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Preisdatenbank abonnierenCrane (Walter).- Spenser (Edmund) The Faerie Queene, edited by Thomas J. Wise, 6 vol., one of 1,000 copies, illustrations and decorations by Walter Crane, usual browning to endpapers, original pictorial cloth, gilt, some very light spotting or marking, but an unusually bright and fine set overall, t.e.g., others uncut, 4to, 1897
Crawhall (Joseph) Chap-book Chaplets, 8 parts in one vol., limited edition, numerous hand-coloured woodcuts by Crawhall, occasional light offsetting, prospectus bound in at end, modern half tan morocco, spine gilt, uncut, with all original hand-coloured wrappers on coloured paper bound in and prospectus at end, 4to, 1883.
Rackham (Arthur).- Shakespeare (William) A Midsummer Night's Dream, one of 1000 copies signed by the illustrator, 40 tipped-in plates by Arthur Rackham, illustrations, some light browning and occasional spotting, original gilt-stamped pictorial vellum, one silk tie detached, spine a little soiled, preserved in cloth slip-case with perspex cover to enable viewing of book front cover, 4to, London & New York, 1908.
Piper (John) & others.- Cunard (Nancy) & others. Salvo for Russia, [one of 100 copies], 4pp. letterpress poems, 10 etched/engraved plates by John Piper, John Banting, Julian Trevelyan, John Buckland Wright, Buckland Wright after Roger Penrose, Mary Wykeham, Ithell Colquhoun, Dolf Reiser, C.Salisbury and Geza Szobel, the Piper also with aquatint, on laid paper with "Hand Made" watermark, sheets c.230 x 160mm., all signed in pencil by the artist, most numbered HS or AP/14, some also titled, all but the Trevelyan and Szobel with light marginal foxing, tissue guards (foxed), text a little spotted and soiled at upper edge, loose as issued in original cloth-backed board folder with ties, blue printed paper label on upper cover, spine a little rubbed and faded, small 4to, [1942].⁂ Scarce and important British Surrealist portfolio produced in aid of the Comforts Fund for Women and Children of Soviet Russia. It includes John Piper's first published etching and John Banting's only etching.
Stourton Press.- Ouspensky (Peter D.) A Record of some of the Meetings held...between 1930 and 1947 [&] A Further Record chiefly of Extracts from Meetings held...between 1928 and 1945, together 2 vol., each one of 20 copies only (vol.1 number 1 and vol.2 number 3), vol.2 printed on thick paper, the printer's own copies with label "From the Library of B.Fairfax Hall" to front pastedowns, bound in dark green and black morocco respectively, red morocco labels, light mottling to some covers, vol.2 very slightly rubbed, 8vo, Cape Town, Stourton Press, 1951-52.⁂ Pyotr Demianovich Ouspensky (1878-1947) was a Russian philosopher and proponent of the esoteric teachings of the Greek-Armenian mystic George Gurdjieff. Benjamin Fairfax-Hall founded the Stourton Press in 1930 and issued many works on mysticism.
Gray (Thomas) Observations on a General Iron Rail-Way, or Land Steam-Conveyance; to supersede the necessity of horses in all public vehicles..., fifth edition, half-title, with folding engraved frontispiece, 2 plans and 2 plates, one folding, 1825 § Wood (Nicholas) A Practical Treatise on Rail-Roads, second edition, folding lithographed frontispiece, 10 plates, 7 folding, light foxing, 1831, both modern half dark maroon morocco, t.e.g., spines slightly faded, 8vo (2)⁂ The first was the final edition of Gray's work but the first to be published under his name. Gray was an enormously influential proponent of railways as a means of public transport and his work was held in high esteem, especially in the new state of Belgium where an integrated system of national railways was instituted using Gray's ideas. There is a street named after him in Brussels. This expanded fifth edition includes the only known appearance in print of Josias Jessop's two reports on the intended railway from the Cromford Canal to the Peak Forest Canal.Wood's work was also much expanded from the first edition as that offering had become completely out of date since its publication in 1825. It includes discussions on all the trials that had been held in the intervening period, and much else besides. Wood was a colleague of Stephenson and one of the foremost engineers of the first era of steam locomotion.
Whittington Press.- Butcher (David) The Whittington Press: A Bibliography 1982-93, with an introduction and notes by John Randle, number xi of 28 deluxe specially-bound copies with a set of tipped-in specimen pages and an additional portfolio of ephemera, from an edition limited to 380, specimens, plates and illustrations, some folding, a few printed with colours, original dark green morocco with willow frond in light green and blue morocco inlaid across boards and spine, by the Fine Bindery after Miriam Macgregor, natural reversed calf doublures, t.e.g., uncut, ephemera loose in original half cloth folder, together in original cloth drop-back box, morocco label on spine (slightly faded and with small stain), folio, Risbury, Whittington Press, 1996.
Guide (A) to the Norfolk Railway from Yarmouth to Ely..., first edition, folding lithographed map, modern half dark maroon morocco, with original printed green upper wrapper bound in (light soiled, slightly chipped at fore-edge), Norwich, Stevenson & Matchett, 1845 § Linton (John) A Handbook of the Whitehaven and Furness Railway, first edition, engraved plates, folding map at end (tear to inner edge repaired), original cloth, gilt, spine rubbed and faded, small stain to lower cover, London & Whitehaven, 1852 § Vale of Neath Railway. Rules and Regulations, third edition, original cloth, rubbed, spine faded, Neath, 1866, 8vo (3)⁂ The Norfolk line opened in 1845, this is therefore a very rare survivor from Norfolk's first railway connection to Ely, Cambridge and London. WorldCat lists just two copies, one in America and a sole defective example in the UK.Those who worked on the Vale of Neath Railway were obliged to sign a declaration printed at the end of the Additional Instructions, which is dated 1865. The first edition of the rules was printed when the line opened 1851 and changed again in 1855. It was a Brunel-designed broad gauge line later becoming mixed gauge when a third rail was added.
Hill (David Octavius) Views of the Opening of the Glasgow and Garnkirk Railway, also, An Account of that and other Railways in Lanarkshire. Drawn up by George Buchanan, Esq., Civil Engineer, first edition, engraving of locomotive on verso of title, 4 superb lithographed plates by Hill, lithographed map at end, Lanarkshire Railways section with 7 lithographed illustrations on india paper mounted in text, erratum slip tipped in at p.9, plates very slightly creased and frayed at edges, text and map with very light foxing, short insect track to lower margin of plates repaired, later half red morocco, spine gilt, original grey printed wrappers bound in, boards slightly rubbed and stained, rubbed at edges, [Abbey, Life 403, coloured copy], large oblong folio, Edinburgh, Alexander Hill, 1832.⁂ Scarce work rarely found complete and with the original wrappers, with superb lithographed plates by the Scottish landscape painter and early photographer. It depicts an early railway mainly for the transport of coal, at first using horse power but quickly adapting to steam using an early Stephenson Planet type engine. On the opening day "the one engine, the St Rollox, conveyed the directors and a number of ladies and gentlemen, to the amount in all of nearly 200; the other, the George Stephenson, drew a train of thirty-two waggons loaded with coal...". (p.8) "The book was issued plain and coloured, and can be claimed as one of the rarest and most attractive of railway items". (Abbey)
Moreau (P.) Description Raisonnée et Vues Pittoresques du Chemin de Fer de Liverpool a Manchester, edited by Auguste Notré, first edition, half-title, folding engraved map, 2 folding engraved plates of rails and locomotives and 9 engraved views by Ollivier on india paper and mounted, light foxing, bookplate of J.J.Haut, handsome contemporary dark maroon boards with elaborate foliate border in gilt and "A Son Altesse Le Prince Royal" to upper cover, spine gilt, uncut, a little rubbed, spine faded, 4to, Paris, 1831. ⁂ A lovely copy of this attractive book, which demonstrates how quickly British advances in railway science were appreciated on the continent. This copy with a bold inscription to the popular Prince Royal, the young and dashing Ferdinand-Philippe d'Orléans.
Simms (Frederick W.) Public Works of Great Britain, 4 parts in 1, second edition, 2 aquatint frontispieces, engraved vignette title, aquatint illustration in text, wood-engraved vignettes and engraved plates and plans (all amounting to 153 "plates" as mentioned on title), a few plates folding or double-page and numbered twice, a few with aquatint, some light foxing, plate 78 soiled and damaged at fold with slight loss, contemporary half morocco, rubbed, [Abbey, Life 410], folio, 1846.
Smeaton (John) A Narrative of the Building and Description of the Construction of the Edystone Lighthouse with Stone, first edition, engraved title-vignette by Birrell after Dixon and 23 engraved plates and charts by Faden, Roberts, Record and Rooker, one folding, title with marginal soiling, light staining to plate 17 and spotting to one or two at end, a few pencil marginalia, bookplate of Institution of Naval Architects, later half calf over original marbled boards, uncut, rubbed, joints and spine ends worn, spine torn at head, folio, for the Author, by G.Nicol, 1791.⁂ Smeaton's own account of his great lighthouse, completed in 1759. His tower was the third on the treacherous Eddystone reef, 14 miles off the the Plymouth coast. The two earlier timber structures, by Winstanley and Rudyard, had both been destroyed. Building with masonry, Smeaton devised an ingenious method of dovetailing and interlocking the blocks of stone to ensure maximum strength, and his example was followed for later rock towers. The work contains a detailed, season-by-season account of the construction, revealing the appalling difficulties encountered on the site. It includes descriptions of the stonework, of experiments to ascertain the best composition of hydraulic cements, of machinery and lifting tackle, and accounts of Winstanley and Rudyard's structures. In the appendix, Smeaton describes the construction of the Spurn Point lighthouse on the Humber bank, which was built to his design between 1771 and 1776.
Bradshaw (George) Map & Sections of the Railways of Great Britain..., folding hand-coloured engraved map, c.1650 x1400mm, dissected and mounted on linen, some light offsetting, folding into contemporary straight-grain morocco with accompanying 31pp. 'Tables of the Gradients...' bound in at beginning, rubbed, rebacked in cloth preserving old spine (faded), new front endpaper, tall 8vo, Manchester, 1839.
Smeaton (John) Experimental Enquiry concerning the Natural Powers of Wind and Water to turn Mills and other Machines depending on a Circular Motion, second edition, 2 folding letterpress tables, 5 folding engraved plates, 1796 bound with Venturi (J.B.) Experimental Enquiries concerning the Principle of the Lateral Communication of Motion in Fluids, first edition in English, 2 folding engraved plates, 1799, together 2 works in 1 vol., ink signature to head of title, light spotting, bookplate of Institution of Naval Architects, contemporary half calf, rubbed, rebacked preserving old spine § Smeaton (John) Reports..., 3 vol., first edition, engraved portrait, plates and plans, foxed, contemporary half calf, rubbed, lacking most corner-pieces, rebacked, 1812, 8vo & 4to (4)⁂ The first work is a collection of various reports on hydrodynamic subjects, here, as is sometimes the case, bound with Venturi's work on broadly the same subject. Venturi made an important discovery in this field on the variation of water pressure after constricted flows which became known as "The Venturi Effect". The last work shows the extraordinary range of Smeaton's achievements inventions and projects, collected from his papers which Joseph Banks acquired after Smeaton's death. Banks part-funded this impressive printed memorial to the "Father of Civil Engineering".
Tredgold (Thomas) Traité des Machines a Vapeur, translated by F.-N.Mellet, 2 vol. including Atlas, second, expanded, edition, text with half-title, Atlas with 25 engraved plates, some double-page, final plate torn and repaired, foxed, contemporary green morocco-backed boards, gilt, rubbed, spine of Atlas torn, upper cover detached, Paris, 1837 § Seguin (Marc, aîné) De L'Influence des Chemins de Fer et de l'Art de les Tracer et de les Construire, first edition, signed and inscribed by the author to the Minister of Public Works on half-title, 6 folding plates, light spotting, Paris, 1839 § Nothomb (Baron J.B.) Travaux Publics en Belgique 1830-1839. Chemins de Fer et Routes Ordinaires, second edition, 37 folding tables, Brussels, 1840, the last two modern half dark maroon morocco, t.e.g., spines slightly faded; and another, 8vo (5)⁂ Marc Seguin was one of the foremost engineers of the day; his boiler had been used on Stephenson's Rocket engine, and he was one of the two principals behind France's first railway between St Etienne and Lyon. The third item concerns Belgium which, after the U.K., was the first to adopt rail transport in any significant way. It was the first country to have a national rail network, and beyond the economic benefits their development was seen as a key element in forging the identity of the new state founded in 1830.
A Royal Albert 'Old Country Roses' tea and dinner service comprising tea pot, milk jug, sugar bowl, six teacups, seven saucers, six side plates, eight 10.5" dinner plates, a 9.5" serving bowl and six 5.5" bowls.Condition report: This service has seen very little wear and is in very good condition. No noticeable damage, chips or cracks. Some light staining in the teapot that could be easily cleaned, but no major condition issues.
A Royal Albert 'Old Country Roses' tea service comprising tea pot, milk jug, sugar bowl, six teacups, six saucers and six side plates, together with two pin trays and one other dish.Condition report: Good condition and very has seen very light use. No obvious chips or cracks, Very light staining to teapot but no discernable damage.
A vintage bottle of Ballantine's finest Scotch Whisky, retaining original tissue wrapper, together with four bottles of 'Red Monogram' Liqueur Scotch Whisky (5)Condition report: Images of fill levels on David Lay website. Liquid appears clear when held up to light, small amounts of debris/sediment at bottom of bottles.
A pine bookcase, with a pair of glazed doors above two short and two long drawers, height 196cm, width 138cm, depth 45cmCondition report: Drawers run smoothly. Condition is good, feels sturdy, no obvious areas of concern. The surface has a light layer of mildew which rubs off. See photos now online
A light oak Cotswolds style gateleg supper table, the oval twin flap top raised on narrow supports, height 72cm, width 92cm, depth 91cm.Condition report: The hinges on both sides of the table are seized and will not allow the flaps to be raised. Split on one flap with chips, some staining. Extra images on David Lay website.
A pair of George III style green leather wing armchairs, by Wade, with a button back, padded and arms and seat on square moulded legs, height 115cm, width 82cm, depth 72cm.Condition report: Structurally the chairs are solid and sound. Some small staining on arms to leather. No tears or splits, some small areas of light scratching. Evidence of some mildew so will need a clean. Height to seat 45cm. Extra images on David Lay website.
Harvey Guzzini, A 1970s chrome floor lamp, with butterscotch acrylic globe shade, on a chrome stand, remnants of label to shade, overall height 169cm.Condition report: The shade as a couple of minor scratches that can only be seen with at close inspection. The pitting on the chrome is on the base only. The light is functioning perfectly .
A 1970s butterscotch acrylic light shade, possibly by Harvey Guzzini, with chrome mounts, total diameter 35cm.Condition report: Condition good. Light scratches to the acrylic. A little corrosion to the chrome but no serious areas of concern. We are unable to confirm what sort of lamp it should be used with. Please see extra photos.
An Art Deco period three-piece light garniture, pink glass and metal, comprising triple shell pendant centre light fitting, and a pair of matching wall lights.Condition report: This British-made light garniture is in very good condition, with only small one millimetre chips from where the pink glass shells attach to the metal light fitting, which would be unseen once attached.Both wall lights are 30cm wide, 22cm high, 13cm depth.The triple shell pendant has a diameter of 32cm and a depth of 18cm.The shape of this garniture has proven to be difficult to measure. As a consequence these measurements are an approximation to 1cm.
Arts & Crafts walnut collector's cabinet, a single door with acanthus carved panel enclosing three drawers. Height 35cm, width 38cm, depth 22.5cm.Condition report: There has been a repair to the bottom skirting. There is some light scratching and wear that in no way diminishes the cabinet. The drawers move smoothly, the lock works and the door closes properly. The precision and proportions of this cabinet make this a satisfying object to admire.
A Foley Intarsio pottery model of a longcase clock, designed by Frederick Rhead, colour decorated with an Art Nouveau lady blowing dandelions, inscribed "Prithee Whats O'Clock", printed marks and number 3116, height 32.5cm.Condition report: There is a small chip to the back left corner of the base. No evidence of any other damage or repair. Some general light crazing. The green glaze has 'missed' slightly to the edge of the foot. The movement is stamped 'Mercedes made in Germany' and although it ticks when wound we can offer no guarantee of its condition. It may be a replacement.
A Spode porcelain twin-handled rectangular basket, circa 1820, the blue ground decorated with gilded dots and painted floral sprays within reserves, painted marks and numerals 2956 to base. Height 7cm, width 28.5cm.Condition report: Light wear to the gilding on basket handles. Two small crack onthe reverse: one across the tip of leaf decoration, the other 1cm long approx, but not serious. No other obvious condition issues.
A Coalport cup and saucer, painted and gilt in imari colours with figures beside a bridge and a cottage, the saucer 14cm diameter, together with a similar can.Condition report: A fleck of gilt ground 1mm in size rubbed off of the surface of the plate. Potential restoration when viewed under UV light, unrecognisable to the naked eye.
An Art Deco period Crown Devon figure, height 17.5cm, together with a ceramic figure group of a mother and child, incised marks to base, a pottery vase with leaf motif to rim, and one other vase (4).Condition report: Crown Devon Figure - repairs visible to neck, waistline and where the outstretched arm is holding the apron. Crazing throughout. Mother and Child - fritting to base, crazing throughoutBlue vase - crazing visible to pale areasVase with prunus decoration - crazing and light surface scratches, some wear to gilded footrims
David Bomberg (British, 1890-1957)The Old City and Cathedral, Ronda signed and dated 'Bomberg 35' (lower left)oil on canvas64 x 76.1 cm. (25 x 30 in.)Footnotes:ProvenanceAsa LingardSale; Jackson-Stops, Cirencester, 1-2 May 1957, lot 149, where purchased byMrs E. C. Bowes, thence by family descentPrivate Collection, U.K.ExhibitedLondon, Tate Gallery, David Bomberg 1890-1957: Paintings And Drawings, 2 March-9 April 1967, cat.no.61 (as Ronda); this exhibition travelled to Hull, Ferens Art Gallery, 22 April-13 May, Manchester, City Art Gallery, 20 May-10 June, Bristol, City Art Gallery, 17 June-8 July, Nottingham, Castle Museum and Art Gallery, 15 July-5 August 1967 Looking at this prime example of David Bomberg's Spanish paintings is like accepting an irresistible invitation. Here, in 1935, he encouraged viewers to explore the most ancient part of a city which had captivated him immediately when he discovered it a year earlier. Once Bomberg settled in Ronda with his family, 'he painted day after day, without much of a pause' according to his partner Lilian. Enthralled at first by what he described as 'the gorge -- a stupendous rent' splitting the city at its very centre, Bomberg then committed himself to exploring Ronda's awesome and inexhaustible identity.Taking a vantage which leads our eyes towards the heart of the old quarter, he reveals the full extent of his fascination. At the bottom of this canvas, two female figures can be detected standing next to a doorway. The older woman stretches out an arm and, with a maternal gesture, clasps the young one beside her. Either waiting for someone to arrive or simply savouring the view, they are the only people detectable in Bomberg's painting. As its title suggests, The Old City and Cathedral, Ronda focuses on buildings rather than their inhabitants.In the same year, Bomberg executed a powerful charcoal drawing called Rooftops, Ronda from almost the same viewpoint, disclosing just how fascinated he felt when gazing down at the tight-knit structure of the architecture congregated around the historic cathedral in the distance. This large drawing, included in a major celebratory exhibition of Bomberg's career held at the Daniel Katz Gallery in 2007, testifies to his eloquent draughtsmanship. And the painting, doubtless created soon after he completed the charcoal study, proves that he was eager to capture the old city with brush in hand.Although Bomberg remains faithful to Ronda's identity throughout this canvas, there is no hint of topographical dullness anywhere. On the contrary: the marks enlivening his painting have a life of their own. He revels in the dramatic contrast between one side of his composition and the other. On the left, the foreground buildings are relatively dark. Viewed close-to, the freedom of Bomberg's brushstrokes makes us realise how far he is prepared here to push himself towards abstraction. He handles the pigment with surprising forcefulness, giving the thick paint an exemplary sense of dynamism and excitement. Whereas on the right, the tall foreground house asserts its substance even while appearing far paler, as if preparing to dissolve in the dramatic brightness of the light.Bomberg, a Londoner who had grown up in the grime of a smoky and polluted East End, was enchanted by the sun's potency in Spain. It transformed his vision of the world, and the potency of light is evident throughout The Old City and Cathedral, Ronda. Wherever we look, the luminosity emanating from the sky plays a crucial role in defining the buildings below. The pale house on the far right is alive with deft and subtle diagonal shadows cast by the roof and the window-sills below. Then suddenly, further along the sloping street leading deep into the city, sunshine hits at least two more houses. Doors and windows are painted with extraordinary liberty as our eyes pursue them down the street. Bomberg clearly relishes treating them as a sequence of energetic, vertical paint-strokes. They take on a near-abstract vivacity and independence. So does the curving surface of the street itself, evoked with generously loaded swipes of his brush. We share the artist's relish as he claims the freedom to summarise the essence of Ronda in such an emancipated way.Alongside this emphasis on freewheeling vividness, though, Bomberg also conveys his awareness of the city's vulnerability. As he lets us penetrate the tightly-knit clusters of buildings in the distance, we become aware of their poignant fragility, too. Ronda's allure had seduced him into staying there, but he remained acutely conscious of the ravine plunging downwards at the city's heart. In the most distant part of this painting, the land suddenly rears up on the left and proclaims the presence in Ronda of what Bomberg himself described as 'the amphitheatre of mountains by which it is surrounded.' This city had been erected in an intensely dramatic location, and the sheer strength of its surroundings is asserted in this area of his painting. The mountain looms over the city, forever reminding all its inhabitants of the geological violence which must once have created the immense fissure running through Ronda.That is why the near-silhouetted bulk of the cathedral itself makes such an assertive contribution to Bomberg's painting. He gives the spire a thrusting prominence by ensuring that the patch of sky directly behind it is very pale indeed. Later in his life, Bomberg was sufficiently impressed by the architecture of St. Paul's Cathedral in London to make several outstanding drawings of its near-miraculous ability to survive Nazi bombs during the Blitz. He subsequently drew Notre Dame's spires and towers in Paris as well as the side façade of Chartres Cathedral. So although Ronda's cathedral occupies a distant position in Bomberg's painting, he made sure that its impact is assertive. Undisturbed by the restlessness evident in the sky all around, this cathedral presides over Ronda's historic city with unequivocal strength and assurance. The linear elegance of the spire is equally impressive, asserting its poised presence in the air while the secular buildings below almost seem to be jostling with each other in a far more confined space.Looking at The Old City and Cathedral, Ronda today makes us realise how much stimulus and sustenance Bomberg gained by painting it. In 1935 he also became a father here, for the first and only time in his life. Lilian recalled that the birth made him 'very worried and frightened all the way through', especially at the alarming moment when 'the baby was born purple and black because she was tangled up with the umbilical cord.' But little Diana survived, and Bomberg then ecstatically declared she was 'the loveliest thing one could wish for.' Ronda occupied such a special place in his life that he returned there in 1954, executing many of his finest late paintings and drawings before a terminal illness prompted his reluctant, gruelling return to England three years later. Seen in this light, The Old City and Cathedral, Ronda can be viewed above all as a celebratory painting, executed with admirable verve by an artist who had fallen in love with Spain. We are grateful to Richard Cork for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
John Nash R.A. (British, 1893-1977)Llangennith Panorama signed 'JOHN NASH' (lower right)oil on canvas71.2 x 91.5 cm. (28 x 36 in.)Footnotes:ProvenanceWith Thomas Agnews & Sons, London, 22 April 1969, where purchased byPrivate Collection, U.K.Their sale; Duke's, Dorchester, 26 September 2019, where purchased by the present ownerPrivate Collection, U.K.Llangennith Panorama is a large work by John Nash and presents a sweeping view of the countryside and coast in this favoured part of the Gower Penninsula, South Wales. The artist was consistently drawn to locations of outstanding beauty and first visited the area in 1939 with his wife, who assisted him in finding suitable locations to paint. In the present work Nash depicts a pleasing and suitably complex arrangement of agricultural buildings in the immediate foreground, flanked by a tall, bare tree, which allows for a detailed study of the partitioned fields in the middle ground with their subtle variance of colour and shape. This leads into the protective dunes of Rhossili Bay, with the tidal island of Burry Holms just visible to the right, that give way to the vast expanse of sea that is shrouded in capably handled cloud cover and delicate light. The observation of a 'working countryside' and the natural landscape were important to Nash who juxtaposes them to great effect in Llangennith Panorama.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Elisabeth Frink R.A. (British, 1930-1993)Mirage II signed and numbered 'Frink / 4/5' (on the base)bronze with a dark brown patina91.4 cm. (36 in.) highConceived in 1967Footnotes:ProvenanceWith Osborne Samuel, London, where acquired byPrivate Collection, U.K.Their sale; Bonhams, London, 18 November 2015, lot 56, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Elisabeth Frink, 11 October-4 November 1972 (another cast)Wakefield, Yorkshire Sculpture Park, Elisabeth Frink: Open Air Retrospective, 21 July-14 November 1983 (another cast)London, Royal Academy of Arts, Elisabeth Frink, Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Hong Kong, The Rotunda, Exchange Square, part of Hong Kong Festival, Elisabeth Frink: Sculpture & Drawings, 31 January-31 March 1989 (another cast)Washington, The National Museum for Women in the Arts, Elisabeth Frink: Sculpture and Drawings 1950-1990, 1990 (another cast)London, Beaux Arts, Frink: Sculpture, Drawings and Prints, 1998 (another cast)London, Beaux Arts, Frink, 2006 (another cast)London and Bath, Beaux Arts, Frink, 2009 (another cast)LiteratureEdwin Mullins, The Art of Elisabeth Frink, Lund Humphries, London, 1972, cat.no.91 (ill.b&w., another cast)Jill Wilder, Elisabeth Frink, Sculpture Catalogue Raisonné, Harpvale, Salisbury, 1984, p.171, cat.no.162 (ill.b&w., another cast)Annette Ratuszniak, Elisabeth Frink, Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, London, 2013, p.108, cat.no.FRC187 (ill.b&w., another cast)Like her contemporaries whose work of the period was generalised under the term 'Geometry of Fear', Frink in the late '50s and '60s engaged with the heavy sense of dread that came from living in a newly nuclear-enabled world. She called upon the symbolism of birds as harbingers of this potential catastrophic violence. They appeared as blinded, sharp-beaked aggressors, distorted and stalking which took on an archaic form and crowed towards unknown horrors. This brutal aesthetic dominated her output until 1967 when she moved to the south of France. The light brighter and the air warmer, her entire output shifted accordingly. The Mirage works were the first bird pieces produced there and although they retain many similar qualities to their predecessors, they are decidedly more evolved. Inspired by local flamingos, which when viewed from afar in intense heat, became distorted by mirage to become even more slender, the sculptures' surface becomes smoother and more finessed and the form sleeker and more stylised.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Dame Elisabeth Frink R.A. (British, 1930-1993)Horseman signed and numbered 'Frink 5/6' (on the rear left hoof)bronze with a light green patina83 cm. (32 5/8 in.) highConceived in 1984Footnotes:ProvenanceWith Beaux Arts, London, circa 1984, where purchased by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy, Elisabeth Frink: Sculpture and Drawings 1952-1984, 8 February-24 March 1985 (another cast)Wiltshire, Salisbury Cathedral and Close, Salisbury Library and Galleries, Elisabeth Frink: A Certain Unexpectedness, 10 May-7 June 1997 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.182, cat.no.SC2 (ill.b&w, another cast)Annette Ratuszniak, Elisabeth Frink; Catalogue Raisonné of Sculpture 1947-93, Lund Humphries, Farnham, 2013, p.166, cat.no.334 (ill.b&w, another cast)As Edward Lucie-Smith observed in 1994, 'one of Frink's best-known images is Horse and Rider (1974), commissioned by Trafalgar House and situated on the corner of Piccadilly and Dover Street in central London. Thousands of Londoners pass it every day, and it is one of the very few contemporary public sculptures in London that seems to be liked and appreciated by the public'. (Elisabeth Frink; Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.50).Whilst Frink's varied and extensive output has since been the subject of at least seven major museum exhibitions, many more gallery shows and several publications including a complete catalogue raisonné, it remains the case that in the public's mind the motif of horse and rider is still synonymous with Frink. Considering that she sculpted many more horses without riders, it is testament to the power of such an emotionally accessible motif that such works are so indelibly etched on our perception of her sculpture. This has only been further reinforced by the relocation of the above mentioned commission to the more prominent location of number 1 New Bond Street. The present variation of the horse and rider is described by Lucie-Smith as 'The most striking treatment of this motif from her last decade... intense and deeply felt.' (ibid). He elaborates that 'unlike nearly all her previous riders, this one is clothed. He wears bulky garments, and his head is enveloped in a hood. His features are much more individualized than is the case with Frink's nude horsemen: the spectator feels that he or she is in the presence of a real person. This impression is reinforced by the way in which the posture as well as the features are scrutinized. The rider sits on his horse very easily and confidently. His shoulders are slightly slumped but the impression he makes is one of great alertness. Face and posture alike make it probable that the sculpture was inspired by her third husband, Alex Csáky. Csáky came from an aristocratic Hungarian family; the history of Hungary was, so to speak, in his blood. Horseman could be read as a representation of a nomadic Magyar rider, roaming the Hungarian plains, only half-civilized, always on the lookout for conquest.' (ibid.)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
* ROBERT SARGENT AUSTIN RA PRWS PRE (BRITISH 1895-1973) THE BALLET DRESS watercolour on paper, signed; titled verso 52.5cm x 59cm Mounted, framed and under glass Note: Robert Austin's watercolours very rarely appear at auction, anywhere. Note 2 : Robert Sargent Austin’s talent was first recognised publicly, as a precocious eight year old, when he successfully submitted work to the Royal Drawing Society in his hometown of Leicester. His friends would later say that art became to him as essential as breathing, and this early success marked the beginning of a daily drive to draw, paint and etch that would mould him into the artistic force that he became. Natural talent led to his enrolment at the Leicester Municipal School of Art in 1909, from where he won a scholarship to the Royal College of Art in 1914. In London, serious, patient, comprehensive study of life drawing was the first discipline taught and can be singled out as the experience that most influenced his uncompromising attitude to learning and practising art. The First World War interrupted his progress; he served as a gunner in the Royal Artillery from 1915-1919, however the delay meant that he became a pupil of the famous etcher, Sir Frank Short, when he resumed his studies. Robert Sargent Austin’s career was notable for the ease with which he perfected different artistic techniques, and his etchings under Sir Frank Short were so proficient that he won a scholarship to the British School in Rome in 1921. In Rome he befriended and worked with Charles Murray (see lot 114). This was an unrivalled opportunity to be immersed in Italian artistic culture and if his methodology was formed at the Royal College of Art, then his style was most influenced by this period of discovery. Through extensive travel around the country and careful study of the landscape and paintings, particularly the prints of the Old Masters, he found a source of influence that perfectly suited his own exacting practice of art. Additionally this also convinced him that line engraving was more suited to his temperament than etching. Mastering this new technique with ease he returned to England in 1926, a married man since 1923, and took up the post of Professor of Engraving at the Royal College of Art. He held this post until 1944 and the teaching of art quickly became as important to him as its practice. Pupils remember him as tough, frightening and often brutally honest, but found him an inspirational, dedicated teacher who would devote himself to students that showed enthusiasm. He was interested only in the execution of art; when he was given his new college name-plate he hung it over his lavatory door at home, highlighting a lifelong disinterest in the aggrandisement of ‘Art’ and its multifarious pretensions. A former pupil remembers him saying “We can talk about Art later, let’s find out how to draw first.’ He was promoted to the role of Head of Graphic Design at the Royal College of Art in 1948, but turned down the position of Principal as he wanted to remain an artist not an administrator. Robert Sargent Austin’s purchase of a studio at Burnham Overy Staithe, Norfolk, in 1935 and the lives of his three children most influenced the content of his output. The Norfolk wildlife fascinated him (he particularly adored birds) and the landscape he found there stirred him to paint; his family remember him rising before dawn most days to capture the summer light at its purest between five and seven. The activities of his growing children, both in Norfolk and London, were his other constant source of artistic subject matter as the selection in this show demonstrates. During the Second World War he was appointed official war artist to the Royal College of Art at Ambleside and his art became temporarily dominated by the Woolwich Arsenal, nurses, fighter pilots and other workers, particularly women, whom he felt were under represented in the War effort. The Imperial War Museum now holds thirty four of these pieces. The 1940s and 50s were dominated by a series of prestigious appointments and commissions in recognition of his prodigious talent. He was elected to the Royal Academy in 1948, made President of the Royal Watercolour Society in 1956 and asked to design the Bank of England’s new bank notes in the same year. In 1962 he was also elected President of the Royal Society of Painter-Etchers. Essentially a humble man, he remained devoted to art for its own sake, uninterested in selling it or even receiving approval from others. Despite this, his pictures are now held in the collections of the Tate Gallery, The Victoria and Albert Museum, The Fitzwilliam Museum, The British Museum and The Ashmolean Museum and a huge retrospective of his work was held at the latter in 1980.
EDMUND THORNTON CRAWFORD RSA RSW (SCOTTISH 1806 - 1885), ON THE FARM oil on canvas, signed 46cm x 61cm Framed Note: Crawford was a landscape and marine painter, born at Cowden, near Dalkeith, in 1806. He was the son of a land surveyor, and when a boy was apprenticed to a house-painter in Edinburgh. He entered the Trustees' Academy under Andrew Wilson, where he had fellow-students David Octavius Hill and Robert Scott Lauder. William Simpson, who was one of the older students, became a close friend. Crawford's early paintings were exhibited in the Royal Institution, and his first contributions to the annual exhibition of the Royal Scottish Academy appeared in 1831, two of these being taken from lowland scenery in Scotland, and the third being the portrait of a lady. Although not one of the founders of the Academy, Crawford was one of its earliest elected members. His name appears in the original list of associates, but having withdrawn from the body before its first exhibition, it was not until 1839 that he became an associate. Meanwhile he visited Holland for the first of what would be several times. He studied the Dutch masters, whose influence in forming his picturesque style was seen in nearly everything he painted. Despite acclaim and commercial success it was 1848 before he was elected a full academician. In the same year he produced his first great picture, ‘Eyemouth Harbour,’ which he rapidly followed up with other works of high quality which established his reputation as one of the greatest masters of landscape-painting in Scotland. Among these were a ‘View on the Meuse,’ ‘A Fresh Breeze,’ ‘River Scene and Shipping, Holland,’ ‘Dutch Market Boats,’ ‘French Fishing Luggers,’ ‘Whitby, Yorkshire,’ and ‘Hartlepool Harbour.’ He also painted in watercolours, usually working on light brown crayon paper, and using body-colour freely. The only picture he contributed to a London exhibition was a ‘View of the Port and Fortifications of Callao, and Capture of the Spanish Frigate Esmeralda,’ at the Royal Academy in 1836. The characteristics of his art are the old school of Scottish landscape-painting. This was not so realistic in detail as the modern school, but was perhaps wider in its grasp, and strove to give impressions of nature rather than the literal truth. In 1858 Crawford left Edinburgh and settled at Lasswade, but he continued to contribute regularly to the annual exhibitions of the Academy until 1877, maintaining to the last the high position he had gained early in life. He was at one time a keen sportsman with both rod and gun. He died at Lasswade 27 Sept. 1885, ‘Coast Scene, North Berwick,’ and ‘Close Hauled; Crossing the Bar,’ by him, are in the permanent collection of the National Gallery of Scotland and a further nineteen works are held in UK public collections.
* JOHN HALLIDAY (SCOTTISH b 1933 - ), PARACHUTE JUMPING IN THE PARK oil on board, signed and dated '74 49cm x 75cm Framed Provenance: Acquired by the vendor at the Fine Art Society exhibition 1974. Private Edinburgh collection. Note: Born in Kirkcudbright's Atkinson Place in 1933, John Halliday now lives, nearly ninety years on, two doors along from the house in which he was born. In the intervening decades, his restless life has been one of exploration: creatively, culturally, geographically and personally. Born into a family background where a career in art was not a likely or realistic prospect, Halliday found himself leaving Kirkcudbright Academy at the age of sixteen to take up work as a trainee on the local Galloway News. And there the story might well have ended. But a benign fate, never far away in the Halliday life story, began to take a hand in events. In 1948, Cecile Walton, daughter of the celebrated E.A. Walton, had decided to settle permanently in Kirkcudbright. Although in straitened financial circumstances, she was a woman of some style and flair which extended beyond her art and into her lifestyle. Introduced to Halliday at an Arts Council touring exhibition in St Cuthbert's Hall, Cecile took an interest in the talented teenager. Along with Jean Menzies, John's art teacher at school, Walton worked hard to have him accepted at the Glasgow School of Art despite his lack of formal educational qualifications. But Walton's influence did not end with Halliday's entrance to art school in 1949. Life in Cecile's Millburn studio was a far cry from the more humdrum life-style of Atkinson Place. Despite a lack of money, Cecile did not lack glamour in young John's eyes: "It was a magical place, with its old pot-bellied stove. I remember the furniture, particularly a big bureau, and the chairs were William Morris. She seemed to entertain everybody there, great Sunday lunches in particular, with all kinds of interesting guests from all the arts. And she managed to bring it all off in a single-end in the Millburn." (Tales of the Kirkcudbright Artists: Gordon, 2006). This passion for style and sparkling company left its mark on the young man. His life has been marked by enrichment through association with beautiful objects and with people who have made their mark on the world of the arts and society in general. 1949 was a good year to be arriving at the Glasgow School of Art. Teaching giants such as William and Mary Armour, Geoff Squire and John Miller greatly impressed the young but impecunious Halliday. His digs in a theatrical boarding house adjacent to the School of Art meant he spent more time than most students in the School, drawing every ounce of input from the learning experience before eventually finding himself a tiny studio in the city centre. In his final year at art school, he won two Royal Scottish Academy Awards: the Chalmers Bursary and the award for outstanding Diploma show. Output from this period featured in an exhibition, largely organised by Cecile Walton, in a Castle Douglas gallery shortly after graduation. Here again, fate took a hand. The largest canvas in the exhibition was bought by Douglas Lorimer, managing director of North British Locomotives, who financed Halliday for a year to 'see the world', as he put it. Lorimer's help, together with money form his awards saw John setting out with his friend and experienced traveller, Gerald Ashton, for his first trip abroad - to Sicily. It was a seminal experience, the beginning of a life-long love of this location to which he has returned countless times. An introduction to Glasgow architect Jack Notman led, over the years, to a series of over 70 mural commissions. Ten of these were for panels of famous Scots at Prestwick Airport, others for the Clydesdale Bank, the Bank of Scotland, the Marquis of Bute, Hope Scott, the National Trust for Scotland, Scottish and Newcastle Breweries, Glenfarclas whisky, to name only a few. In many of them his love of architecture, symmetry and the baroque technique of trompe l'oeil was fully explored. It is, however, to Whistler, friend of his own patron, Cecile Walton, that his own work is most often compared, a comparison with which Halliday is not unhappy. " It is his half-tones and quarter tones which I really love and these play an important part in my work also. The light in the early morning or evening can only be realised through them. People talk a lot about my preoccupation with light but it is to those tones that I am really referring," he remarks. New York-based Clare Henry, doyenne of international art critics, is among those happy to make the comparison: "Landscape is Halliday's real love, be it a damp day by the Tweed or noon in Sicily...while studies of ancient facades in Venice are positively Whistlerian." (The Herald, 25th November 1998). Richard Jacques in The Scotsman has seen similar parallels: "Specially rewarding are those Whistlerian images of Kirkcudbright and Galloway in which the elements of landscape are seen in a penumbral create an almost magical effect." (The Scotsman, 18th November 1991). Some might also see a parallel closer to home. In his love of penumbral light and muted tones and outlines, Halliday at times forays into the concerns, if not the palette, of another Kirkcudbright artist, Macaulay Stevenson. John Halliday remains, however, very much his own man with a vision of Galloway to which he has been drawn irresistibly throughout a long career. Travels throughout Europe, homes across Scotland have resulted in glorious oils, gouache and crayon images from all parts: from Calabria to Coldstream, from the baking sun of Sicily to wintry scenes in Edinburgh. For many, however, the strongest canvases may be those who see the art of decades distilled into that limpid clarity of light which caresses the gentle landscapes of the Dee, Corsock or Glenton, where the land melts into the light. And the light and land are one.
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