534297 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534297 Los(e)/Seite
Los 457
MURANO GLASS PAPERWEIGHT BY CORREIA,mmodelled as a cat over a fish bowl, signed to base, 7.5cm highSmall scuff to surface (pictured) and some other light general surface wear in keeping with age and use, including a buildup of dust in crevices. Some imperfections in the glass per original manufacture, including small bubbles. Area where the glass has trailed when blown and lies on top, leaving a very fine zigzag line. Additional images available.
Los 460
WEDGWOOD DRAGON LUSTRE OCTAGONAL BOWL,pattern number z4829, designed by Daisy Makeig-Jones, printed in gilt with scrolling dragons on a mottled blue lustre ground, 22.5cm wideRings true, some crazing visible, some glaze scratches to bowl centre and exterior, some rubbing and tarnish to gilt, otherwise light general wear
Los 66
JOAQUIM MIR TRINXET (Barcelona, 1873 - 1940)."Huerto de Vilanova".Oil on canvas.Signed in the lower right corner.Size: 38 x 46 cm; 57 x 65 cm (frame).Joaquim Mir studied at the San Jordi School of Fine Arts in Barcelona and in the workshop of the painter Luis Graner. His style was also influenced by the School of Olot, his father's home town. In 1893, together with other colleagues (Nonell, Canals, Pichot, Vallmitjana and Gual), he founded the "Colla del Safrà" (Safrà Group) to explore together the pictorial initiatives of the end of the century. The name came from the saffron and ochre tones they used in their paintings, with which they sought to capture the Mediterranean luminosity and reject the coldness of the greys and blues of the French Impressionists. Nevertheless, they imitated the Impressionists in their taste for painting in the open air, capturing the atmospheres and types they saw. In 1896 they even took part as a group in the 3rd Exhibition of Fine Arts and Artistic Industries, to which Mir submitted two works that give us a clear idea of the group's ideals: "The Rector's Vegetable Garden" and "The Orange Seller". From 1897 he also frequented the artistic environment of "Els Quatre Gats", where all the artists who were familiar with the European avant-garde met, which helped him to mature in the compositional study of landscapes with figures in different planes of depth. He took part in the Fine Arts Exhibitions in Barcelona in 1894, 1896 and 1898. Winner of a second medal at the Madrid Exhibition of 1899, that same year he moved to the capital with the aim of applying for a scholarship in Rome. In 1901 he exhibited the fruit of this first Mallorcan period at the Sala Parés in Barcelona, where he again won a second medal at the National Exhibition. After a period of illness that forced him to move to Reus, in 1907 he won the first medal at the International Exhibition of Fine Arts in Barcelona. From then on, settled in Camp de Tarragona, he did not move away from the landscape genre, but now it was the surrounding villages that were the protagonists of his painting. He painted the houses, the churches, the orchards, the people, the flowering almond trees, the farmyards... Unimportant subjects that were more and more in line with the reality of nature, as they only wanted to reflect his love for his land and his constant search for changes in the light. His style was no longer as expressive as in Mallorca, although his bold use of colour and stain remained. Already established as a leading figure on the Catalan scene, he gained definitive national recognition in 1917, when he was awarded the National Prize for Fine Arts. Four years later he married and settled permanently in Vilanova i la Geltrú. His successes followed one after the other, and in 1929 he won the first medal at the International Exhibition in Barcelona. The following year he won the medal of honour at the National Exhibition in Madrid, a prize he had been after since 1922. Although he was mainly a native painter, he held solo and group exhibitions in Washington, Paris, Pittsburgh, New York, Philadelphia, Amsterdam, Buenos Aires and Venice. Mir is today considered the foremost representative of Spanish Post-Impressionist landscape painting. His work can be found in the Museo Nacional de Arte de Cataluña, the Museo del Prado, the Museo Thyssen-Bornemisza and the Museo Reina Sofía in Madrid, among many others.
Los 89
JOSÉ CUSACHS Y CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Amazona".Oil on canvas.Signed in the lower left corner.Attached label of the Barbié Gallery and Barrachina's label.It presents light Greek in the upper right corner.Measurements: 56 x 45 cm; 85 x 74 cm (frame).Cusachs captures here an equestrian portrait far from the rigour of the genre, seeking to transfer to the canvas a piece of everyday life, of reality. This is particularly reflected in the way he captures the movement of the horse, at a walk, with two legs raised and its head lowered to form an elegant curve. The lady, dressed in the clothes of a mid-19th century horsewoman, elegantly maintains her composure.José Cusachs was accidentally born in France, as his parents were travelling there, but his art and his life were always linked to two places: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he asked for retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that became Cusachs's favourite. Among military themes, this artist was particularly fond of cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, always obtaining great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is housed in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, the Jefatura de Artillería de Valladolid, the Galería de Capitanes Ilustres of Barcelona City Council and prominent private collections, such as the Santiago Gramunt collection.
Los 135
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923).Untitled.Oil pasted on board.Signed in the lower right corner.Size: 23 x 36 cm; 59 x 67 cm (frame).In this work inspired by Sorolla's painting, the artist shows us two small children immersed in the gentle swell of the sea waves. The artist resolves the scene through the use of a broad, fluid brushstroke and shapes the volumetry of the protagonists. Colour and matter predominate over the drawing, which Navarro Llores plays less of a leading role in favour of the atmospheric capture and the tactile values offered by the work. Both children seem to be introduced into the landscape in an organic way, forming an indisputable part of the atmospheric perception of the work, which stands out for its careful study of light.José Navarro Llorens turned to painting at an early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies, and he devoted himself to depicting local, North African and Orientalist themes, such as the one we present here. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He embarked for that purpose but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the local academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but was always deeply personal, linked to Navarrete's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Los 127
ELISEO MEIFREN ROIG (Barcelona, 1857 - 1940)."Sunset".Oil on panel.Signed in the lower right-hand corner.Measurements. 17 x 28 cm; 30 x 40 cm (frame).In this dedicated landscape Meifren recalls the work of Monet, surely influenced by the work "Impression of the Rising Sun". In both pieces one can appreciate the subtlety of the effects of light on the surface of the sea. However, Emigren configures the image with a very personal aesthetic language; diluting the colour more and dilating the brushstrokes.Eliseo Meifrèn is considered one of the first introducers of the Impressionist movement in Catalonia. He began his artistic training at the Barcelona School of Fine Arts, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to produce romantic landscapes of academic style. After completing his studies in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he became acquainted at first hand with "plen air" painting, which was to have a powerful influence on his Parisian landscapes of those years. It was also in Paris that he coincided with the public debut of Impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome, where he came into contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he took part in the Regional Exhibition in Valencia, where he won a gold medal. Back in Barcelona in 1880, he made his individual debut in 1880 at the Sala Parés in Barcelona, where he continued to exhibit regularly from then on. During these years he was a member of the Modernist group and frequented Els Quatre Gats. In 1883 he returned to Paris, where he produced numerous drawings and watercolours with views of the city and its cafés, which earned him a warm reception from the French critics and public. In the late 1980s he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centre de Aquarelistes. In 1888 he was also a member of the jury for the Universal Exhibition held in Barcelona. In 1890 he returned to the French capital for the third time, where he took part in the Salon des Beaux-Arts and the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group the previous year. In the following years Meifrèn submitted his works to numerous official exhibitions and competitions, including the National Exhibitions of Madrid and Barcelona, and was awarded third medals at the Paris Universal Exhibitions of 1889 and 1899, a silver medal at the Brussels Universal Exhibition of 1910, a grand prize at the Buenos Aires Universal Exhibition of the same year, a medal of honour at the San Francisco International Exhibition of 1915 and a grand prize at the San Diego Exhibition the following year. He also won the Nonell Prize in Barcelona in 1935. In 1952, Barcelona City Council dedicated a retrospective exhibition to him, held at the Palau de la Virreina. His initial landscapes, characterised by an academic and romantic concept, would later evolve towards an impressionist language; having abandoned Romanesque preciosity, his would be a technique of loose brushstrokes and a clear palette, in which the luminous conception approached symbolist premises, within the orbit of Modesto Urgell. He is currently represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.
Los 146
JOAN ROIG SOLER (Barcelona, 1852-1909)."Fishermen's House on the Catalan Coast".Oil on canvas.Signed in the lower right corner.Measurements: 44 x 64 cm; 67 x 87 cm (frame).Joan Roig captured in repeated occasions, coastal images that were close and known to him, revealing the lyricism of the daily work of the fishermen, or simply, capturing with his penetrating glance the Mediterranean light impregnating every corner of the coast, as in this peaceful landscape of a Catalan village. Here he shows a special sensitivity to light and atmosphere, and a treatment of range and matter with an Impressionist heritage.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the third medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Saragossa Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.
Los 86
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923)."Arab caravan".Oil on canvas.Signed in the lower right corner.Measurements: 80 x 140 cm; 110 x 170 cm (frame).This painting was made by José Navarro as a result of his trip to Morocco, a country whose landscapes and people would inspire him splendid paintings of caravans advancing through arid and wild orographies. The influence of Mariano Fortuny can be seen in the vitalism of the brushstroke, energetic and agile, based on vibrant touches of the brush which submerge us in the mystery of Arabia and North Africa, his is an energetic realism which converts light into a plastic and even tactile value, not only chromatic.José Navarro Llorens turned to painting at an early age and studied at the San Carlos School of Fine Arts in his native city. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. It would appear that Navarro never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he painted genre scenes and scenes of gallantry for fans. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the town's Academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but it was always deeply personal, linked to Navarrete's own way of understanding the world. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Los 61
JOSÉ MONGRELL TORRENT, (Valencia, 1870 - Barcelona, 1937)."Portrait of a Lady, 1894.Oil on canvas.Signed and dated in the lower right corner.Measurements: 56 x 38,5 cm; 80 x 63,5 cm (frame).José Mongrell studied at the School of Fine Arts of San Carlos in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He gained artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master what helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
Los 14
JOAN ROIG SOLER (Barcelona, 1852-1909).Vista de pueblo" ("Village View").Oil on canvas.Signed in the lower right corner.Size: 70 x 50 cm; 95 x 75 cm (frame).With his characteristic Mediterranean palette, Roig Soler captures the simple beauty of a corner of a village, with the warm lights glimmering on the old walls, skirting arches, stairs and narrow streets.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the Third Medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Zaragoza Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.
Los 31
JOAN GIL I GIL (Barcelona, 1900-1984)."Dancer".1946.Oil on canvas.Signed and dated in the lower left corner.Losses in the frame.Measurements: 100 x 80 cm; 120 x 101 cm (frame).Joan Gil began his training in Paris, to continue later at the Sant Jordi School of Fine Arts in Barcelona, where he later became a teacher. From 1924 onwards he took part in various group exhibitions, as well as in official competitions and contests, and was awarded prizes at the National Exhibitions of Barcelona in 1941 (third medal) and 1944 (second medal). He held his first individual exhibition in 1925 at the Galerías Layetanas. He exhibited there again in 1931, later exhibiting in many other galleries in Barcelona. In 1975 he held his last exhibition at the Gaudí gallery. Specialising in landscapes, portraits and dance themes, he cultivated a realistic language of Impressionist heritage, characterised by a special sensitivity for colour and light. Works by Joan Gil are kept at MACBA and at the Institut del Teatre.
Los 95
JOSÉ MONGRELL TORRENT (Valencia, 1870 - Barcelona, 1937)."Marina".Oil on canvas.Signed on the left side.Measurements: 50 x 70 cm; 81,5 x 102 cm (frame).The influence of his mentor Joaquín Sorolla can be appreciated in this magnificent painting by José Mongrell, but what is striking is a way of resolving the composition in which he himself was a master: with audacity, Mongrell has superimposed different levels of reality, from the fishermen's wives waiting in the foreground for their husbands to the bathers in the background, passing through the high society lady who enjoys a pleasant summer day. The framing is almost photographic, as it cuts out the boat on which the young woman is leaning with her basket, waiting to fill it with fish. On the left, the oxen can be glimpsed, ready to load the boats that are to dock on the coast. Multiple scenes are interwoven in the painting, worked with different levels of chromatic and luminous definition, in a faithful atmospheric rendering of the different planes. Valencian luminism reaches the highest levels here.José Mongrell studied at the San Carlos School of Fine Arts in Valencia, where he was a disciple of Ignacio Pinazo and Joaquín Sorolla. He achieved artistic renown thanks to his participation in numerous competitions and exhibitions in Madrid and Barcelona. In 1897 he produced, with great success, the bullfighting poster for the Feria de San Jaime in Valencia, and in fact his poster for the Valencia July Fair of 1912 was reissued in 1971 on the occasion of the centenary of these festivities. He obtained a teaching post at the San Jorge School of Fine Arts in Barcelona, where he lived for the rest of his life. Of particular note from this period is the work he did for the Palace of the Generalitat de Catalunya, in charge of the Diputació de Barcelona, as well as his portrait of King Alfonso XIII. He also produced mosaics in the Art Nouveau style, such as those for the great arch of the Mercado de Colón and the façade of the Estación del Norte, both in Barcelona. Mongrell devoted himself to genre scenes, portraits and landscapes, and was a master of capturing the instant, giving his scenes vitality and dynamism through bright, naturalistic colours and light. Traditionally pigeonholed as a disciple of Sorolla, Mongrell, however, only learned from the master that which helped him to extend his art. The painter developed his work somewhere between regionalism and modernism, but a certain French-influenced symbolism can also be seen in his work. In fact, Mongrell was characterised by his emphasis on content, attributing to the image a meaning that went beyond pure appearance. At a time when grand, idealistic and dramatic historical compositions prevailed, Mongrell developed a style of painting concerned with depicting the past and present from an everyday, gentle and picturesque perspective, generally far removed from the grandiloquence and theatricality of academic history painting. Despite his technical mastery, Mongrell did not, like others, fall into a refined mannerism at the service of an inconsequential subject matter, but developed a fully personal language, characterised by its dynamism and expressive freedom. José Mongrell is currently represented in the Museo de Bellas Artes San Pío V and the Museo Nacional de Cerámica y de Artes Suntuarias González Martí in Valencia, the Museo de Bellas Artes in Asturias, Badajoz and Pontevedra, the Museo Nacional de Arte de Cataluña, the Rijksmuseum in Amsterdam, the Museo de La Habana and the Museo de Bellas Artes in Buenos Aires, among others.
Los 1
Blunt (Wilfrid Scawen) The Land War in Ireland, first edition, signed presentation inscription from the author to the Franciscan Library at Crawley to endpaper, frontispiece portrait with light offsetting onto title, ink library stamp to title and endpaper, remains of label to endpaper, original buckram-backed boards, light toning to covers, 1912; Poetical Works, 2 vol., first edition, signed presentation inscription from the author as "Proteus" to endpapers, original cloth, light sunning to spine, light rubbing to extremities, 1914; and 3 others, Blunt, 8vo (6)
![[Gogarty (Oliver St. John)], "Gideon Ouseley". The Enchanted Trousers, first edition, presentation inscription "To James Step](https://cdn.globalauctionplatform.com/05398481-71a3-49b2-9201-aea700bb7aff/fb814a1b-1ca9-4ccd-80b5-aea700bf7500/468x382.jpg)
Los 10
[Gogarty (Oliver St. John)], "Gideon Ouseley". The Enchanted Trousers, first edition, presentation inscription "To James Stephens with the writer's homage" on title, some light spotting, original wrappers, some light marginal sunning light creasing to corners, light markings, 8vo, Dublin, [1919].⁂ A rare early play by Gogarty, Library Hub lists only 3 copies. With an excellent association, inscribed to Gogarty's good friend and fellow Irish writer, James Stephens.
Los 100
NO RESERVE Greene (Graham) T.L.s to Gilbert Miller, headed notepaper, Nov. 18, letter to Gilbert Miller, reading in part "I feel it would be well worth considering Patrick Hamilton as a dramatist for Brighton Rock. You remember Rope and Gas Light? He can put real horror into a play ..." horizontal fold to centre, small received ink-stamp with date in pencil, small pinhole to bottom left corner, overall in excellent condition, c.190 x 125mm., 1939.⁂ Gilbert Miller (1884-1969) was an American theatrical producer who served as director of the League of New York Theatres, as well as an officer of the Actors Fund. He also managed the St James's Theatre in London. Patrick Hamilton (1904-1962) was an English playwright and novelist whose most successful plays were 'Rope' and 'Gas Light' which were made into films, the first by Alfred Hitchcock in 1948.
![[Gogarty (Oliver St. John)], "Alpha and Omega". Blight. The Tragedy of Dublin, first edition, initialed presentation inscript](https://cdn.globalauctionplatform.com/05398481-71a3-49b2-9201-aea700bb7aff/d547301c-29d0-4e61-b095-aea700bffd9a/468x382.jpg)
Los 11
[Gogarty (Oliver St. John)], "Alpha and Omega". Blight. The Tragedy of Dublin, first edition, initialed presentation inscription from the author to James Stephens dated "8.I.18" on title, light marginal toning, original printed wrappers, spine broken, covers detached, light toning and some chipping to margins, 8vo, Dublin, The Talbot Press, 1917.⁂ Gogarty's scarce second published work with an excellent association, inscribed to his good friend and fellow Irish writer, James Stephens.
Los 111
NO RESERVE Hitchens (Christopher) Margaret Atwood, Salman Rushdie and others. The General, 1990; History, 1990, first edition, signed by various authors to their respective stories, illustrations, original wrappers, very light rubbing to spine ends, otherwise fine copies, and 4 others from the Granta Penguin series, also signed by some authors, 8vo (5) ⁂ Signatures include Christopher Hitchens, Margaret Atwood, Salman Rushdie, Allan Gurganus, Gore Vidal, Julian Barnes, Martha Gellhorn, Bill Bryson and others.
Los 114
Hughes (Ted) Adam and the Sacred Nine, number 45 of 100 copies signed by the author, title printed in blue and black, frontispiece by Leonard Baskin, original blue calf, light rubbing, t.e.g., others uncut, slip-case, [Sagar & Tabor A59], Rainbow Press, 1978; and an unsigned copy of Thom Gunn's Mandrakes limited edition, sm. 4to & folio (2)
Los 116
NO RESERVE Hughes (Ted) Selected Translations, signed presentation inscription from Carol Hughes to Roy Davids, original boards, dust-jacket, light sunning to spine, 2006 § Heaney (Seamus) Hailstones, original wrappers, Dublin Gallery Press, 1984 § Patten (Brian) The Unreliable Nightingale, original cloth, dust-jacket, fine, 1973, first editions; and 3 others, poetry, v.s. (6)
Los 118
Huxley (Aldous) Brave New World, upper hinge cracked but holding firm, spine gilt, very lightly sunned, slight shelf-lean, 1932; Mortal Coils, endpapers toned, spine sunned with paper label, label rubbed with some loss, 1922, first editions, some light spotting, mostly to first and last few leaves, original cloth, lightly rubbed, corners and spine ends bumped; with 2 other Huxley first editions, 8vo (4)
Los 12
Gregory (Isabella Augusta, Lady).- Mr. Gregory's Letter-Box, 1813-1830, edited by Lady Gregory, first edition, William Robert Gregory's copy with his ink ownership inscription to endpaper dated 4/3/'98, frontispiece portrait, title a little browned, some light marginal marking, 2 tipped-in newspaper clippings towards end, upper hinge weak, original cloth, light rubbing and fraying to spine tips and corners, 1898 § Hull (Eleanor, editor) The Poem-Book of the Gael, first edition, Lady Gregory's copy with her bookplate to front pastedown, and Autograph Note "With the author's compliment" tipped onto front free endpaper, original cloth, dust-jacket, some creasing and fraying to head and foot, 1912 § [Boyd (Ernest Augustus)] The Worked-Out Wad. A Sinn Fein Allegory, first edition, Lady Gregory's copy with her ink ownership inscription to title, browning to text, original wrappers, light toning, Talbot Press, 1918; and 8 others, Lady Gregory, including a Gregory family photograph and scrap album of children at Coole Park, 8vo & 4to (11)
![NO RESERVE Jansson (Tove).- [Dodgson (Charles Lutwidge)], "Lewis Carroll". Alice I Underlandet [Alice in Wonderland], first J](https://cdn.globalauctionplatform.com/05398481-71a3-49b2-9201-aea700bb7aff/5fe3bd9a-f8f4-44d9-9126-aea700c04086/468x382.jpg)
Los 122
NO RESERVE Jansson (Tove).- [Dodgson (Charles Lutwidge)], "Lewis Carroll". Alice I Underlandet [Alice in Wonderland], first Jansson edition, illustrations by Tove Jansson, some colour, original cloth, dust-jacket, light toning to spine and panel margins, chip to head of upper panel, 8vo, Stockholm, 1966.
![NO RESERVE Jansson (Tove) Bildhuggarens Dotter [Sculptor's Daughter], first edition, original cloth, dust-jacket, light tonin](https://cdn.globalauctionplatform.com/05398481-71a3-49b2-9201-aea700bb7aff/0c4e685c-2147-498d-b188-aea700c05d0f/468x382.jpg)
Los 123
NO RESERVE Jansson (Tove) Bildhuggarens Dotter [Sculptor's Daughter], first edition, original cloth, dust-jacket, light toning to spine and panel margins, 2 puncture marks to spine, small patches of surface abrasion to lower panel, a very good copy overall, 8vo, Helsinki, 1968.⁂ The author's first book for adults, a memoir of her childhood in Finland.
Los 124
NO RESERVE Kennedy (Ludovic) Ten Rillington Place, light dampstain to foot of jacket, 1961; The Trial of Stephen War, frontispiece, jacket chipped and creased at extremities with loss, 1964 § Ferrars (Elizabeth) The Double Dead, jacket with chipping to head of spine, 1963, first editions, original boards, dust-jackets; and 9 others, modern literature, 8vo (12)
Los 126
Lampedusa (Giuseppe di) The Leopard, jacket with spine very lightly toned, very small amounts of wear to spine and fold ends, 1960 § Greene (Graham) A Burnt Out Case, jacket with some light surface soiling to lower panel, extremities very light scuffed, 1961 § Newby (Eric) The Last Grain Race, black and white photographic plates, folding plate, some light foxing to preliminaries, light spotting to fore-edge, jacket with some repairs in paper, silk and tape to lower panel and extremities, light surface soiling, joints and folds a little rubbed, price-clipped, 1956, all first or first English editions, original cloth, dust-jackets; and 20 others similar, 8vo (23)
Los 127
Larsson (Stieg) Millenium series, 3 vol., first English editions, 2008-9 § James (P. D.) The Children of Men, 1992 § Rendell (Ruth) Road Rage, 1997 § Osman (Richard) The Thursday Murder Club, signed by the author, slight splitting to gutter at title, 2020, final three first editions, original cloth or boards, dust-jackets, some instances of light bumping and scuffing to spine and fold ends, a few with light sunning to spine, overall near fine; and c.105 others crime and thriller, mainly first editions, many signed by the authors, 8vo (c.110)
Los 128
Lawrence (T.E.) Revolt in the Desert, third impression, 16 black and white plates, spine slightly toned, ends a little bumped, uncut, browning to fore-egde, 1927 § James (P. D.) Death of an Expert Witness, jacket with tear at upper fold foot, small amount of chipping or wear to spine foot and other corners, 1977 § Greene (Graham) A Burnt-Out Case, bookplate to front endpaper, some light marginal foxing to initial ff., small amount of light soiling to covers, spotting to fore-edge, jacket with some light toning to spine, folds and edges, light wear to joints and corners, 1961, all first or first English editions; and 11 others, mainly 8vo (14)
Los 13
Hammer (Victor) Memory and her Nine Daughters the Muses, number 178 of 250 copies signed by Carolyn Hammer, bookplate of Colin Smythe to front pastedown, uncut, dust-jacket, light toning to spine, spine a little chipped at head, New York, 1957; Some Fragments for C.R.H., number 50 of 125 copies, uncut, dust-jacket, light toning to spine, New York, 1967 § Rothenstein (John) Victor Hammer. Artist and Craftsman, limited edition, prospectus loosely inserted, slip-case, Boston, 1978, original cloth or boards; and 5 others, Victor Hammer, v.s. (8)
Los 130
Le Carré (John) The Looking-Glass War, first edition, cut signature of the author to title, jacket price-clipped, very light sunning to spine, 1965; A Small Town in Germany, signed by the author on title, 1968; The Naive and Sentimental Lover, signed by the author on title, 1971, first editions, original boards, light bumping to spine tips and corners, dust-jackets, light rubbing and creasing to head and foot, 8vo (3)
Los 131
Le Carré (John) The Looking-Glass War, boards rubbed, jacket with sunning to spine and upper panel, minor chipping to spine tips and corners, light rubbing and creasing to head and foot, 1965; The Naive and Sentimental Lover, light bumping to spine tips and corners, jacket spine lightly sunned, spine ends and corners a little chipped and creased, 1971, first editions, signed by the author on titles, original boards, dust-jackets, 8vo (2)
![Le Carré (John) [The Karla Trilogy], 3 vol., comprising Tinker Tailor Soldier Spy, cut signature of Alec Guinness to page fac](https://cdn.globalauctionplatform.com/05398481-71a3-49b2-9201-aea700bb7aff/34e23fde-588f-410a-895c-aea700bfaf0e/468x382.jpg)
Los 132
Le Carré (John) [The Karla Trilogy], 3 vol., comprising Tinker Tailor Soldier Spy, cut signature of Alec Guinness to page facing title, jacket spine sunned, 1974; The Honourable Schoolboy, jacket with chip to head of spine, very slight sunning to spine, closed tear to foot of upper joint, 1977; Smiley's People, jacket with light sunning to spine, 1980, first editions, cut signature of the author to titles, original boards, some slight bumping to spine tips and corners, dust-jackets, a little rubbed and creased at head and foot, 1974-80; and a first edition Tinker Tailor Soldier Spy with a signed bookplate in a variant, possibly library, cloth, 8vo (4)
![Le Carré (John) [The Karla Trilogy], 3 vol., comprising Tinker Tailor Soldier Spy, first edition, ink ownership inscription t](https://cdn.globalauctionplatform.com/05398481-71a3-49b2-9201-aea700bb7aff/d7b474ea-874b-4584-b7b4-aea700bf1715/468x382.jpg)
Los 133
Le Carré (John) [The Karla Trilogy], 3 vol., comprising Tinker Tailor Soldier Spy, first edition, ink ownership inscription to endpaper, jacket spine sunned, 1974; The Honourable Schoolboy, fourth impression, signed presentation inscription from the author to Victor Ross on dedication p., 1977; Smiley's People, second impression, signed presentation inscription from the author to Victor Ross "with fraternal greetings!" to endpaper, jacket with light sunning to spine, 1980, original boards, dust-jackets, 8vo.
Los 134
Le Carré (John).- Knight (Maxwell) Talking Birds, cut signature of John Le Carré on title, illustrations by David Cornwell, photographic illustrations, original boards, dust-jacket, a few short tears to head and foot with some light creasing, a little rubbed, 8vo, 1976.⁂ Maxwell Knight worked as a spymaster at MI5 and was reputedly the inspiration for Ian Fleming's 'M' as well as for Le Carré's Jack Brotherhood in A Perfect Spy.
Los 135
Le Carré (John) The Honourable Schoolboy, first edition, signed by the author on title, map endpapers, original boards, light bumping to spine ends, dust-jacket, short nick to head of upper panel rubbing and creasing to head and foot, still excellent overall, 8vo, 1977.⁂ The second title in the Karla trilogy. There are two issues with either map or plain endpapers, seemingly without any established primacy.
Los 137
NO RESERVE Le Carré (John) The Little Drummer Girl, uncorrected proof copy, signed by the author on title, original printed wrappers, spine and top edge sunned, a few minor instances of light soiling, 1983; and 3 other first editions by the same, original cloth, dust-jackets, overall near fine, 8vo (4)
Los 138
Le Carré (John) Single & Single, first edition, signed presentation inscription from the author dated "2 Mar '99" on title, original boards, dust-jacket, light creasing to spine tips and corners else fine, 1999; and a signed second printing of the promotional "juggling" edition of the same, 8vo (2)
Los 145
Lee (Alan).- Tolkien (J.R.R.) The Hobbit, one of 600 copies specially bound and illustrated by Alan Lee, signed by the illustrator, 25 whole-page illustrations in colour, black and white vignette illustrations, original morocco-backed cloth, gilt, overall in fine condition, cloth slipcase, gilt, light surface scuffing, 4to, 1997.
Los 149
Lewis (Wyndham) The Diabolical Principle, jacket with very light toning to spine, minor chipping to spine tips and corners, else fine, 1931; Childermass. Section I, publisher's prospectus and promotional pamphlet loosely inserted, jacket with light rubbing to spine tips and corners, neat tape repair to head of spine verso, faint spotting, near-fine generally, 1928, first editions, original cloth, dust-jackets, 8vo (2)
Los 150
NO RESERVE Ludvigsen (Karl) Stirling Moss Racing with the Maestro, number 13 of 100 copies, signed by Stirling Moss and the author on half-title, black and white photographic illustrations, original rexine, g.e., slipcase, 1997 § Henry (Alan) Stirling Moss, signed by Stirling Moss on title, photographic illustrations, original cloth, dust-jacket, very light bumping to extremities, 2009, both first editions; and 2 others by or relating to Stirling Moss, 4to and 8vo (4)
Los 151
Mantel (Hillary) Every Day is Mother's Day, first edition, ex-library copy with endpapers removed, Essex Library bookplate to front pastedown, front hinge repaired, ink mark to half-title, stamps to title verso, marginal toning, original boards, dust-jacket with light creasing to extremities otherwise excellent, 8vo, 1985.⁂ The author's scarce first novel.
Los 152
Mantel (Hilary) Bring Up The Bodies,one of a limited edition signed by the author, original pictorial cloth, sealed in original cellophane wrappers, 2012; The Mirror & The Light, one of 500 copies signed by the author, original boards, dust-jacket, slipcase, sealed within original cellophane wrappers, 2020, both first editions; and a first trade edition of the first mentioned, signed by the author, overall in fine condition, 8vo (3)
Los 154
Marquez (Gabriel Garcia) One Hundred Years of Solitude, ink owners inscription and paperclip mark to endpaper, jacket with very light fading to spine, 2 short tears to head of upper panel, spine tips and corners rubbed, 1970; No One Writes to the Colonel, jacket with 2 short nicks to head of upper panel and rubbing to head of spine, 1971, first English editions, original boards, dust-jackets, 8vo (2)
![Palmer (Herbert Edward) The Judgment of Francois Villon [2 copies], one of 400 copies signed by the author, original vellum-b](https://cdn.globalauctionplatform.com/05398481-71a3-49b2-9201-aea700bb7aff/aec352c7-fc61-47d8-93c1-aea700c03afe/468x382.jpg)
Los 16
Palmer (Herbert Edward) The Judgment of Francois Villon [2 copies], one of 400 copies signed by the author, original vellum-backed cloth, dust-jacket, some very slight toning to spine, else fine, Hogarth Press, 1927 § Secret Springs of Dublin Song, number 410 of 500 copies, original cloth, light rubbing to extremities, 1918 § De Valois (Ninette) Come Dance with Me, author's own copy with her signed presentation inscription "Colin Smythe, With apologies for losing his copy & with pleasure to give him my copy!" to endpaper, plates, contemporary half morocco, gilt, spine sunned, 1957; c.45 others, literature, v.s. (c.50)
Los 160
Miller (Arthur) Death of a Salesman, first edition, ink ownership inscriptions to front endpaper, upper hinge starting, original pictorial cloth, spine and top edge very lightly sunned, first issue dust-jacket with the 'D' of 'Death' partially within the patch of yellow, price-clipped, small amounts of chipping to spine ends and corners, some light surface soiling and other light surface wear, 8vo, New York, 1949.
Los 163
Milne (A. A.) A Gallery of Children, number 460 of 500 copies signed by the author, 12 colour plates by H. Willebeek Le Mair, some light browning to endpapers, original pictorial cloth, gilt, t.e.g., others uncut, light toning to spine, some light finger-soiling but a good, bright copy generally, 4to, [1925].
Los 164
Milne (A. A.) The House at Pooh Corner, first edition, half-title, illustrations by Ernest Shepard, pictorial endpapers (a little browned), original pictorial pink cloth, gilt, light sunning, light bumping to spine tips and corners, dust-jacket, spine browned, spine ends and corners a little chipped with loss to first word of title at head of spine, light soiling and toning to covers, light creasing to head, 8vo, 1928.
Los 166
Milne (A. A.) The House at Pooh Corner, first edition, deluxe issue, half-title, illustrations by E. H. Shepard, pictorial endpapers, small bookseller's sticker to top corner of pastedown, original pictorial blue limp calf, light fading to fore-edges and spine, spine lightly rubbed, extremities rubbed and bumped, 8vo, 1928.
Los 167
NO RESERVE Morrison (Arthur) Tales of Mean Streets, first edition, signed presentation inscription from the author, to half-title, very light browning and spotting to endpapers, hinges weak or breaking, original cloth, a little rubbed, spine ends bumped, very lightly faded, 8vo, 1894.⁂ Rare signed copy of Morrison's first book, a collection of unfeigned tales of London's East End and working-class life.
Los 169
NO RESERVE Nevinson (C. R. W.) The Great War The Fourth Year, first English edition, A.L.s signed from the author replying to an editor at the London Evening Standard inviting Nevinson to contribute to an ongoing series which celebrates artists views, plates, contemporary ink ownership inscription to front free endpapers, very light foxing, largely affecting margins, original cloth-backed boards, spine ends bumped and frayed, 4to, 1919.⁂ Nevinson joined the army in the autumn of 1914 and went to Flanders as a mechanic and driver. Though he was invalided in 1916 he became one of the great war artists, producing some of the most unflinching and harrowing images of the conflict.
Loading...-
534297 Los(e)/Seite