Ackermann (Rudolph) The History of the Colleges of Winchester Eton and Westminster... first edition list of subscribers 48 hand-coloured plates mostly aquatint including 4 costume plates plate 23 in second state of masters with mortar boards and plate 26 in third state depicting cricket match text a little foxed and soiled with offsetting from plates plates with some light marginal soiling but generally clean slight staining to plate of `Head Master`s House Rugby` modern half burgundy morocco spine gilt in compartments with five raised bands t.e.g. others uncut one or two slight scratches [Abbey Scenery 440; Tooley 3] 4to 1816. ***Also including the Charter-house St.Paul`s Merchant Taylors Harrow Rugby and Christ`s Hospital.
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Boydell (John & Josiah) An History of the River Thames 2 vol. engraved frontispiece of head of Father Thames additional letterpress titles `An History of the Principal Rivers of Great Britain` and dedications to George III and Horace Walpole 2 folding engraved maps of the Thames by John Cooke 76 hand-coloured aquatint plates 3 folding a few plates with light foxing but generally very clean maps lightly offset some foxing to text one folding plate with crease causing tear to lower margin (repaired) engraved bookplates of Sir Francis Edward Scott of Great Barr Hall and the Earl of Cromer contemporary diced russia gilt g.e. rebacked with gilt morocco spines in compartments rubbed joints and corners a little worn [Abbey Scenery 432; Tooley 102] folio 1794-96.
Camden (William) Britannia first edition of Gibson`s translation large paper copy engraved portrait frontispiece and 8 plates of coins 50 double-page and/or folding engraved maps most by Robert Morden all with contemporary hand-colouring including fully-coloured cartouches engraved and woodcut illustrations old ink signature and signature stamp at head of title (stamp also on verso of portrait) manuscript index to maps bound in at beginning some light soiling or browning but generally a good copy modern half burgundy morocco spine gilt in compartments with seven raised bands [Chubb CXIII; Wing C359] folio by F.Collins for A.Swalle...and A.& J.Churchil 1695. *** Copies in original colouring are very rare.
Daniell (William) A Voyage Round Great Britain... 8 vol. first edition aquatint pictorial dedication leaf 308 hand-coloured aquatint plates on thin card by and after Daniell each within grey wash border without the one uncoloured plate of Kemaes Head in vol.1 (as often) and the folding map but with the errata leaf in vol.1 vol.1 with 2 leaves (pp.123-126) on thicker paper some plates lightly foxed and browned light foxing to text old ink inscription on front free endpaper of vol.1 “Left to me by my father 1860 C.Kildare” John Hely-Hutchinson copy with his engraved book-label on front free endpaper contemporary half russia rebacked with gilt spines rubbed edges of boards a little worn and nibbled by insects [Abbey Scenery 16; Tooley 177] 4to 1814-25.
Havell (Robert) [Views of Hastings] 6 hand-coloured aquatint plates by Havell numbered 1-6 (c.155 x 210mm. ) all with grey wash border trimmed to border and mounted within larger sheets one or two light stains no title or text modern half green morocco over marbled boards spine gilt in compartments [Not in Abbey or Tooley] small oblong folio [c.1820].
Loutherbourg 1805 (Philipp Jakob de) The Romantic and Picturesque Scenery of England and Wales first edition first issue without the frontispiece found in later issues 18 fine hand-coloured aquatint plates engraved by William Pickett and coloured by John Clark titles and text in English and French occasional light marginal soiling or spotting but a very good copy modern half burgundy morocco by Bickers & Son spine gilt in compartments with five raised bands very slightly rubbed [Abbey Scenery 9; Tooley 305] T.Bensley for Robert Bowyer 1805 [watermarked 1801 & 1805]; and a copy of the 1979 facsimile reprint together in modern calf-edged cloth slip-case folio (2) *** The beautiful plates in this work depict picturesque scenery in a highly romantic style. Loutherbourg (1740-1812) worked as a stage designer under David Garrick was a member of the Royal Academy and the French equivalent and befriended Gainsborough each painting the other`s portrait in 1778.
Dame Barbara Hepworth, British 1903-1975- "Small Sun" (BH489); polished bronze, conceived in 1969 and cast in an edition of nine plus the artist`s proof, this example numbered 1/9 on the base, height 33cm including base. Provenance: Purchased directly from the artist in 1974 Literature: Alan Bowness, ed., The Complete Sculpture of Barbara Hepworth 1960-69, London, 1971, no. 489. Barbara Hepworth: Drawings from a Sculptor`s Landscape, London, 1966 Note: Barbara Hepworth used bronze in the last twenty years of her life, preferring to use stone in her previous works. She began to re-interpret forms in bronze that had originally been carved finding that the new material gave new aspects to certain themes. During The Second World War Hepworth was evacuated to St. Ives, Cornwall where she took up permanent residence in 1950 and purchased her Trewyn studio where she remained for the rest of her life. She was greatly influenced by the natural beauty and elements of the Cornish landscape and transposed this organic inspiration into her work. Hepworth stated that `A sculptor`s landscape is one of ever-changing space and light where forms reveal themselves in new aspects as the sun rises and sets, and the moon comes up. It is a primitive world; but a world of infinite subtle meaning.` In `Small Sun` the literal translation of the sun as subject matter is obvious again taking inspiration from the forms presented by nature. Also present is awareness from Hepworth of the natural effects of the elements of the sun, such as the ever changing appearance of the landscape as the sun rises and sets creating different shadows on the land; so this effect is translated into the sculpture as the bronze surface changes hues within differing lights and times of day. Juxtaposition is created between the curved nature of the bronze form and the tort tension provided by the crossing strings over the front of the sculpture. The contrast is further highlighted by the polished nature of the bronze and the natural appearance of the string adhering to the organic nature of material that was fundamentally important to Hepworth throughout her career.
A pair of Louis XVI style gilt brass triple light candelabra, each 24cm high; A French opaline glass and gilt metal mounted centrepiece, the column in the form of a dolphin, approx 18cm high; an amethyst glass and gilt-metal, table lighter in the form of a pineapple, and further misc items. (a lot)
A collection of decorative ceramics, comprising five hair pin trays with conforming covers including one by Copeland decorated with blue ribbon pattern and floral swags to blue white ground, one continental with white foliate decoration to blue ground, one continental with white scrolling decoration to fuschia ground, one with pink ribbon decoration to white ground, one on raised scrolling feet with white gilt scrolling decoration to pink ground and applied floral decoration to cover, one dressing table pot by Crescent & Sons decorated with swagged rose garlands, a blue and white pot decorated with idealised oriental landscapes both with conforming covers, a pair of small, circular, earthernware jardinieres decorated with cherry blossom to light green ground, raised on three feet, two porcelain Mattahedeh vide poches, 20th century, moulded in form of leaf both with blue and white decoration, the larger with colourful floral spray to centre, a small globular porcelain Limoges vase from the Decor Cafe Royal collection tissu, decorated with rope and ribbon pattern, a small porcelain beaker of similar design, three continental porcelain bottles, one of square form with green and gilt decoration on white ground and floral decorations to side panels with conforming mushroom stopped, one with scrolling floral decoration and globular stopper, the third decorated with heraldic shield with conforming cover, a blue and white flash glass in Bohemian style with pastoral scenes to oval panels, a small, circular, light blue opalescent glass pot, mounted in gilt metal, decorated with images of insects and birds, a tantalus in Minton style, comprising a pepper, a salt and a condiment jar with conforming cover decorated with moulded apple blossom on turquoise ground in white metal stand fashioned as twigs, a small glass scent bottle decorated to interior with garden scenes, a blue and white hexagonal vase of inverted baluster form with scenes of river crossing, a pair of Miessen style urn-shaped, twin-handled, vases on raised pedestal base, encrusted with jasmine and rose flower heads with conforming covers, a Dresden figural stand modelled as fruit seller and gentleman in 18th century costume, with applied flower heads to stylised stem, on circular, waisted, pedestal base, raised on three scrolling feet, a circular porcelain pin tray, 20th century decorated with stylised foliate gilt and floral spray on white ground with conforming cover, two porcelain dishes, 18th century, decorated with scene of dieties of Mount Olympus and Utica (a lot)
DONALD MACLEOD THE LIGHT THAT FAILED oil on canvas 71cm x 91cm A Glasgow based artist trained at Glasgow Art School (GSA), Donald Macleod worked in Surrey during the `80s and returned to Scotland in 1990 to work as a studio assistant to artist Peter Howson. He has worked as a full time artist since 1995. Donald has developed a keen eye for the basic truths in Scottish tales, poems and myths. His portaits give the observer an insight to the nature of the subject. His work is widely regarded and can be found in many collections, both private and public, in Europe and North America.
A pair of Doulton Lambeth stoneware ovoid cache pots, each applied with flowering plants against a buff ground, impressed marks, 17.5cm high; and a pair of Royal Doulton stoneware ewers, with gilt scroll decorated panels, on a white, light blue and light green ground, impressed marks, 21cm high
A Clement Massier Golfe Juan lustre decorated stoneware charger, painted with peacock feathers, painted ‘Clement Massier Golfe Juan am’, incised ‘C.M’, ‘1899’ and ‘2’, 41cm diameter; and another charger, light green glazed with darker streaks, incised ‘Clement Massier Golfe juan (A-m)’ and ‘3’, 41cm diameter
* Neil Canning (b.1960) Acrylic on Canvas ` Peninsula Gorge` Bears Art for Offices label verso 72" x 60" . Canning employs strong colours and rhythmic gestures in his paintings to encapsulate the interaction of texture light colour and shape within the landscape, and to convey a feeling of how the land is composed. He has exhibited widely including the Tate St. Ives, National Portrait Gallery and the Royal Academy

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