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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 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.
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.
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.
USSR: c 1941-1945. A collection of 20 Russian medals from the WWII era housed in a shadowbox. The medals present include the following: Capture of Konigsberg; Medal for Valor; Medal for Combat Service; Defense of Kiev; Defense of Stalingrad; Victory over Japan; Victory over Germany; Defense of Odessa; Capture of Berlin; Defense of Moscow; Capture of Budapest; Defense of Caucasus; Defense of Sevastopol; Defense of Soviet Polar Region; Defense of Leningrad; Defense of Prague; Liberation of Warsaw; Liberation of Belgrad; Capture of Vienna; and Medal for Meritorious Labor during the Great Patriotic War. A copy of this inventory is included with the lot. Condition: Very Good. Medals and ribbons both show some signs of age (tarnish, some change of color in the ribbons0 but the imprints on the metal are still very sharp.
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.
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 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.
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.
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.
Cairo: Egyptian State Tourism Department. c. 1960. Artwork by M. Azmy; printed in Egypt by Institut Graphique Egyptien. Issued by the Egyptian State Tourism Department. Condition: Very Good. Slight age toning; one small tear (which does not interfere with the image) visible in upper right margin. Not examined out of frame. Dimensions 29.5 x 41.25 inches.
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.
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 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.
London: c. 1676. A map of the Roman Empire first released in John Speede’s Prospect of the Most Famous Parts of the World, published in London in 1676. The map is colored, with an elaborate ornamental border. Condition: Good. Uneven age toning, including dark regions around the central crease and along the margins. Water staining at bottom of map, and slight chipping at edges. Dimensions w 23 3/8 in x h 18 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.
An old color example of Blaeu’s map of the Turkish Empire, based upon Blaeu’s map of a similar title. Willem Janzsoon Blaeu (1571-1638) was a prominent Dutch geographer and publisher. Born the son of a herring merchant, Blaeu chose not fish but mathematics and astronomy for his focus. He studied with the famous Dutch astronomer Tycho Brahe, with whom he honed his instrument and globe making skills. Blaeu set up shop in Amsterdam, where he sold instruments and globes, published maps, and edited the works of intellectuals such as Descartes and Hugo Grotius. In 1635, he released his atlas, Theatrum Orbis Terrarum, sive, Atlas novus. Willem died in 1638. He had two sons, Cornelis (1610-1648) and Joan (1596-1673). Joan trained as a lawyer, but joined his father’s business rather than practice. After his father’s death, the brothers took over their father’s shop and Joan took on his work as a hydrographer to the Dutch East India Company. Later in life, Joan would modify and greatly expand his father’s Atlas novus, eventually releasing his masterpiece, the Atlas maior, between 1662 and 1672. Dimensions w 28.5 in x h 24 5/8 in.
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.
Egyptian State Tourism Board, c 1950s - 1960s. Original travel poster with artwork by H. Hashim. Printed in Egypt by Institut Graphique Egyptien, and issued by Egyptian State Tourism Board. Condition: Very Good. Some light age-toning; rip in upper left margin (does not extend into image). Not examined out of frame. Dimensions 31 x 42.75 inches.
Amsterdam: chez Ian Ianssen: Ian Ianssen, 1627. Thick quarto bound in early full vellum.; Fair;. The vellum shows moderate soiling and wear, and the front pastedown has tiny ink inscriptions. The paper is at times heavily faded and wobbly with slight offsetting not affecting text. The first 53 pages and first 20 plates are water-stained along the fore edge; the back of plate 42 contains blue and black ink signatures. The title page is absent. The following sections are present: Geometry, Perspective, Symmetry, Doric Columns, and Fortification. The volume also contains a Table of Dimensions of Fortifications. The following plates are present: AA, 4-10, 14-17, 17-24, 30, 32-35, 41, 42, 9-14, 16-18, 23, 24, 5, 8-39, 43-46, 11, 17-23, 26-30, 33, 37, 38, 51, 59, 60, 62-65, 74-79, Z, AA-EE, 1-10, for a total of 117 plates. There are numerous signs of plates being excised. Dimensions 8.625 x 12.625 x 3.125 inches Shelved case 4.
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.
Paris: Chez Desaint, David, Durand, 1757. Second Edition. Text in French. Octavos. Bound in contemporary full brown calf. Gilt ornamentation on boards (double rule with roll). Paneled spine with gilt lettering in two compartments and gilt ornamentation in remaining four. The endpapers are marbled, and the text block edges are tinted red. The volumes contain a total of four folding maps and three folding plans, with one each in volumes 1, 2, 3, and 4, three in volume 6, and no maps or plans in volume 5. Maps and plans in excellent condition. The text block is very clean. Condition: Very Good. Some shelf wear and rubbing on spines and boards. Boards are slightly bowed. Slight age-toning and foxing to pages. Dimensions 4.125 x 6.75 x 9 inches shelved above occult.
Signed print by Frank Brangwyn depicting a street scene in the aftermath of the London Blitz. Frank Brangwyn (1867-1956) was born in Belgium to British parents, and received his artistic training in Britain. He worked for William Morris as a young man, and like him explored a wide array of artistic media throughout his career. Though his work includes such diverse categories as glassware, furniture, and pro-British WWI posters, perhaps his best-known works are the murals commissioned by the House of Lords in 1926, later rejected by the peers, and finally acquired for the Guildhall in Swansea, Wales. During his lifetime, he was one of the world's foremost artists. He was the first living artist to receive a retrospective at the Royal Academy in London. While his reputation suffered after his death, his work has been reconsidered in more recent years, and a high-profile exhibition marked the 50th anniversary of his death in 2006. Condition: Good. Some discoloration from handling, aging adhesive, and other factors to margins, but these do not impact the print itself, or the signature. The print is mounted in an unusual way in that the edges of the sheet of paper have been wrapped around the edges of a board and glued to the back, which currently gives the print a slightly wavy appearance. This could likely be corrected if the backing were removed, which could be done with minimal paper loss. Dimensions 26 x 36.5 inches.
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.
Hickory Hill, Virginia: 1961. A photograph of Robert F. Kennedy with several of his children at Hickory Hill, their home in Virginia, signed by the photographer, Jacques Lowe. Signature in lower right corner in faded yellow ink. The title, “Hickory Hill, June 1961,” is written in the same ink in the lower left corner. Nicely matted and framed. Jacques Lowe (1930-2001) was John F. Kennedy's personal photographer both during his presidential campaign and after his election. The photograph comes from the collection of a member of the Kennedy family. Condition: Very Good. Print shows one slight crease (barely visible) at the bottom of the photo; signature and title are both badly faded. Slight scratching to frame. Not examined out of frame. Dimensions 24.5 a 24.5 inches Provenance: From the collection of a member of the Kennedy family.
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 original travel poster created by Julien Lacaze (1886-1971), a French artist known particularly for his advertisement posters in the early 1900s. Condition: Very Good. A carefully-mended closed tear (approx. 2.5 in or 65 mm) along the lower right edge. Slight age-toning. Not examined out of frame. Dimensions 34.375 x 45.5 inches.
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.
Lipsiae: Johannis Casparis Meyeri/Gottfried Liebezeit, 1692. Fifth Revised edition. Two works of Judaica bound together in a single volume: Henrico Opitio [Heinrich Opitz] with B. Wasmuthi. Hazer leshon ha-qodesh: Hoc est atrium linguae sanctae. Lipsiae: Johannis Casparis Meyeri, 1692. Fifth Revised edition. 156 pages. Henrico Opitio [Heinrich Opitz]. Novum Lexicon Hebraeo-Chaldaeo-Biblicum. Lipsiae: Gottfried Liebezeit, 1692. 1095 pp. [Hebrew] + 62 pp. [Chaldaean]. Square quarto in full vellum binding with faded hand-written titles on spine. All edges tinted blue. Pagination restarts with each part. Text in Hebrew and Latin. Condition: Very Good. The binding is shaken, with some shelf-wear and bumping. The spine and boards are sunned and somewhat warped, and there are some splits at hinges and gutter. Medium age-toning and some foxing. Scattered marginalia, some of which are in Hebrew and some of which appear to be lists of occurrences of particular Hebrew words in the Hebrew Scriptures. Dimensions 7 x 8.125 x 3.125 shelved case 4.
Lugdunum: Ioannes Pul [Ioannes Pullonus], 1547. Tibulli, propertii, ac Ovidii flores, ab Ioanne Murmelio olim selecti, nunc autem ab Augusto Botta Rouescallen. Iocupletissimè aucti, ac recogniti. Edited by Ioannes Murmellius and Augustus Botta Rouescallen. Lugdunum: Ioannes Pullonus, 1547. 117 pp. Text in Latin. Duodecimo in early vellum boards. A partial title has been written on the spine in faded ink. The initials F.R.G.F.C. appear in ink on the title page, and the name Erasmus has been crossed out in two instances. A book stamp (likely placing this volume in a library or collection in Bologna in the 19th century) appears on the final page of text. Condition: Very Good. The boards are very thin and have become cockled. The vellum is somewhat darkened with age and light staining and shows minor insect damage. There is evidence of a closure device, now absent, on both boards. Both paste downs are partially detached, but the binding is overall very solid. The pages are somewhat age-toned with occasional foxing. There are a handful of small ink marks to the textblock. Dimensions 4.25 x 6.375 x 0.625 inches shelved case 3.
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.
A map printed in two stages by Henri Petri, and was published in Sebastian Munster’s 1540 edition of Geographia Universalis vetus et nova complectens… by Claudius Ptolemaeus. The names were printed from a letterpress and the map from a woodcut, and the cartouche includes a compilation of old names and their modern counterparts. The map is oriented with the West to the top. Condition: Good to Very Good. Age toning, with a central crease and evidence of water damage in the center of the map. Currently housed in a protective frame, but can be shipped rolled. Dimensions w 18 3/8 in x h 14 3/8 in.
Vinegia: Presso Altobello Salicato, 1601/1602. Girolamo Bardi Fiorentino. Della cose Notabili della città di Venetia: Libri II. Vinegia: Presso Altobello Salicato, 1601. 143 pp. Text in Italian. Girolamo Bardi Fiorentino. Dichiaratione di tutti le historie, che si contengono ne i quadri posti nuouamente nelle Sale dello Scrutinio, & del gran Consiglio del Palagio Ducale della Serenissima Republica di Vinegia, nella quale si ha piena intelligenza delle più segnalate vittorie; conseguite di varie nationi del mondo dai Venetiani. Vinegia: Presso Altobello Salicato, 1602. 47 pp. Text in Italian. Duodecimo volume in a contemporary full vellum binding. Two works, both by Girolamo Bardi Fiorentino, are bound together in this volume. An ownership inscription, now somewhat faded, has been written in ink on the bottom edge. The interior of the volume is generally clean and tight. Condition: Good to Very Good. The vellum is somewhat soiled and age-discolored, and the binding somewhat cockled. The endpapers are soiled, and show some pencil notes from previous owners. The back endpaper is partially detached from the vellum, and there is minor insect damage to the first and last pages. Dimensions 3.875 x 6.25 x 0.5 inches Shelved case 3.
New York and Columbus, OH: Jacob H. Studer & Co, 1881. Quarto. Bound in full leather with five raised bands on the spine and beveled boards; gilt lettering and ornamentation on spine and boards. All edges are gilt. The volume contains 119 chromolithograph plates protected by tissue. All plates are in excellent condition. Condition: Very Good. There is some wear along the edges, corners, and the bands on the spine; the endpapers have been repaired at the hinges. The tissue guards protecting the plates have a few small tears. Dimensions 12.25 x 15.125 x 1.875 inches.
This map is the work of Dutch cartographer Pieter van den Keere (1571-c.1646), and was published in London in 1646 as a part of the miniature edition of John Speed’s Prospect of the Most Famous Parts of the World. Notably, this map portrays California as a peninsula at a time when it was generally shown as an island. There is also a distinct North West Passage and a vast southern continent labeled “Magallanica” and “Unknowne Land.” The map is surrounded by decorative strapwork banners bearing the legends “Water,” “Aire,” “Fire,” and “Earth” in the corners and a Hebrew legend in the center below the title. An exceedingly rare and finely engraved map. Condition: Excellent, with even age toning. Double matted and framed; not examined out of frame. Dimensions w 12 3/8 in x h 10 7/8 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.
c 1950-1960s. New Orleans travel poster from the 1950s or 1960s depicting a Mardi Gras parade scene. Condition: Very Good. Small tear (3/16 in. or 5 mm) in margin of lower left corner; tear of same depth at upper right corner. Slight cockling at upper left corner. Crease in lower right corner. Not examined out of frame. Dimensions 23 x 35 inches.
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.
Washington DC: 1891-1895. First edition. Elephant Folio. Condition: Fair. Housed in a binding made with two plywood boards and a clasp made from an old belt; each plate is a two-page folding map or illustration; brittle paper as is usual. Includes 163 of the 175 plates, and includes the plate 135 supplements, but lacks plates 161-175. Also lacking the 29-page preface, indexes and introductory material, as well as two-page errata sheet listing additional authorities for the map not listed in the original index. With 25 of the original 35 title pages; misbound, with title pages usually followed by 5/6 plates, as expected, but not always the 5/6 plates called for on the title page. Dimensions 16 in x 20 in.
A signed and numbered print titled “North American B-25B Mitchell.” The printed note below the title reads: “Taking off from the deck of U.S.S. Hornet to attack Tokyo, 18th April 1942.” The scene depicted is the launch of the Doolittle Raid, a United States Air Force attack against four major Japanese cities during World War II. All but one of the planes involved in the attack crashed in China, and several men were killed or captured. However, the mission proved that Japan was vulnerable to air attack from the United States military, and therefore meaningfully boosted American morale. The print is signed by then-Lt. General James H. Doolittle (1896-1993), who planned the attack and flew one of the sixteen B-25B medium bombers involved. Doolittle advanced two grades--from lieutenant colonel to brigadier general--as a result of his leadership in the attack, and also received numerous honors from the United States and several of its allies. Most notably, he received the Medal of Honor from President Roosevelt. In 1985, twenty-six years after he retired from the U.S. Air Force, Doolittle was advanced to the grade of full general. The print is also signed by the artist, John Young, who is known for his depictions of aviation scenes. It is dated 1978. The edition number is 705/850, written in pencil in the lower left corner. The print is matted and framed. Condition: Excellent. Slight scratching to frame and glass. Not examined outside of frame. Dimensions in frame w 22 in x h 20 in.
London: John Boydell, 1769. Three 1769 Engravings by Jean-Baptiste-Claude Chatelain: Castel Gandolfo; A Land-Storm; and Follow Me and I Will Make You Fishers of Men All three of these prints are the work of British engraver Jean-Baptiste-Claude Chatelain (1710–1771). Chatelain (whose name is often spelled “Chatelin” under engravings) was employed by publisher John Boydell in London, and with François Vivares produced a number of landscape engravings after works by masters such as Rembrandt. To boost sales, Boydell often capitalized on Vivares’ popularity and credited him on plates engraved by Chatelain alone. The French engraver François Vivares (1709–1780) set up shop in London at the age of 18. François Vivares engraved some 160 plates, most of which were published by John Boydell. The intermediary draftsman Joseph Goupy (French, ca. 1700–1782) also collaborated on all three of these prints. All three were published by the British publisher John Boydell (Shropshire 1720–1804 London) in or about 1769. This lot includes the following prints, all of which are framed and matted: “Castel Gandolfo and Part of the adjoining Lake with a Prospect of the Campagna of Rome,” after a painting by Giovanni Francesco Grimaldi (Italian, 1606–1680). Another print from this engraving is in the permanent collections of the Metropolitan Museum of Art, The British Museum and Harvard Art Museum. Condition: Very Good. 3” x 2” stain in lower left margin, not affecting image. Not examined out of frame. “A Land Storm,” after a painting by Nicolas Poussin (French, 1595–1665). Other prints from the same engraving are in the collections of the Royal Academy of Art, the British Museum, and the Detroit Institute of Arts. Condition: Excellent. No visible concerns; not examined out of frame. “Follow Me and I Will Make You Fishers of Men,” after a painting by Nicolas Poussin. Another print from the same engraving is in the permanent collection of the British Museum. Condition: Very Good. Light water staining along the bottom margin not affecting image or text. Frame shows some scratching and missing gilding. Dimensions Each 30 x 24 inches.