(1) Adolphe de Castro. Portrait of Ambrose Bierce. London & New York, Century, 1929. 1st ed., 1st printing. Early biography w. ills. and rare dust-j., cl.(2) Vincent Starrett. Ambrose Bierce. Chicago, Walter M. Hill, 1920. 1st ed. Printed in 250 numb. copies, w. dedication by Starrett, hcl. (3) Caroll D. Hall. Bierce and the Poe Hoax. San Francisco Book Club, 1934. 250 numb. copies, cl. (4) The Devil's ABC. A Selection from Bierce's The Devil's Dictionary. New York, Profile Press, 1946. Sc, ill. Rare. (5) Lois Rather. Bittersweet: Ambrose Bierce and Women. Oakland, The Rather Press, 1975. Hand printed by the author in lim. ed. of 150 copies, hcl., ill. -and 13 more by and about Bierce, incl. ephemera. Most 8vo, w. bookplate. Overall in good condition. (total 18)
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A homage to Rabindranath Tagore from India and the world in celebration of his seventieth birthday. Calcutta, Golden Book Committee, 1931, printed in 1500 numb. copies (this copy numbered 31), XX,((2),374,(2) p., w. 30 (tipped in col.) plates (incl. photo-engr. frontisp. portrait), orig. gilt calf w. mor. letterpiece on spine, large 4to.Frontisp. foxed, endpapers a bit browned. Lower hinge a bit weak; leather chafed/ rubbed in places. Despite the large edition rarely offered for sale.
Sir Alfred James Munnings, PRA, RI (1878-1959)/Study For A Horse/signed AJ Munnings lower left/inscribed verso 'study for a horse on left in Why weren't you out yesterday'/oil on board, 48.25cm x 59.5cm/Provenance: An Important Collection of Sporting Pictures sold by order of Messrs. Hutchinson & Co. (Publishers) Limited; Christies, London, 20 July 1951, lot 40 (sold for £105) H.B. Hill, Esq., Gloucester/Exhibited: London, Royal Academy of Arts, Diploma Gallery, 1956, no.45/Note: A preparatory study for 'Why weren't you out yesterday', which was exhibited at the Royal Academy in 1939, five years before Munnings was elected President. One of Munnings' most humorous works (and featuring his wife, Violet, a family-friend, and four of his own horses), 'Why weren't you out yesterday' was based on a portrait of Mrs Cutting and her daughters, members of a prominent New Jersey family, painted in 1935. Munnings said 'so taken I was with the arrangement that I repeated almost the same design on another canvas for my own amusement'. In preparation for larger scale paintings, Munnings would produce studies to test, and figure out elements of each composition. The present work shows the artist doing exactly this, which affords the viewer an insight into his creative process. It is likely that Munnings would have painted the central hunter first, as the one to the right is a more worked-up version, with re-considered elements such as the angle of the head, and twitch of the left ear (communicating the horse's state of alert), both of which feature in the final painting. The hounds have been created with a quick succession of brush strokes that capture the energy and movement of the pack: light brown insinuates heads and rumps, and dashes of white create wagging tails. The red from the huntsmen's jackets beyond, breaks up the composition, a device which John Constable, a fellow Suffolk artist much admired by Munnings, also employed, particularly in his landscapes. The grey beyond strengthens the silhouettes and forms of the hunter and is a colour test for the sky of the final composition. It has been speedily executed with a gradation of colours and a 'zigzag' to the left, giving the implication of a cloud formation. Spontaneity, immediacy, understanding and above all, enjoyment are apparent in this study, and it captures Munnings returning, as he did throughout his life, to two of his greatest passions: horses and hunting. Our thanks go to Tom Rooth for producing this catalogue note CONDITION REPORT: The overall condition of the paint surface looks good. There are some minor flecks and specks of dirt as well as a couple of faint scuffs. The paint surface does look a bit dry and it would benefit enormously form a varnish. The frame has several knocks and surface flakes, I do not think the frame does the painting any favours. The board has a few worm holes to the reverse, these do not appear to the paint surface. I would say this painting has been very little interfered with and it could benefit form a little attention.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
A 19th century English School portrait of a gentleman, oil on canvas, indistinctly signed 'Horsbire(?) Edinburgh 1875', 60cm x 50cmThe painting behind glass and set in a gilt frame. The frame with minor marks, chips and losses due to age and use. The painting with a sign of a dent and associated paint loss to the surface just to the right of the centre of the face in the background.
Star Wars, Hasbro - Three Star Wars Episode 1 boxed 12" action figures. Lot consists of Hasbro #61785 2000 Portrait Edition Qui-Gon Jinn & Queen Amidala 'Defense of Naboo' ; #61779 Royal Elegance Queen Amidala; and #61778 Ultimate Hair Queen Amidala. Figures appear Mint in Good - Very Good sealed boxes with some general storage related wear, #61785 has some surface marks to cellophane. (3) (This does not constitute a guarantee)
Star Wars, Hasbro - Three boxed 12" Star Wars action figures, including Attack of the Clones 'Zam Wessell'; Episode 1 'Qui-Gon Jinn'; and 1999 Portrait Edition 'Princess Leia Ceremonial Gown'. Models appear Mint in Fair Plus - Good boxes with some general storage wear. (3) (This does not constitute a guarantee)
Star Wars, Hasbro - Three boxed Hasbro Star Wars Episode 1 'Queen Amidala' 12" action figures. Lot consists of Queen Amidala 1999 Portrait Edition in Red Senate Gown; 1999 Portrait Edition in Black Travel Crown; and 2000 Portrait Edition in Return to Naboo outfit. Figures appear Mint in Good - Very Good sealed window boxes with general storage imperfections. (3) (This does not constitute a guarantee)
A.R. MANCHE (20TH CENTURY) TWO NAIVE STUDIES OF ORNAMENTAL CHICKENS, both signed and dated 1958, oils on canvas, approximate sizes 64cm x 52cm, unframed with some losses towards the edges, together with a J. Johns portrait of a horse, signed bottom right, oil on canvas, approximate size 40cm x 50cm, craquelure visible across the surface and an unassociated picture frame
CARRIE GRABER (AMERICAN 1975) 'NIGHT LIGHTS' a three quarter length portrait of a female figure from behind with a night time cityscape beyond, signed lower right with certificate, oil on canvas, approximate size 70cm x 49cm excluding frame, Condition: light 11cm scuff to lower portion of the painting, small bumps to corner edges to the frame
CARRIE GRABER (AMERICAN 1975) 'CONSORT' a full length portrait of a female figure putting on a shoe, a signed limited edition giclée on canvas, 143/195 with certificate, approximate size 75cm x 49cm excluding frame, Condition: small white spots to print surface, small bumps to edge/corners of frame
THREE AMBROTYPES AND A TINTYPE PHOTOGRAPH, comprising a leather cased image of a seated gentleman, approximate maximum dimensions 9cm x 6.5cm, a figure group portrait showing a man seated between two women, dated Yarmouth 1912 verso, a man and woman seated in deckchairs on a beach - image dark, and a tintype showing a male figure holding a dog or cat (1 tray)
TWO BOXES AND LOOSE CERAMICS, GLASS AND SUNDRY ITEMS, to include a late nineteenth century cast iron pot with lion head handles, a pale blue Wedgwood Jasperware jardiniere, height 16cm x diameter 17.5cm, and heart shaped trinket box, a Wedgwood Jasperware navy blue dipped teapot, a rectangular Sadler gold lustre teapot with matching covered sugar bowl and cream jug, Pendelfin 'Peeps' and Tinker Ware 'Tilly' rabbits, a wooden shield shaped hall brush set, a leather covered copper travelling inkwell, a framed tapestry with a portrait of a Victorian lady verso, a hexagonal wooden framed mirror, etc (2 boxes + loose) (sd)
JOHNNY GASTON (1955) A COLLECTION OF PICTURES, including a brushed pastel portrait study of a Bullmastiff dog 'Gypsy', personal inscription verso, approximate size 55cm x 39cm, a watercolour of a Bullmastiff with personal inscription verso, watercolour of yachts under sail, two watercolour studies of female figures, a winter landscape by the same hand, etc
M. GILBERT (19TH / 20TH CENTURY) A LATE VICTORIAN / EARLY EDWARDIAN PORTRAIT OF A FEMALE FIGURE, the half-length portrait depicts a female who has gathered flowers in the fold of her green dress, signed bottom left, oil on canvas, approximate size 60cm x 39cm, Condition: 16cm tear to the canvas with other scuffs and scratches to the surface
Horst P. Horst (d.i. Horst Paul Albert Bohrmann) (Weißenfels 1906 – 1999 Palm Beach Gardens, Florida). Marlene Dietrich, New York. 1942Späterer Silbergelatineabzug. 44,6 × 34,5 cm (50,2 × 40,2 cm) (17 ½ × 13 ⅝ in. (19 ¾ × 15 ⅞ in.)). Im Blattrand unten rechts Prägestempel des Photographen. Rückseitig mit Bleistift signiert sowie von weiteren Händen mit Bleistift datiert, betitelt und beschriftet.[3386]Literatur und Abbildung: Vogue, July 1, 1942, Vol. 100, No. 1, S. 35 / Valentine Lawford (Hg.): Horst. His work and his world. New York 1984, S. 237 / Ausst.-Kat.: Horst Photographs 1931-1968. Venedig, Museo di Palazzo Fortuny, 1985, unpaginiert / Ausst.-Kat.: Horst P. Horst. Köln, Museum Ludwig; Weißenfels, Schloß Neu-Augustusburg; u.a., 1992, S. 97 / Richard J. Horst-Tardiff und Lothar Schirmer (Hg.): Horst. Photographien aus sechs Jahrzehnten. München, u. a. 1995, T. 60 / Ausst.-Kat.: Horst Portraits: 60 Years of Style. London, The National Portrait Gallery; Boston, Museum of Fine Arts, Boston, 2001/02, S. 95, T. 55 / Susanna Brown (Hg.): Horst. Photographer of Style. London 2014, S. 109, T. 104Zustandsbericht: In sehr gutem Zustand. Mattes festes Papier. Weißer Blattrand. Im Streiflicht winzige Retuschepunkte, unauffällig. Linke Kante im weißen Blattrand schwach wellig.Wir berechnen auf den Hammerpreis 32% Aufgeld.
Marianne Breslauer (Berlin 1909 – 2001 Zürich). Paul Citroen, Berlin. 1928Silbergelatineabzug, selengetont, 1992 von Frans de la Cousine. 24 × 18,5 cm (29,8 × 23,3 cm) (9 ½ × 7 ¼ in. (11 ¾ × 9 ⅛ in.)). Rückseitig von Marianne Breslauer mit Bleistift signiert. Von Frans de la Cousine mit Bleistift signiert, datiert: „1927", betitelt, nummeriert und beschriftet sowie Copyrightstempel: „foto f. de la cousine [...]", darin mit Bleistift Datum des Abzugs.Einer von 11 nummerierten Abzügen. [2045]Literatur und Abbildung: Marianne Breslauer: Mappe „Das Portrait". Foto Embe. Gehilfestück. Berlin 1929, Nr. 5. (unveröffentlicht) / Marianne Breslauer. Retrospektive Fotografie. Bielefeld 1979, T. 8 (dort datiert: 1927) / Ausst.-Kat.: Marianne Breslauer. Fotografien. Winterthur, Fotostiftung Schweiz; Berlin, Berlinische Galerie, Museum für Moderne Kunst, Fotografie und Architektur, 2010, S. 41 (dort Blatt aus der Mappe und datiert: Dezember 1928)Marianne Breslauer besuchte von 1927 bis 1929 die Photoklasse der „Photographischen Lehranstalt Lettehaus" in Berlin. Die dort entstandene Porträtaufnahme des befreundeten Malers, Zeichners und Photographen Paul Citroen ist exemplarisch für das „Neue Sehen".Zustandsbericht: In sehr gutem Zustand. Seidenmattes festes Papier. Weißer Blattrand. Oberfläche mit einzelnen minimalen horizontalen Fältchen in der Gelatineschicht, wahrnehmbar nur aus nächster Nähe im Streiflicht.Wir berechnen auf den Hammerpreis 32% Aufgeld.
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