534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren•BLAIR HUGHES-STANTON (1902-1981) THE WAR IN HEAVEN (ILLUSTRATION FROM `THE REVELATION OF ST. JOHN THE DIVINE`) Wood engraving, artist's proof, 1932, signed, dated, titled and inscribed AP3 (the edition was 250 plus proofs) 21 x 12.5cm.; with `The Cellar Boy`, etching by Gerald Maurice Burn, 1931, signed, dated and titled, 37.5 x 27cm. (2) ++ Each light stained; Burn with tears within margins and image
•STANLEY WILLIAM HAYTER, CBE (1901-1988) COMBAT (Black & Moorehead 210) Colour etching with aquatint, signed and dated 53, numbered 149/200, published by La Guide Internationale de la Gravure, Geneva and printed by the artist, unframed 29.5 x 19.7cm.; with `Portrait de Femme`, offset lithograph after a watercolour by after Henri Manguin, published by Marees-Gesellschaft, Munich, 1923, 47 x 37cm approx, unframed (2) ++ Hayter with slight light staining; Manguin satisfactory
•JEKA KEMP (1876-1967) `MERE TOTO` Signed, watercolour 31 x 31cm.; with two signed watercolours by Elizabeth Geddes (`Near Blairgowrie` and `The Carse of Invergowrie`), 1887 and 1889, 24 x 37.5cm and 16.5 x 24cm. (3) Exhibited: (Kemp) possibly Paris, Salon 1922 ++ Kemp with foxing and a few grazes; the Geddes images in need of a light clean
•HUBERT LINDSAY WELLINGTON (1879-1967) GOLDEN CAP, NEAR LYME, DORSET Signed with dedication (To Evelyn/ with Love from Hubert/ - hope to see you soon -) and title verso, oil on canvas laid on board 24 x 33cm.; with two further landscapes on panel, including one of Cerne Abbas, Dorset, 1937, 20.5 x 25.5cm approx (3) ++ Each needs a light clean
•AMY KATHERINE BROWNING (1881-1978) PORTRAIT OF RHODA, LADY BIRLEY AT HER DESK Signed, oil on canvas 100.5 x 75cm. * The setting is the Birleys' drawing room at 62 Wellington Road, St. John's Wood, London. Sir Oswald's self portrait (1920) hangs above the fireplace. Lady Birley (1900-1981), born Rhoda Vava Mary Lecky Pike, was the founder of the Charleston Manor Festival and the picture has passed by descent in her family Exhibited: London, The Mall Galleries, Royal Society of Portrait Painters, 1976 (label verso) ++ Patched repair lower centre with associated retouching; needs a light clean
•DAME LAURA KNIGHT, DBE, RA, RWS (1877-1970) LAMORNA COVE Signed, watercolour and gouache 37.5 x 42.5cm. Provenance: London, The Royal Academy, The Diploma Gallery, 1965, no.119, whereat purchased by Mrs P. Murray; thence by direct descent in Mrs Murray's family. A letter from the artist to Mrs Murray and the cheque (£78.15s) accompanies the lot. The letter in full reads: Dear Mrs Murray Your very kind letter and cheque for £78-15-0 enclosed, has been sent on to me at the above address [Park Hole, Colwall, Nr. Malvern, Worcs.]. I hope you will love `Lamorna Cove` (No119) when it is delivered to you by my agent, Messrs James Bourlet, at the close of the Diploma Gallery on September the twelth [sic] ... where to? The wonderful way in which you speak of my exhibition fills me with joy and encouragement. Although I am now an antique, I hope I have not become just a piece of furniture. With many thanks, yours sincerely, Laura Knight * Following her marriage to Harold Knight in 1903, Laura and her husband moved to the artists' colony of Staithes on the Yorkshire coast. They failed to thrive financially and, after a holiday in Cornwall in 1907, they moved to Newlyn where they settled much more contentedly. They mixed (and shared painting trips) with all the other artists, including Alexander Stanhope Forbes, Ernest and Dod Proctor, Alfred Munnings and Samuel John Lamorna Birch. The Knights spent twelve years in Cornwall before moving to London in 1919, but they maintained a happy association with Newlyn during their holidays. In Janet Dunbar's book on Laura Knight (1975), she writes, "The sunlight on this Cornish Coast was unlike anything Laura remembered in Staithes ... it was golden, glowing, turning the blue-green sea into sparkling iridescence... Laura wholeheartedly accepted the tenet of the Newlyn School that outdoor subjects, like landscapes and seascapes, should be faithful transcripts from nature painted from first to last on the spot." The view is from Tregurnow cliff top, above Flagstaff Cottage, looking down into Lamorna Cove. Granite from these cliffs was hauled to London for the building of the Thames Embankment. This early composition for the celebrated oil concentrates upon the glittering light of the water that has filled the cove upon the rise of the tide. "The little bay", Knight recalled, had been "turned to gold by the reflection of the sun shining on the cliff above ...it was an excessively bright canvas". Indeed, the subject was so memorable that it lingered long in Knight's memory, so much so that, during a week of murky fogs in the capital in the winter of 1919-1920, she developed her sketches and her acute visual memory into the stunning exhibit for the Royal Academy that summer (no.618). The challenge was to recall the sparkling and ever-changing colours that had so memorably illuminated the cove. Such was Laura Knight's inspiration that she managed to pin down just enough of the glorious light, sunshine and rippling water on that magical day to recreate the special `ebullient vitality` of the Cornish coast in the dark days of a London winter whilst 300 miles away from the county of Cornwall that she loved so much. The 1965 retrospective exhibition at The Royal Academy was the first such show ever accorded to a female Academician. Knight's autobiography, The Magic of a Line (London 1965), Caroline Fox's Dame Laura Knight (Oxford 1988) and an unframed 1935 print of `Lamorna Cove` (Frost & Reed) accompany this lot (6 items)
Roman Republic Silver Denarius, L Marcius Censorinus, C Mamilvs C.F. Limelanus and P Crepusius, 82 BC OBV: veiled diad and Dr. bust of Venus. r., L Censorin behind, Rev: Venus in Biga, r., C Limeta (Ta in monogram) below P Crepvsi in Ex, control numeral above, in fine condition, struck on slightly smaller flan, nice light tone with clear inscription, well centre, marks to inscription on the obverse.
BEWICK (T) A General History of Quadrupeds, 3rd edition Newcastle 1792, 8vo, illustrations, title slightly toned but text generally clean, rebacked calf preserving spine strip, later label; TROLLOPE (A) Ralph the Heir, London 1871, 8vo, title, first and last leaves lightly foxed, illustrated, recent half morocco; DEFOE (D) Robinson Crusoe, no date Cassells c.1870, 4to, light foxing or spotting, text within decorative borders, illustrated, rebacked half calf (3)
BEATTIE (W) Scotland Illustrated, 2 vols., London: Virtue 1838, 4to, added engraved title, folding map and plates, light sporadic foxing or spotting, half calf; CAMPBELL (E C) Scottish Scenery, Sketches from Nature, no date, small oblong 4to, with 48 etched plates including a map, 19th century half calf with modern reback (3)
CARTER (John) The Ancient Architecture of England. London: 1837, folio, two parts in one vol., two engraved titles and plates, some offsetting, worn half calf; HASTINGS (T) Vestiges of Antiquity, or a Series of Etchings and Engravings... Cathedral, Castle... of Canterbury. London 1813, folio, frontispiece and 11 plates with guards, light dampstain, boards (rebacked) (2)
A group of 18th century British political pamphlets, 1742-43, 8vo, including: Hanover Forces in the pay of Great Britain, pp.80, 2nd edition; Conduct of the late Administration .. foreign affairs 1722-42... Vindication of the Earl of Orford; An Important Secret come to light, or the States General's Reasons for Refusing ... to act against France in the Netherlands..; A True Dialogue between Thomas Jones a Trooper lately returned from Germany.., ; with others on the Hanover situation; together 17, all disbound and various editions (17)
RACKHAM (Arthur) Illustrator. Peter Pan in Kensington Gardens, by J M Barrie. London: Hodder & Stoughton (no date), 4to, tipped in frontispiece and 49 plates, a few light creases to text, first black and white illustration leaf with closed tear to foot, original green cloth gilt (rebacked preserving faded spine strip); Rip Van Winkle, by Washington Irving, 1916, small 4to, 24 colour illustrations, original cloth backed boards (2)
DULAC (Edmund) illustrator. Stories from Hans Andersen, 1911, 4to, 28 mounted colour plates as required, occasional light staining to text and endpapers, original cloth (spine slightly sunned); HAWTHORNE (N) Tanglewood Tales, no date, 4to, tipped in plates as called for, later full dark red morocco gilt lettered spine; Rubaiyat of Omar Khayyam, no date, 4to, 20 tipped in colour plates as called for, cream cloth blocked in gilt; QUILLER-COUCH (Sir A) The Sleeping Beauty and Other Fairy Tales, London: Hodder & Stoughton, no date, 4to, 14 (of 30) plates only, some margins nicked or creased, original letherette-cloth gilt (4)
ROWLING (J K) Harry Potter and the Prisoner of Azkaban, first edition, first impression 1999, first state with copyright 'Joanne Rowling' [later changed to 'J. K. Rowling'] and with line break on p.7, very slightly toned, light shelf marks to text block edges, spine ends lightly worn No names or inscriptions.
FLEMING (Ian) Live and Let Die. London: Jonathan Cape, 1954. First edition, first impression dust-jacket with Kenneth Lewis not credited on the front flap, original black cloth gilt with coin motif to upper cover, dust-jacket not price-clipped, first leaf with neat pencil crossing out over a name (?), tiny fox mark to top edge of half title and title, occasional slight stains to text but generally clean, edges with light soiling, jacket with slight wear to corners and chipping at head of spine, rear panel slightly dust soiled/discoloured
WAUGH (Evelyn) Brideshead Revisited, first edition London 1945, 8vo, in intact dust jacket, light dust staining to text block edges CONDITIONminor restorations to parts of the jacket, mainly around the edges to iron out or strengthen creases, with a small section reattached to the centre of the spine
SILVESTRE (M J B) Universal Palaeography, or Fac-Similes of Writings of all Nations and Periods, edited by Sir Frederic Madden, in 2 vols., London: Henry G. Bohn 1850, large folio, hand coloured lithographic illustrations, occasional light spotting or staining, half morocco (lightly rubbed). Note: these are the two plate volumes only, the set was issued originally with two accompanying 8vo text volumes.
PARK (Mungo) Travels into the Interior Districts of Africa. London: for the author 1799, 4to, with portrait, plates and folding maps, half calf rubbed; KEATE (George) An Account of the Pelew Islands, 3rd edition London: for Captain Wilson 1789, 4to, 17 plates as called for including portrait and folding map, all somewhat toned with light spotting and use staining to plates, contemporary calf, joints cracked (2)
TAYLOR (Major John) Travels from England to India in the year 1789. London: Carpenter 1799, first edition in 2 vols., 8vo, 2 folding hand coloured maps, folding table, some foxing and use staining, ex library labels (near contemporary?), calf re-backed; LIGHT (Henry) Travels in Egypt, Nubia, Holy Land, Mount Libanon and Cypress in the year 1814. London 1818, 4to, 19 plates (of 20, lacking first plate), title browned, modern half calf (3)
1854 - 1856 Crimea Medal With Two Clasps - Balaklava And Sebastopol Along With Turkish Crimea Medal 1855 - Corporal William Nicholson 13th Light Dragoons Official Depot Impressed medal complete with original ribbon and clasps - Balaklava and Sepastopol. Along with a brooch mounted Turkish Crimean medal - 1855. Together with a comprehensive collection of documents, press clippings, photocopies of service records, sepia photographic portrait of Corporal William Nicholson etc. Catalogue Note Corporal William Nicholson was born at Naburn Yorkshire 1829, he enlisted for the 13th light dragoons aged 19 in 1848 and sailed for the Crimea in the Culloden. On the 25th October 1854 he rode in the Charge Of The Light Brigade at the battle of Balaklava where his horse was killed under him during the charge. Nicholson managed to acquire another 'empty horse' and advanced towards the Russian guns; he was wounded in the side by a lance and received another lance wound close to his mouth. On his return to England, Nicholson was promoted to the rank of corporal. However, the injuries he sustained at Balaklava forced his discharge by special medical board on June 7th 1858. In later life Nicholson worked as a police inspector for South Eastern Railways, based at Charing Cross London.
Pair of Diamond 'Feather' Drop Earrings, the fronds of the feathers comprising rows of baguette cut diamonds, totalling .55ct, set within milgrain edged, curved panels of platinum vermeil and silver, suspended from a further, similar panel with post and push back fittings; the diamonds giving a good display of sparkle with light flashing from panel to panel; a 'hidden' blue sapphire is set to each of the backs denoting the designer; 1.1 inch (2.8 cms) long
Loading...
![STIELER (A) Hand-Atlas, Gotha [1849], (36 x 44.5cm), numerous maps hand coloured in outline, text part bound in of smaller si](https://cdn.globalauctionplatform.com/a45a026c-5028-4ce5-90e2-aa730108ef41/d10ff0fe-b905-44ee-b37c-aa730125713a/468x382.jpg)
