Italy: c. 1400. 90x80mm; cutting from an original highly illuminated manuscript choirbook; executed by hand on animal parchment with tempera colors of mauve, pink, blue, green, white and burnished gold; the back displays a four-line stave in red ink with text and musical notation in black ink; in frame.
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China. This collection includes a pair of three-tiered red lacquered wedding baskets, four transom wood carvings, a two-drawer wooden box, a hanging mirror behind wooden doors, a three-drawer vanity chest with fold-up mirror, two rosewood brush holders inlaid with jade, and a carved wooden Foo (also spelled Fu) dog. The two-drawer box might have been used for pet crickets as one drawer is ventilated on both sides. Foo dogs are actually lions. They resemble the Chow Chow and Shih Tzu breeds, hence the English misnomer of Foo dog. A pair of male and female stylized lions guarded the entrance of palaces, temples and homes of the elite. The male holds a ball; the female, a cub. The Foo dog in this lot appears to have earned his keep holding down the fort (see images for details of damage and imperfections). Each basket: w 16.25 in x h 23.75. Four transom carvings: 3 in x 28 in, 4.5 in x 32.75 in, 4 in x 32.5 in, 4 in x 32.5 in, 4.75 in x 26.5 in; two-drawer box: w 5 in x h 7 x d 9.5 in. Hanging mirror: w 8 in x h 10.75 in x d 0.75. Vanity chest: w 9.75 x h 7 in x 12”L. Each brush holder: w 3.75 in x h 6 in. Foo dog: w 4 in x h 10.5 in x d 5.5 in.
Japan. A pair of two Japanese fan paintings dating to the Edo period (1603-1868). The first painting depicts a woman gesturing to a man seated on green tatami with three women watching from outside. The second painting depicts a man speaking to three other men seated around him by a river. A fabric screen gives them some privacy while a man and woman wait by the speaker’s jinrikisha. Much of the surfaces on both paintings are covered in gold leaf. These paintings were not made into fans so there are no creases. Each painting is taped to brown mat board. These paintings are not framed and are not signed. Both good to very good. First painting has a 1” closed tear to gold leaf at top left edge. Second painting has moderate pigment loss throughout the painting. Both paintings are on stiff paper with another layer of paper glued to the verso. Dimensions : Each painting: w 20.5 in x h 10 in.
Six chargers, each of which display similar scenes with common elements of house, water, mountains, figure. All are painted in deep blue tones. All very good with no significant issues. Dimensions: Various. Diameters are 14.5in, 14 7/8 in, 15.5 in, 16 in, 18 in, and 18 in. Heights range from 2 in to 2.5 in.
A signed abstract watercolor by Italian painter Afro Libio Basaldella (1912-1976), known as Afro. Signed “Afro” in lower right corner. Condition: very good. Minor denting and creasing to edges of painting, not impacting images. The edges of the sheet are unevenly trimmed. Slight marking to mat. Matted but not framed. Dimensions mat w 16 in x h 12 in sheet w 11 7/8 in x h 9 1/8 in.
A signed abstract painting by Sonia Delaunay-Terk (1885-1979), a Ukrainian-born Russian artist, who played an influential role in the avant-garde movement in Paris. Condition: very good. Some age-toning visible on reverse of painting. Signature and gallery stamp on reverse. Matted but not framed. Dimensions mat w 15.75 in x h 12 3/8 in sheet w 12 3/8 in x h 8.75 in.
A watercolor on paper by Béla Kádár (1887-1956). An influential Hungarian avant-garde artist, Kádár was influenced by both contemporary artistic movements, including Cubism and Futurism, and Hungarian legends. Condition: very good; some age-toning to paper and mat. Matted but not framed. Dimensions mat w 10.75 in x h 12 in sheet w 4 7/8 in x h 5.5 in.
A signed original drawing by French artist Aristide Maillol. Maillol (1861-1944) was accepted into the Ecole des beaux-arts in 1885, where he studied under several notable painters. He subsequently joined Les Nabis, a group of young French artists, at the recommendation of Gauguin, and began working in tapestry. Failing eyesight prompted him to focus increasingly on sculpture, particularly representations of female nude figures, though he periodically explored two-dimensional media as well. Condition: good to very good. Minor chipping and closed tears to edges of sheet, none of which impact the image. Signed in lower right corner. Dimensions mat w 13.75 in x h 16 7/8 in sheet w 9 3/8 in x h 13 3/8 in.
A signed pencil sketch by Serge Ferat. Ferat (1881-1958) was born in Moscow, the son of a member of the Russian aristocracy. As a young man he moved to Paris, where he began painting in the cubist style. He was friends with many of the most prominent artists of his day, including Picasso and Apollinaire. Condition: very good. Light, even age toning. Matted but not framed. Dimensions mat w 14 in x h 11 in sheet w 8 in x h 5.75 in.
An abstract watercolor by Mikhail Tarkhanov (1888-1962). Takharov was a Russian/Soviet painter who worked for various Soviet institutions, pursuing his interest in the avant-garde in secret following the 1930s ban of abstract art in the Soviet Union. Condition: very good. Edges are torn somewhat unevenly, but this appears to be original to the piece. Dimensions mat w 15.75 in x h 12.75 in sheet w 14 in x h 10.25 in.
A self portrait of Austrian artist Oskar Kokoschka in ink on paper, initialed in the lower right corner. Matted and framed; not examined out of frame. Condition: very good. Some separation at the corners of the frame, and some loss of material to corners, edges, and raised portions of frame. Dimensions frame w 10 1/8 in x h 12 in sheet w 3 5/8 in x h 5.5 in.
A pencil portrait of a woman by Hungarian artist Béla Czóbel (1883-1976), signed in the lower right corner. Born in Budapest and trained in Munich and Paris, Czóbel joined an artistic group known as The Eight, who played a key role in introducing new artistic styles into Hungarian art circles. Condition: very good, with some even age toning. Dimensions sheet w 9.75 in x h 13.25in.
A signed print of the etching Enterrement d’un marin à Villerville (Burial of a Marine, Villerville) by Ulysse Butin, 1878. Butin (1838-1880) was a French artist based in Paris who was known for paintings and etchings. Condition: good to very good. Some age toning and light marking to the image itself; the mat has further marking and some creases. Matted but not framed. Dimensions mat w 14.25 in x h 16 3/8 in sheet w 7 in x h 9 7/8 in.
An etching by Alfred Robaut based on the work of Eugene Delacroix, depicting a lion with a skull. Condition: good. Age toning and age spots; a raised stamp in the lower right corner identifies this print as the work of Robaut based on Delacroix. Matted and framed; not examined out of frame. Dimensions frame: w 11.5 in x h 9 5/8 in.
1910. SEPTEMBER 24 1910. The artist’s name appears inside the lower border of the image. Printed below the image lower left is “VOL XLVI NO 1” and lower right “SEPTEMBER 24 1910” with a “27” in the extreme right corner. The magazine’s title “Collier’s The National Weekly” largely obscured by Parrish’s bookish clown speaks to the magazine’s foothold in early 20th-century popular culture. From 1904 to 1910, Parrish was under exclusive contract to Collier's, which published his famed Arabian Nights paintings in 1906-07. Condition: fine. Matted and framed; the frame is moderately scuffed. Dimensions image dimensions: w 10.75 in x h 15 in.
1797. An engraving by French artist Jacques Philippe Levilly (active 1780-1800). Condition: good. Light age toning and some age spots; several small closed tears and holes in margins. Several small creases around the edges and one faint central crease. Some faint water staining to right edge, particularly in margin. Matted but not framed. Dimensions mat w 19 5/8 in x h 17 5/8 in print w 15.25 in x h 13.25 in.
c 1700s. A pair of hand-colored engravings shows the original quadrangle of Jesus College above the second quadrangle ornamented with Dutch gables. Robed faculty and students stroll across the quadrangles. A capital letter marks the corners of each courtyard. Condition: very good with no apparent issues. Matted and framed; not examined out of frame. Dimensions : visible paper: w 18 in x h 18 in.
1675. An engraving by David Loggan (1634-1692) showing the not-yet-completed second quadrangle extending behind the college’s original quadrangle. The second quadrangle was built sometime between 1640 and 1713. Text in Latin about the college is printed in the lower margin. Capital letters appear throughout the engraving. Condition: A light brown ½” vertical band follows a light central crease (see two images). The engraving is attached to an age-toned mat, which is glued at the edges to an artist’s board. Dimensions plate w 15.75 in x h 11.5 in.
1929. A signed, numbered (28/30), and dated (1929) print by American artist Richard R. Beatty (1899-1961). Condition: good to very good. Some age toning, particularly noticeable at the border created by the edge of the mat. Matted and framed; not examined out of frame. Dimensions frame w 17.5 in x h 14 5/8 in image w 9 3/8 in x h 7.75 in.
Sebastien Phillipe, 1627. An etching by Jacques Callot entitled “Entrée de Monsieur de Couvonge et de Monsieur de Chalabre.” This etching is from “Le Combat a la Barrière” by Henri Humbert and was printed by Sebastien Phillipe in 1627. It depicts a lively procession of dancing and flying spirits accompanied by a dragon and griffin. The Metropolitan Museum of Art and the Rhode Island School of Design Museum have this etching as part of their permanent collections. Condition: very good though age toned. A small number “4” is written in ink in the lower margin not affecting the image. The etching is affixed on the verso with archival tape to paper with a 9 ½” x 6” opening (see image). It is signed in plate lower right “Jac. Callot In. et F”. Dimensions w 9.5 in x h 6 in.
c. early 1600s. The first page of the Dominica IV post Pentecosten in Gregorian notation on vellum from an early 17th-century manuscript. Condition: good. Several apparently much later alterations and additions of the reverse of the sheet which are faintly visible from the front. Dimensions vellum: w 15.5 in x h 22.75 in mat w 18 in x h 28 in.
1970. This scarce lithograph was created by Edna Andrade (1917-2008) for the first celebration of Earth Day in 1970. It is signed and hand-numbered 48/200 by the artist at the lower left below her AE logo. Condition: very good. Some fading from labels and frame in upper right corner. Minimal bumping and a 1 ½” horizontal crease along lower right edge. Minimal rubbing to lower left edge. Dimensions w 24 in x h 36 in.
A small oval original illustration of Venus and Cupid in white and black on a sepia ground. Pierre-Paul Prud’hon (1758-1823) was born in Burgundy and began studying painting at the age of sixteen. After working in Dijon and Paris, he spent the years of 1784-1787 in Italy, where he was influenced by the work of earlier Italian painters. On his return to France he became a supporter of the Revolution, and was later favored with commissions by Napoleon. Condition: very good; no evidence of damage. Matted and framed; not examined out of frame. Dimensions frame w 8 3/8 in x h 6 7/8 in image w 5 1/8 in x h 3 7/8 in.
An untitled and undated primitive oil painting on board by self-taught artist Clementine Hunter (1887-1988), signed with the artist's monogram on the right edge of the painting. It depicts early 20th-century plantation workers socializing and relaxing. Condition: very good. Housed in rustic wooden frame without glass. A Nantucket art gallery stamp on verso. Dimensions Painting: w 18 in x h 24 in frame w 22 in x h 28 in.
A map showing part of the eastern end of the Mediterranean, the work of the Dutch engraver Pieter van der Aa (written here as Pierre vander Aa). It was originally included in Le Nouveau Theatre du Monde, first published in 1713, but this copy is dated 1736. Condition: Excellent. Matted and framed; not examined out of frame. Dimensions w 16 1/8 in x h 13.5 in.
A map of the Touraine region of France published in Amsterdam by Dutch cartographers Willem and Johannes Blaeu. Condition: Very Good. Age toning and several small age spots. A central crease. Matted and framed, with some chipping and loss of material to the frame. Not examined out of frame. Dimensions w 26.75 x h 22 3/8 in.
A map of France produced by the Amsterdam publishing house Covens and Mortier, and released in 1721. The map highlights rivers, towns, and churches, and some elements are highlighted with color. Condition: Good. Age toning, age spots, and a central crease. Matted and framed; not examined out of frame. Dimensions w 32 5/8 in x h 26 5/8 in.
A composite image containing multiple maps of La Rochelle, a seaport town in western France, and plans of fortifications in the city. Condition: Good. Age toning and age spots, along with water damage along the bottom edge. Several creases. Framed but not matted; not examined out of frame. Dimensions w 33.75 in x h 24.5 in.
A map of the Persian Empire by the famous cartographer Abraham Ortelius, covering the region from Persian Gulf and the Caspian Sea in the west to the oasis towns of the Silk Road in what is now western China. This landmark map of Persia was included in the original Ortelius atlas, Theatrum Orbis Terrarum, first produced in 1570. This atlas was the first to present all maps in a uniform format and is considered to be the first true modern atlas. It was highly successful and from its original seventy maps and eighty-seven bibliographic references in the first edition (1570), the atlas grew through its thirty-one editions to encompass 183 references and 167 maps in 1612. Throughout the epic publication history of the atlas, this map was one of only a few that never had any changes made to the original plate. The cartography was based on Gastaldi’s map of Asia Minor (1564) and Ortelius’s own map of the Asian continent (1567). The map presents an inaccurate shape to both the Caspian Sea and Persian Gulf. Rivers and mountain ranges are displayed, and numerous principal cities and towns are noted. Latin text. Condition: Very Good. Age toning; two small dark stains and one small puncture in center. Matted but not framed. Dimensions w 25.75 in x h 20.5 in.
The work of the distinguished Italian cartographer Giovanni Antonio Magini (1555-1617), this oval projection draws from the work of another great cartographer, Abraham Ortelius. Most notable are the large landmasses of Terra Incognita and Terra Autralis at both poles. Six wind-heads are arranged above and below the map. Condition: Excellent, with even age toning. Double matted and framed; not examined out of frame. Dimensions w 12.75 in x h 11 1/8 in.
A color example of the map of the Azores by Abraham Ortelius (1527-1598), one of the most important 16th-century cartographers. This map was first published as part of a 1583 addendum to his Theatrum Orbis Terrarum, the first modern world atlas. Condition: Very Good. Some age toning, particularly in the upper right corner. Text from the verso of the page is visible in the margins, particularly on the left side. Double matted and framed; not examined out of frame. Dimensions w 29 5/8 in x h 23 5/8 in.
A composite containing maps of Cuba, Hispaniola, Jamaica, S. Ioannis, and Margareta, all by Jodocus Hondius the Elder (1563-1612), one of the most significant cartographers of his generation. Condition: Very good. Age toning, several creases. Double matted and framed. Dimensions w 26.5 in x h 21 in.
Based on material collected by the Dutch Astronomer Peter Laicksteen, who travelled to the Holy Land in 1556. Christian Sgrooten (here written “Schrot”), royal geographer to King Phillip II of Spain produced a nine-sheet map of Palestine in 1570 from Laikstain’s information. This map was condensed into the present form by Abraham Ortelius. Ortelius, the creator of the first modern atlas, collected and edited maps from all over Europe for his book. Many of the original mapmakers rose to fame solely through Ortelius’s decision to include their maps in his atlas. Laicksteen took thorough and accurate notes, and the original Laicksteen and Sgrooten map contained improvements over earlier maps. For instance, the River Kishon is here shown as flowing from the mountains near the Sea of Galilee, not, as was previously thought, from the Sea of Galilee itself. However, the Levantine coastline Sgrooten (and Ortelius) depicted is hardly recognizable to modern eyes. The map is replete with fanciful bays and peninsulas, though some of the most recognizable features of the coastline, such as the outcrops of land at Haifa and Beirut are absent. Ortelius had originally used another map of the Holy Land (by cartographer Tilleman Stella) in the early editions of the Theatrum Orbis Terrarum. It covered a far more extensive territory, including part of Egypt and Syria. Oddly, the coastline in this first map was much more accurate than in the Sgrooten map. Laicksteen and Sgrooten’s original map included a small inset with an extended geography. However, their mapping of the Dead Sea and surrounding areas was so controversial that Ortelius chose to leave out this region completely. The strange anecdote written in the Dead Sea is Ortelius’s own addition. It describes how the Dead Sea was once a fertile valley, but was transformed by an act of God into a barren sea to punish the wickedness of Sodom and Gomorrah. In the bottom left hand corner is a hand colored illustration of the story of Jonah. Above the luscious cartouche Ortelius has added three miniatures featuring the Crucifixion, the Nativity, and the Resurrection of Christ. The French text on the verso, a long-winded description with little relevance to the map, was changed to a more “reader-friendly” version shortly after the publication of this edition. 525 copies were made of this edition of Ortelius’s map. Condition: Very Good. Age toning; central crease. Matted and framed between two panes of glass so that the text on the reverse of the map is visible. Dimensions w 27.75 in x h 22 7/8 in.
Four small maps framed together, each illustrating some portion of North and South America. The set includes the following: 1) Nova Virginiae Tabula, by Pieter van den Keere and Jan Jansson, Amsterdam, 1631. A fine example of the 1631 German edition of Jansson’s derivative of John Smith’s highly important map of 1612, which was the only regional map of North America to appear in the Atlas Minor Gerardi Mercatoris. The map shows a fascinating early look at the Chesapeake Bay and the surrounding environs, including American Indian tribes, villages, rivers, and other early details. According to Burden, this is the first derivative of the Smith map to appear in an atlas, pre-dating the Hondius map by two years. 2) America, from Gerard Mercator’s Atlas Minor. This extremely popular volume was first published in 1607, but this map is c. 1610. 3) L’Amerique septentrionale, by Guillaume de Lisle (1675-1726). This map is taken from La science des personnes de la cour, de l'épée et de la robe, volume 1. This encyclopedia was published in Amsterdam by Francois L’Honore in 1707. 4) Descriptio Terrae Novae: Virginia et Nova Francia, 1618. This charming miniature map depicts the east coast of North America, and is based on Hondius’s world map from 1611. It does not incorporate new information from Samuel de Champlain (in Canada and along the Great Lakes) or of John Smith (in the Chesapeake Bay are and New England). The area from present-day New York to Maine is labeled Norenbega, and the area further south is labeled Virginia, with the Chesapeake Bay noticeably missing. A region just east of a large mountain range (the Appalachian mountains) is labeled Alpachen, and the St. Lawrence River features prominently at the top. Latin text on verso. Condition: all Very Good, with light to moderate even age toning. One map (3) shows a light crease, and one (2) appears to have a small tear at the bottom margin which does not impact the image. Double matted and framed; not examined out of frame. Dimensions w 23.75 x h 18.5 in.
A map of the United States of America by American cartographer Henry Schenck Tanner (1786-1858), published in Philadelphia in 1812. This was Tanner’s first map, and is accompanied by a Certificate of Authenticity from Barry Lawrence Ruderman Antique Maps. Condition: Very Good. Light, even age toning with faint creases and some slight darkening along the right edge. Double matted and framed; not examined out of frame. Dimensions w 21.5 in x h 17 in.