving forth rays on a charger. Huysmans attributes to Salome the mythopoeic force that Pater attributes to the Mona Lisa, and mentions that writers have never succeeded in rendering her adequately’ (p. 321). ‘Wilde’s knowledge of the iconography of Salome was immense. He complained that Rubens’s Salome appeared to him to be ‘an apoplectic Maritornes’. On the other hand, Leonardo’s Salome was excessively incorporeal. Others, by Durer, Ghirlandaio, van Thulden, were unsatisfactory because incomplete. The celebrated Salome of Regnault he considered to be a mere ‘gypsy’. Only Moreau satisfied him, and he liked to quote Huysmans’s description of the Moreau paintings’ (p. 323). (1)
Lot 318
* Nelson (Harold, 1871-1948). “Memories”, oval pen & ink drawing, of a Pre-Raphaelitesque lady with flowing locks, sitting amongst tree roots beside a stream, with initial ‘N’ in lower right-hand corner, trimmed to image and oval mounted, framed and glazed, with old ms. title label on verso, 201 x 125mm (8 x 5ins). Harold Nelson was an artist, illustrator, designer of bookplates, etcher, and lecturer. He studied at both the Lambeth School of Art and the Central School of Arts and Design. Nelson was strongly influenced by Albrecht Durer and William Morris, and was prolific as a ‘black and white artist’ specialising in medieval illustrations in a Pre-Raphaelite, Arts and Crafts and Art Nouveau style. (1)
Lot 16
Brunfels (Otto) Herbarum vivae eicones first edition of the first part title within allegorical border Strasburg coat of arms both printed in red and black 5 part woodcut border to 3 leaves 86 full-page woodcuts by Hans Weiditz with the blank B4 but without the final blank minor repair to blank margin of first four leaves some minor water-stains generally a nice unsophisticated copy 17th(?) century signature of Miguel Bunillo on title (trimmed) bookplate of William Borrer (1781-1862 Sussex botanist) is possibly added old vellum bit worn ties partly defective invoice from Hammond (1976; £1400) inserted [Adams B2923] folio Strasburg Schott 1530. ***The bibliography of this great book seems somewhat unexplored. The Plesch copy for instance had the misprint Eiconeb on title and index printed in red; this copy has Eicones and index in red; the copy reproduced in Grolier 33a has Eicones and index in black. The second edition of 1532 is completely reset the most noticeable feature being the smaller gothic type used for the captions; why this was introduced is an interesting question. Stevenson in his cataloguing of the 1532 edition [Hunt 30] compared it with the 1530 edition in NY Academy of Medicine ; from which it is clear that there are text variants in the1530 since this copy does not entirely agree with the New York copy. He remarks that the book is “full of bibliographical puzzles which would take many months of research and comparing of copies to solve”. “Hans Weitz was a brilliant and original artist who set new standards of truth and beauty for the printed herbal...these vigorous well-observed drawings...remind us of Durer and much of Weiditz`s work has in fact been falsely attributed at one time or another to that great master or to Burgkmaier. “ -Blunt p. 62. .
Lot 1230
A 16th century Albrecht Durer portrait engraving of Cardinal Albrecht of Brandenburg `The Great Cardinal`, Bartsch 103. A good but later impression with narrow margins, the watermark traceable to Basle c. 1585 (Bricquet 1347). A tiny area of paper loss upper right; otherwise in very good condition.
Lot 545
ENGLISH SCHOOL, LATE 19TH CENTURY COPIES OF CELEBRATED OLD MASTER PORTRAITS six, pencil and watercolour heightened with white, the largest 17 x 12cm (6) Including Lady Diana Russell when a child by Paul van Somer, Charles the Bold by Rogier van de Weyden, the Head of a Young Man by Durer, Sir John Godsalve by Holbein and Anne of Austria by Rubens.++All in good condition and undoubtedly by the same hand, insecurely mounted in non matching frames with thunderflies etc beneath the glass of some. Free from fading or foxing
Lot 173
BREDOW, G.G. Compendious View of Universal History and Literature in a series of tables, 3rd edit, pub London 1829, folio, HAWLEY, Walter, Oriental Rugs, Antique and Modern, illus in colour, pub John Lane 1913, KURTH, Dr Willi, Complete Woodcuts of Albrecht Durer, Colour 1915, 1 vol bound, and BINSTEAD Herbert, Useful Details in several styles (5)
Lot 229
D Officina Bodoni. The Little Passion by Albrecht Durer, Verona 1971, 8vo, limited edition No.40 of 150, woodblock plates by Leonardo Farina after Durer, teg others untrimmed, original morocco backed boards in slipcase; De Aetna Liber; On Etna by Pietro Bembo, Verona 1969, 8vo, limited edition No.88 of 125, teg others untrimmed, original morocco backed boards in slipcase (2)
Lot 63
A Castelli style circular charger, decorated semi naked maidens and cherubs within a floral border, on a yellow ground, 34.5cm dia.; a Villeroy & Boch wall plate depicting Nurenburg after Durer; and a 19th Century earthenware platter with over-painted decoration of birds and a bird`s nest, inscribed verso "Swansea LF9/78", 31.5cm dia. (3)
Lot 561
Albrect Durer 1472-1528-"Cardinal Albrect of Brandenburg (The Large Cardinal)" ; 1523, (B.103; M., Holl.101) engraving, on paper with crowned cartouche and horn surmounting initials N H M watermark, fairly good silvery impression, with narrow margins, a few thin spots to the edges of the sheet, lose to top right corner and with other unobtrusive minor defects, 17.5x13cm, Note: In 1523 Durer sent a letter to the Cardinal inquiring whether he had received the 500 impressions of the portrait and the engraving`s copper plate that Durer had sent him. Consequently there are many good evenly printed impressions of this print surviving. There are also at least three poor imitations of Durer`s engraving by other artists, suggesting that it was very popular image, (unframed)
Lot 327
v.Zglinicki (Friedriech) Der Weg Des Films first edition" photographic illustrations original cloth dust-jacket slightly rubbed Berlin 1956 § von Boehn (Max) Die Mode illustrations original cloth 1910 § Ene (Dr. A.von) Leben und Wiken Albrecht Durer contemporary half morocco rubbed Nordlingen 1869; and 6 others similar" v.s. (16)
Lot 602
Durer Album. Herausgegeben von W.v. Kaulbach und A. Kreling, Nurnberg, n.d., c. 1870, forty-two b & w plts., contemp. panelled tree calf gilt by Potter & Son, upper hinge cracked, large 4to, together with Salviati (P.), Ricordo di Venezia, n.d., c. 1880s, eighteen albumen prints mounted on thick card, orig. gilt-dec. cloth, some wear to spine, oblong folio, with other miscellaneous books, mostly large-format (2 cartons)
Lot 1372
A 19th century marriage crest, 22cm x 35cm. The left shield is that of the Hohenzollern family, latterly Kings of Prussia & Emperors of Germany; that on the right is the arms used by Conrad of Thuringia (d. 1240), Grand Master of the Teutonic Order, and borne by his posterity the Landgrafs (sovereign counts) of Hesse-Darmstadt. The Hohenzollern arms were re-designed by albrecht Durer in the 16th century, and it is his design that is used. The juxtaposition of the shields refers to the marriage of Frederick Williasm II of Prussia (reigned 1786-1797) and Fredericka (1751-1805), daughter of Louis IX of Hesse-Darmstadt in 1769. Louis IX was slightly mad (he believed Georgiana, Duchess of Devonshire a re-incarnation of the Blessed Virgin) and a Strict Observance Freemason and visited Derby in 1768 in a bid to see Peter Perez Burdett. The superscription K P u G H stands for Konigsreigch von Prussien und Grafreich von Hessen ()Kingsdom of Prussia and County of Hesse; F R of Frederick Rex (King Frederick) and St. E. for St. Elzabeth of Hungary. She was the daughter of Andrew II of Hungary who married Louis IV of Hesse, who was killed on Crusade. She thereafter took the veil as a Franciscan `lady helper` and spent the rest of her short life distributing alms to and tending the destitute, dying in 1232, and being canonised in 1235. She was, of course, ancestrix of Queen Fredericka, whose arms we see above. The whole thing was done after their deaths, because it was not until 1807 that Hesse added the sword to the lion in the Hessian arms
Lot 433
James Caldwall, after Philip Reinagle (18th Century), Portrait of John Nicholson Esq of Cambridge, known as "Maps", engraving, 58 x 40cm (22.62 x 15.6in); together with four Durer prints, each 21 x 15cm (8 x 6in) (4). The original oil painting of John Nicholson hangs in the University Library, Cambridge
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