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Los 1538

Full title: José Goedertier (1900-1967): Portrait of a man, oil on canvas, dated (19)27Description:Work: 65,5 x 55,5 cm Frame: 69,6 x 60 cm Jose Goedertier was a student of the Academy in Ghent and Brussels. He first exhibited individually in Ghent in 1928. He became a teacher in 1934 and afterwards director at the Academy in Wetteren. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1551

Full title: Charles Picqué (1799-1869): Portrait of a gentleman, oil on canvas, dated 1866 (?)Description:Work: 71,5 x 61,1 cm Frame: 77,8 x 66,7 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1561

Full title: Henri Nicolas Van Gorp (1756-1819): Portrait of a lady, oil on canvas, early 19th C.Description:Work: 26,8 x 21,5 cm Frame: 36,5 x 31,5 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 319

Full title: Chinese school: A large ancestor portrait, ink and colours on paper marouflated on canvas, 19th C.Description:Work: ca. 137 x 77 cm Frame: 149,5 x 89,6 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 321

Full title: Chinese school: Portrait of a high ranking official, ink and colour on silk, QingDescription:Work: ca. 162 x 99 cm Frame: 164 x 100,5 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 906

Full title: An ebonised wood two-door cabinet on stand with portrait medallions, 19th C.Description:H 169,5 - L 97 - D 51 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 921

Full title: A polychrome Italian pottery portrait medallion, 19th C.Description:Dia.: 27 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1329

Full title: Flemish school: Portrait of a gentleman and a lady, oil on canvas, ca. 1700Description:Work: ca. 75,5 x 59,5 cm Frame: ca. 91 x 73,5 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1333

Full title: Flemish school: Portrait of a nun, oil on canvas, 18th centuryDescription:Work: 80 x 63,5 cm Frame: 86,2 x 70 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1350

Full title: Dutch school: Kitchen maid with her dog at the well, oil on panel, 17th C.Description:Work: 26 x 20,3 cm The work offered by us clearly hides the hand of Domenicus van Tol (1635-1676), a Dutch genre and portrait painter. The composition goes back to the work of the Dutch painter Gerrit Dou (1613-1675). Van Tol was both pupil and brother-in-law of Dou (link). The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1375

Full title: French school: Portrait of a lady, pastel on paper, 19th C.Description:Work: ca. 60,5 x 46,5 cm Frame: 81,3 x 67,3 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1421

Full title: Michel Buylen (1953): Spider web, mixed media on paper, dated (19)77Description:Work: ca. 30 x 23 cm Frame: 66 x 57 cm 'Michel Buylen (Ghent, °1953) is a multi-faceted and headstrong painter, who never ceases to astonish with both his amazing virtuosity and his new take on centuries-old subjects; such as the nude (or the naked?), the child, the landscape, the sea as an obligate abstraction and the portrait as compromise and confrontation. Michel Buylen is anything but a conventional artist. Aided by acrylic, he succeeds in retranslating life, in all its diversity and nuances, enriching it with his own vision.' (link) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Los 1

ANN CARRINGTON (BRITISH B.1962)PEARLY QUEEN OF ST JAMES'S PALACEacrylic and pearl buttons hand sewn on black linen, in artist's perspex box120 x 110cm (47 x 43¼ in.)"Interestingly, the most reproduced work of art in history is not the Mona Lisa. Sculptor Arnold Machin's portrait of the Queen has sold more than 200 billion copies since it was issued in 1967 as the new UK postage stamp. The Machin design has become instantly recognisable - an iconic piece of 20th century design.Collecting stamps as a child, I always found the Machin image strikingly beautiful. As the years went by, this humble stamp I unthinkingly attached to hundreds of envelopes became invisible to me with familiarity, yet gave a sense of continuity.A few years ago, while mulling these things over, a letter arrived at my studio. On a whim I removed the stamp, photographed it and projected the image on to the wall, blowing it up to the size of a small Royal Mail van. On this scale the printing dots looked like buttons, which got me thinking of another great London establishment - the Pearly Kings and Queens.Combining these two threads of thought, my first Pearly Queen was born. A Machin stamp was enlarged on to black canvas and embroidered from pearl buttons specially dyed in a kaleidoscope of high-pitched disco patchwork colours. It was commissioned by Jacob Rothschild in celebration of the Queens 80th birthday, and now hangs in Waddesdon Manor as part of the Rothschild Collection.Elton John, Gwyneth Paltrow and the Earl of Westminster have all commissioned Pearly Queens, but making a queen for the Queen(!) was the pinnacle. Created as a special commission for the Queen's Diamond Jubilee, and made to complement the crimson velvet and golden button banner for the Royal Barge, the stamp artwork hung in the Queen's waiting room.You can't just reproduce Machin's beautiful postage stamp of the Queen - even if it is a hundred times bigger and made from velvet and buttons. One has to have an official licence. Every one of my Pearly Queens is officially licensed by Royal Mail Ltd and The British Postal Museum Archive."- Ann Carrington

Los 587

Queen Marie AntoinetteItalyCAPODIMONTE polychrome sculptureMarked with crowned N(in very good condition)Inspired on a portrait of Queen Marie Antoinette, this sculpture retakes the model typical of the latter part of the Queen's tenure, so successfully illustrated by the "portrait of the rose" painted by Madame Vigée-Lebrun and today kept at the Palace of Versailles.Alt.: 31,2 cm

Los 1

James Earley (British, B.1981)Kaud signed 'J.Earley' lower rightoil on canvas, framed99 x 69cm (39 x 27 3/16in).Footnotes:James is a self taught artist and uses his work to raise awareness of issues such as homelessness, war and mental health. He first came to prominence in 2013, when he was part of the acclaimed 'Seven Artists Exhibition' held at London's Strand Gallery. 'I was born in the UK, spent many years in France but I am now back living in the UK. I am a self taught artist and I paint those on the very edge of society. I want to use my art to help raise awareness of the issues in the world today, I want to help make the invisible visible and ultimately I want my art to scream. I am always looking to the long term as my ambition is to be a relevant and significant artist today and also in hundreds of years from now.I always had a passion for art, I knew this was my gift yet my career took me away from my passion. It was only in 2015 that I knew that I could no longer live a lie so I swapped a career in business for a profession as a full time artist, a job that in my heart I was always meant to do. My career as an artist has accelerated since 2015. In that time I was part of the prominent 'Seven Artists Exhibition' at The Strand Gallery London. I have also been nominated by The Royal Society of Oil Painters, The Royal Society of Portrait Painters and I received a nomination for the 2015, 2016, 2017 and 2020 BP award. I have had my work displayed in London, Madrid, Paris, New York and Amsterdam and I have been described as one the most relevant artists in the world today by the German Kunst Heute Art publication and the Contemporary Art Curator Magazine. In 2019 I was honoured to win the first prize at the prestigious London Biennale as well as the prestigious International Michelangelo prize for art. In 2020 I was awarded the Venice International Artist Of The Year and in 2021 I was honoured to win The International Confederation of Art Critics Award. I won the Velazquez International Painting award in 2022.' (James Earley, Saatchi Art)He has been the receipt of numerous awards, including the International Prize Giotto, and the International Prize Leonardo da Vinci in 2019 and the International Dante Eligheiri and Collector's Vision International Award,' in 2021. He has also featured on the front covers of International Art Magazine and Vanity Fair in 2017 and 2020.'In May of 2022 I was invited by the Social Purpose Organisation Friendship to visit Nakna village in the remote coastal region of Bangladesh. This area had been hit by cyclones and flooding and the situation was getting worse as climate change accelerated. Friendship and the community were doing a lot of work to protect the village from the impact of the floods and they had embarked on a huge project of planting mangrove trees to protect the coastal areas and strengthen the coastal edge.I wanted to learn how climate change had impacted over the years and I was introduced to one of the elders of the village Kaud Banq. I knew as soon as I saw Kaud that I wanted to paint her. Every wrinkle on her face told a story, her eyes showed her wisdom, her hands clutching tightly at the wooden stick that supported her showed her strength and her beautiful dress showed her pride and dignity. I wanted to create a back ground that would show a path way that instead of looking smaller in the distance as it disappeared in the horizon had the opposite affect, the pathway was getting narrower and narrower as it pushed its way into the foreground. This path that Kaud had taken for 85 years was wide and abundant in her childhood but as climate change gradually impacted the pathway got narrower and narrower as the water level increased. Kaud now stood near the end of this narrowing path surrounded by water.'For further information on this lot please visit Bonhams.com

Los 22

Augustus John O.M., R.A. (British, 1878-1961)Portrait Head of a Girl (Possibly Ethel Nettleship) conté crayon23.2 x 20.1 cm. (9 1/8 x 7 7/8 in.) (sheet); 17.5 x 15.5 cm. (6 7/8 x 6 1/8 in.) (image)Footnotes:ProvenanceSir William RothensteinSir John Rothenstein, thence by descentSale; Sotheby's, Olympia, 26 February 2003, lot 63With Jonathan Clark & Co, LondonWith The Piccadilly Gallery, London, March 2005, where acquired by the family of the present ownersPrivate Collection, U.K.Ethel Nettleship was the sister of the artist's first wife Ida. John frequently drew Ida and her sisters Ursula and Ethel around 1900.We are grateful to Rebecca John for her assistance in cataloguing this lot.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

Los 32

Gerald Leslie Brockhurst R.A., R.P., R.E. (British, 1890-1978)Portrait study of a lady signed 'G.L.Brockhurst' (lower right)pencil25.1 x 20 cm. (9 7/8 x 7 7/8 in.)Executed circa 1930sFootnotes:ProvenancePrivate Collection, U.K.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

Los 34

Gerald Leslie Brockhurst R.A., R.P., R.E. (British, 1890-1978)Pool of Bethesda oil on canvas103 x 128.5 cm. (40 1/2 x 50 1/2 in.)Footnotes:ProvenanceA.C.J. Wall, thence by descent to the present ownersPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 3 May-14 August 1915, cat.no.681The present work depicts the miraculous healing told in the Gospel of John (5:1-15). With Christ's word, the waters of the pool of Bethesda stirred and a man who had been invalid for 38 years was cured. This subject was painted by several of the Old Masters, including Murillo, Panini, Tiepolo and Hogarth, whose Christ at the Pool of Bethesda (1735-36) hangs at St Bartholomew's hospital. In Brockhurst's variation the scene is classically composed in a Nazarene manner as the young artist pays homage to the great tradition of biblical painting. Yet there are ample hallmarks of the style which he was to refine throughout his career; the intricacy and pattern of the drapery and awnings, the deftly rendered expressive faces and the dramatic employment of varying light sources that isolate the key figures from their surroundings. Fifteen years after the work was first exhibited it was noted that 'The picture gives ample presage of that which subsequently transpired, and it also contains a self-portrait, in the figure of the dark-eyed man behind Christ' (Jessica Walker Stephens, 'Gerald Leslie Brockhurst, ARA, RE', Apollo, 1930, p.118). In addition to the self-portrait, it is more than likely that Brockhurst's first wife Anaïs Folen, modelled for a number of the female figures, identifiable by her dark hair and strong features.The painting was executed whilst Brockhurst was at the Royal Academy Schools, and for it he received a Gold Medal award and traveling scholarship in 1913. He had proved a prodigious talent, having previously won the Armitage Medal, named for the Victorian painter Edward Armitage, who may have influenced the present work. In 1915 Pool of Bethesda was accepted to the Royal Academy's Summer Exhibition, the first work by Brockhurst to be shown there (he would later be elected R.A. in 1937).The present, prior and following lots all formerly belonged to A.C.J. Wall. Wall purchased, and commissioned, several further works by Brockhurst including a portrait (sold in these rooms, 23 June 2015 for £20,000, see fig.1).Wall was a Birmingham based industrialist who started collecting in the 1930s. His was an eclectic taste, ranging across paintings, ceramics, furniture and sculpture. He was well known as a benefactor to the arts, particularly in Birmingham where he was the mayor, and he was known to have sat for a bust portrait by Jacob Epstein. Selected works from his collection were sold by Christie's in 1970 with many pieces being bought by leading international museums.We are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.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

Los 36

Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)A Canadian Dawn signed 'C.R.W. NEVINSON' (lower right)oil on canvas61.2 x 45.8 cm. (24 1/8 x 18 in.)Footnotes:ProvenanceElizabeth Russell Workman, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Leicester Galleries, An Exhibition of New Works by C.R.W. Nevinson, October-November 1919, cat.no.2Manchester, City Art Gallery, C. R. W. Nevinson Exhibition, July-August 1920, cat.no.22Elizabeth Russell Workman (1874-1962) and husband Robert Alfred Workman (1872-1948) were collectors of Post-Impressionist and Scottish art (including work of the Scottish Colourists), and supporters of the avant-garde. Elizabeth appears to have been the more discerning and adventurous collector. As Wyndham Lewis recalled in his autobiography Blasting and Bombardiering: 'Mrs. Workman (of whom I did an excellent portrait) was one of the only people in England to understand French painting, of which she had some remarkably fine specimens'. No less than three Nevinson paintings were acquired by members of the Workman family from the war artist's solo Peace exhibition at the Leicester Galleries in 1919. A Canadian Dawn was Elizabeth's choice, and of the three pictures the one that stayed in the family the longest. All three pictures, that is Elizabeth's, husband Robert's and brother-in-law William's, were borrowed by Manchester City Art Gallery for their Nevinson Exhibition of 1920.Nevinson's stock as a painter, in those post-First World War days, was still high, and he still had the aura of a 'rebel', reminding us that Nevinson had been vitally involved, in pre-war days, in that product of the British avant-garde's prime mover Wyndham Lewis, the Rebel Art Centre in Great Ormond Street.We are grateful to Christopher Martin for his assistance in compiling this catalogue entry.For further information on this lot please visit Bonhams.com

Los 42

Duncan Grant (British, 1885-1978)Vanessa Bell in a Yellow Shawl oil on canvas72.7 x 51.5 cm. (28 5/8 x 20 1/4 in.)Painted circa 1911-12Footnotes:ProvenanceThe Artist's Estate, until 1987With Hirschl & Adler Galleries, New YorkWith Davis & Langdale Company, New York, where acquired by the present ownerExhibited New York, Hirschl & Adler Galleries, British Modernist Art 1905-1930, 14 November 1987-9 January 1988, cat.no.126New York, Davis & Langdale Company, Duncan Grant (1885-1978), 1997LiteratureJohn Russell, 'A Bloomsbury Founder, Always With an Idea', The New York Times, 7 March 1997, p.C30Duncan Grant painted and drew Vanessa Bell (1879-1961) countless times between 1911 and Bell's death in 1961 (when he drew her on her deathbed). All these portraits reflect both the personal intimacy of the two painters as well as Grant's sometimes dizzying changes of style – from brilliant Post Impressionism to the careful portrayals of her as an old woman. The present audacious work is one of the very first images he made of her and is a startling example of the 'divisionist' style Grant adopted in 1911 (which Bell called his 'leopard manner'). The origins of this style are mixed: Grant may have seen early Matisse paintings in which Pointillist handling is evident; also works by Cézanne and Signac (but not Seurat); and the mosaics Grant greatly admired in Sicily in early 1911. The best known of these 'leopard manner' paintings are The Queen of Sheba (Tate) and Portrait of George Mallory (National Portrait Gallery). He sometimes used both fluent and spotted styles in the same painting, but the latter gradually disappears in 1913 (although it is found in some specifically decorative works in 1913-14). Pure, often unmixed colour was applied in spots and square, parallel brushstrokes, the image tightened by a few dark lines as seen here on the left side of Bell's face.In several early portraits, Bell is fancifully dressed in striking hats or, as here, with a long yellow shawl over her head. It should be stressed that Bell was modelling for Grant rather than sitting for her portrait. He does not attempt to capture her particular beauty and flattery was a concept unknown to his personality. There is just a possibility that she is wearing metal spectacles, similar to these worn by Katherine Cox in another 'leopard manner' portrait (1912; two versions; Clandeboye, Northern Ireland; National Museum of Wales, Cardiff).This painting remained with Grant and was inventoried by Bell in 1951 as 'VB in yellow and orange'. It was in his estate from 1978 until shown in New York in 1987 and has been in the U.S.A. until the present.We are grateful to Richard Shone for his assistance in compiling this catalogue entry.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Los 43

Mark Gertler (British, 1891-1939)Nicholas Mavrogordato signed and dated 'Mark Gertler/31' (upper right)oil on canvas40.6 x 30.5 cm. (16 x 12 in.)Painted in January 1931Footnotes:ProvenanceMr and Mrs Roy Hewlett, April 1964With Piccadilly Gallery, London, by whom presented toAmnesty InternationalSale; Sotheby's, 18 January 1984, lot 298Private Collection, U.K.ExhibitedLondon, Leicester Galleries, 1932, cat.no.3 (as Nicholas) This is a head-and-shoulders portrait of Nicholas Mavrogordato, the eldest son of Gertler's close friend John Mavrogordato, painted while Gertler was staying with the family in Dorset in 1931. Writing on New Year's Day to his wife, Marjorie, Gertler states 'This morning I started a portrait of Nicholas'. He follows on the 10th of January with 'I have finished my portrait of Nicholas, not a bad little picture in its way' (unpublished letters).For further information on this lot please visit Bonhams.com

Los 48

Glyn Warren Philpot R.A. (British, 1884-1937)The Sisters of the Artist signed and dated 'Glyn Philpot 1922' (lower left)oil on canvas142.3 x 111 cm. (56 x 43 3/4 in.)Footnotes:ProvenanceThe Artist, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, The exhibition of the Royal Academy of Arts, 1 May-7 August 1922, cat.no.145London, Grosvenor Galleries, Paintings and Sculpture by Glyn Philpot R.A., 1923, cat.no.11 (as The Sisters)Liverpool, Walker Art Gallery, Fifty-first Autumn Exhibition, 1923, cat.no.1067Wembley, British Empire Exhibition, 1925, cat.no.49New York, World's Fair, Contemporary British Art, 1939, cat.no.100Brighton, Brighton Art Gallery, Glyn Philpot R.A., 1884-1937, 3 April-3 May 1953, cat.no.12London, Leighton House, Drawings, Paintings and Sculpture by Glyn Warren Philpot R.A. 1884-1937, 7-28 February 1959 (followed by tour with Art Exhibitions Bureau, 1959-60), cat.no.31Oxford, Ashmolean Museum, Glyn Philpot R.A., 1884-1937; A Commemorative Exhibition, 15 September-28 November 1976, cat.no.12London, National Portrait Gallery, Glyn Philpot 1884-1937; Edwardian Aesthete to Thirties Modernist, 9 November 1984-10 February 1985, cat.no.31Chichester, Pallant House Gallery, Glyn Philpot: Flesh and Spirit, 14 May-23 October 2022LiteratureRoyal Academy Illustrated, 1922, p.2 (ill.b&w)Daisy Philpot, Manuscript Catalogue of Portraits by Glyn Philpot, c.1938-57, p.5 (ill.)A.C.Sewter, Glyn Philpot 1884-1937, (foreword by T Bodkin), 1951, pl.40 (ill.)Robin Gibson, Glyn Philpot 1984-1937 Edwardian Aesthete to Thirties Modernist, National Portrait Gallery Exhibition Catalogue, London, 1984, pp.62-63, ill.col p.20 and b&w p.63Simon Martin and Alan Hollinghurst, Glyn Philpot: Flesh and Spirit, Pallant House Gallery, Chichester, 2022, p.46, fig.36 (col.ill)Philpot's important painting The Sisters of the Artist depicts two of his elder siblings, Daisy (right) and Gertrude (left). At this period Philpot often used family and close contacts as models, but the titles he gave to pictures such as the present work and Gabrielle and Rosemary, Nieces of the Artist (Ashmolean Museum, Oxford) underlines the importance of these specific sitters to him. As Robin Gibson comments 'Philpot was the youngest member of the family. His sisters were both extremely fond of him, and Daisy in particular was often called upon to pose for him. Gertrude was born at the family home - 31 The Grove, Clapham - in 1879. She married Clement Cross in 1907 and died in 1957. Daisy, who was three years younger, was also born in Clapham. Remaining unmarried, she devoted much of her life to her brother's interests, even after his death. She died in the same year as her sister.' (Robin Gibson, exh.cat., Glyn Philpot 1984-1937 Edwardian Aesthete to Thirties Modernist, National Portrait Gallery Exhibition Catalogue, London, 1984, pp.62-63).Gibson commented further that the work itself is 'almost wilfully conservative in its very Shannonesque colouring and the rather Victorian feel of the long dresses, it has a haunting, timeless quality and almost existentialist atmosphere of resignation which could only belong to the twentieth century' (Ibid.).When the painting was first exhibited at the Royal Academy in 1922 the Evening Standard judged it as 'the outstanding work of genius'. The following year The Sisters of the Artist was included in Philpot's first major solo exhibition, which also received rapturous acclaim. The critic P.G Konody declared 'Few living artists could emerge from the ordeal of a one-man show as triumphantly as Mr Glyn Philpot whose exhibition at the Grosvenor Galleries reveals not only a craftsman of the rarest distinction, but an artist who can turn from penetrating and conscientious portraiture to lofty imaginative conceptions' (P.G. Konody, Daily Mail, 14 April 1923).The Sisters of the Artist has subsequently enjoyed an impressive exhibition history. Outings include the World's Fair in New York in 1939 (alongside Henry Moore's Recumbent Figure – see note for lot 24), the major 1953, 1976 & 1985 artist retrospectives, and most recently at this year's Glyn Philpot: Flesh and Spirit exhibition at Pallant House Gallery, Chichester.For further information on this lot please visit Bonhams.com

Los 56

Cecil Collins (British, 1908-1989)Self-Portrait signed and dated 'Cecil Collins/1950' (upper right); further signed, titled and dated again ''Self Portrait' (1950)/By Cecil Collins' (verso)gouache43.3 cm. x 36.2 cm. (17 1/16 x 14 1/4 in.)Footnotes:ProvenanceThe Artist, by whom gifted to the family of the present ownerPrivate Collection, U.K.LiteratureNomi Rowe (ed.), In Celebration of Cecil Collins: Visionary Artist and Educator, FOOLSCAP, London, 2008 (col.ill. frontispiece)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

Los 60

Christopher Wood (British, 1901-1930)Flowers in a Blue Vase oil on canvas35.9 x 30.1 cm. (14 1/8 x 11 7/8 in.)Painted in 1922Footnotes:ProvenanceJack BeddingtonHans & Elsbeth JudaTheir sale; Sotheby's, London, 26 April 1972, lot 132, where acquired by the father of the present ownerPrivate Collection, U.K.ExhibitedSheffield, Graves Art Gallery, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, May-June 1967, cat.no.160LiteratureEric Newton, Christopher Wood, Redfern Gallery, London, 1938, cat.no.9Exh.Cat., Robert Melville, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, Graves Art Gallery, Sheffield, 1967, n.p., cat.no.160 (ill.b&w)For Christopher Wood the year 1922, his twenty-first, was to be the year his artistic aspirations accelerated at a profound rate. In January he wrote to his mother stating 'My ambition as I said is to be a great painter and as I am learning now I shall stand every chance of becoming one' (quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995 p.52). By early summer his sights were set much higher. In June he would again write to his mother declaring 'I have decided to try and be the greatest painter that has ever lived' (Ibid p.59). Wood's charismatic bravado is by no means unique among young artists, however as the following years were to prove his assuredness was quite merited. Throughout the 1920s, Wood led a fascinating and fabled existence, connecting with many great artists including Picasso, Cocteau and Lhote on the continent, and the Nicholsons, Morris and John in Britain. He exhibited successfully, including as a member of The Seven and Five Society, and developed an idiosyncratic painterly vocabulary which joyfully fused post-impressionism and primitivism. The meteoric rise of his star was tragically cut short by suicide just a decade into his career. Despite his short years, it is generally accepted that without Wood's contributions and connections, the history of modern British painting could have taken a different course entirely.The present painting is a rare example dating to the year in which Wood's ambition was at its peak, and his artistry was enlivened by a rich array of influences. With minimal formal training to date, his talent and charm had already attracted the attention of a wealthy collector named Alphonse Kahn. Kahn's renowned collection of modern paintings afforded Wood close access to works by Cézanne, Matisse and the Old Masters, and his sponsorship enabled Wood to study in Paris at the Académie Julian, whilst living in Montmartre. There Wood became acquainted with the Chilean diplomat José Antonio de Gandarillas, with whom he would travel extensively. In February of 1922 Wood and Gandarillas toured Northern Europe, including Brussels, Ghent and the Netherlands. Spring would take them to the South of France and the casinos of Monte Carlo, before crossing the Mediterranean to Tunis and on to Sicily, Malta and Greece. In August they set sail from Athens to Constantinople, before weaving through central Europe back to London in autumn. Throughout he painted a small number of still-lifes, such as the present work and Lemons in a Blue Basket (Pallant House, Chichester). These paintings display Wood's early prowess as a colourist, and as noted by Katy Norris reveal that Wood 'seemed to understand that the creation of emotional narrative was related to the sensuous qualities of the objects and the manner in which they were held together within the space' (Katy Norris, exh.cat., Christopher Wood, Lund Humphries, London, 2016, p.33). Such works are informed in part by Cézanne, especially in composition, but also by Van Gogh, whose letters Wood discovered in 1922 and whom he would develop an adoration of. Specifically, it is Wood's flower paintings which can be considered the fruit of this idolisation. As Katy Norris highlights 'Wood observed a perfect synergy between the simplicity of Van Gogh's paintings and his modest rural existence that was to have a determining impact on the young artist's own approach to art and life' (Ibid. p.46). The present work was formerly in the collection of Hans and Elsbeth Juda. Hans Juda (1904-1975) founded The Ambassador export journal for textiles and fashion, and Elsbeth Juda (1911-2014) was a pioneering fashion and art photographer whose subjects included Henry Moore, John Piper, Kenneth Armitage, Peter Blake, and Graham Sutherland, whom she photographed in 1954 on the occasion of Winston Churchill's final sitting for Sutherland's famously ill-fated portrait of the statesman.We are grateful to Robert Upstone for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Los 3

Sheikh Mohammed Sultan (Bangladeshi, 1923-1994)Untitled signed 'S M Sultan' lower rightcolour pastel and charcoal on paper, framed26.5 x 35.3cm (10 7/16 x 13 7/8in).Footnotes:ProvenanceAcquired by the vendor from Ahmed Saeed Nagi's collection, which was inherited by his son; Nagi was a close friend of the artist.Ahmed Saeed Nagi was known as the 'official artist' of the Pakistan freedom movement, and was the first person to make a portrait of Quaid-e-Azam, Muhammad Ali Jinnah. He completed artwork at Governor House, Karachi, Governor House, Lahore and the Mohatta Palace, Karachi. In 1990 he was bestowed with the Pride of Performance Award by the Government of Pakistan, for his outstanding achievements as a painter.Sultan was born in Machimdia village, in what was then known as Jessore District, British India. He studied at the Government School of Art in Calcutta, where Mukul Dey, the pioneer of drypoint-etching in India was Principal. Under Dey's tutelage, students were encouraged to paint contemporary landscapes and portraits reflecting their own experiences, as opposed to painting Indian allegorical, mythological and historical subjects or copying the Old Masters.Sultan absorbed what he was taught and created a visual language that makes him of the pioneers of Bangladeshi modernism. He repeatedly depicted the same subject, village scenes and his trademark included illustrating peasants with exaggerated muscular physiques. The three works on offer in this auction are from the 1960s. In these works on paper, we see the beginnings of what is to come in his works in the 1970s and 1980s, with the slight exaggeration of the female bodies as seen in (Untitled Figures in a Landscape). To view other works on paper from this period, see Eye for Art, Sheikh Mohammad Sultan Exhibition: Works on Paper, 23rd March - 11th April 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Los 35

Jamil Naqsh (Pakistani, 1939-2019)Portrait of Ali Imam signed and dated 'Jamil Naqsh/12th Sept.79' lower rightwatercolour on paper, framed44.8 x 52.3cm (17 5/8 x 20 9/16in).Footnotes:AN IMPORTANT WORK DEPICTING ALI IMAMProvenanceAcquired from the Indus Gallery in Karachi in the 1990s;Sotheby's, New York 16/03/17 Lot 151;Acquired by the vendor from the above.ExhibitedPasadena, California, Pacific Asia Museum, A Selection of Contemporary Paintings from Pakistan, 1994 LiteratureM.N. Sirhandi, A Selection of Contemporary Paintings from Pakistan, by D. Kamansky, Pacific Asia Museum, Pasadena, California, illustration p. 91Collectors of Naqsh's paintings will be familiar with his skilful representations of nudes, pigeons and horses. He was a prolific artist whose works continue to be admired and sold. To see examples of his works sold in these rooms, see Bonhams, Islamic and Indian Art, London, 11th June 2020, lot 249 and Modern & Contemporary South Asian Art & Art of Pakistan, London, 24th October 2018, lot 123.What however, is not well known is that away from the emphasis on voluptuous nudes and preening pigeons, Naqsh created a corpus of work that focused away from his usual norm. This included male nudes and an acknowledgement of his debt to individuals who had helped him along the way. The work on offer in this auction is one such rare work and pays homage to Ali Imam, the pioneering gallerist in Pakistan who established Indus Gallery in Karachi in 1971 and who was instrumental in patronizing and promoting an entire generation of Pakistani artists amongst them Ahmed Parvez and Bashir Mirza.Ali Imam was the older brother of Syed Haider Raza, the renowned Indian painter (1922-2016); while both were born in India, both brothers left India shortly after independence, Ali to Pakistan in 1949 and Haider for France in 1950.Besides being a gallerist, Ali Imam was a painter in his own right and his works have been sold in these rooms. To see a recent example see Bonhams, Modern and Contemporary South Asian Art, London, 24th May 2022, lot 53.This painting is a tribute by Naqsh to Ali Imam for the gallerist's help in recognizing his skill early on and helping him establish himself in the Pakistani art scene. Imam's posture is reminiscent of Adam in Michelangelo's Creation of Adam and illustrates the importance of Imam in Naqsh's life. Painted after Imam's open heart surgery, it documents a period in the history of Pakistan when the patronage of art was being accepted as a civilizing aspect in the country's consciousness.For further information on this lot please visit Bonhams.com

Los 37

Vivan Sundaram (Indian, B. 1943)Untitled (Composition) signed and dated 'Vivan August '91 lower rightengine oil and charcoal on paper, framed55.3 x 74.8cm (21 3/4 x 29 7/16in).Footnotes:ProvenanceAcquired directly from the artist in 1991/1992.Note: This work is on the artist's website under his 'Engine Oil and Charcoal drawings' series.Born in Shimla in 1943, Sundaram studied painting at both Maharaja Sayajirao University, Baroda (1961-65) under KG Subramanyan and at the Slade School of Art, London (1966-69). At the latter, he also studied the History of Cinema. Sundaram's career has spanned decades and he is known for being India's first installation artist. He works across mediums and scales and addresses issues pertaining to politics, familial and societal history and memorialisation. His early works embodied geometric abstraction and included elements of kitsch and pop art and his enduring interest in cinema led him to incorporating principles of collage/montage. It was in the 1990s however that he began working with unconventional materials, in response to the Gulf War (1990-1991) and created his 'Engine oil and charcoal on paper' series. The work in the present lot is from this series. In it he contrasts charcoal smudges with burnt oil to explore materiality and surface. This series marks a turning point in his career as it proves to be the catalyst for him to start working with photography, video art and installation; the Gulf War was the first televised war and clearly impacted him.His retrospective, 'Step inside and you are no longer a stranger' was held at KNMA, New Delhi in 2018, and featured works from 50 years of his career. He has exhibited his works at numerous shows worldwide including those in London, Paris, Amsterdam, Budapest, Copenhagen, New York, Dallas, Montreal and Vancouver and in the Biennales of Taipei, Shanghai, Sharjah, Sydney, Berlin, Havana and Johannesburg. He is the founding member of the Kasauli Art Centre, the Safdar Hasmi Memorial Trust (SAHMAT) and the Journal of Arts & Ideas, and is the editor of the 2010 two volume book on his maternal aunt, Amrita Sher-Gil, titled Amrita Sher-Gil: a self-portrait in letters & writings.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Los 47

Liaqat Rasul (British, B.1974)Envelop industrial plastic sheeting, cardboard, chunky felt tips, staples, tissue paper, wooden coffee stirrers, nylon net, staples, polypropylene plastic strapping, printed silk khadi, old shirt fabric, leather, grey board, packaging card, receipts, biro, rizzla paper, framed99 x 78.5cm (39 x 30 7/8in).Footnotes:ProvenanceThe Artist's Collection.Liaqat Rasul is a gay welsh dyslexic Pakistani male. He was born in Feb 1974 in Wrexham, North Wales. Liaqat studied fashion, gaining a first-class degree, specialising in textiles. He spent a year in industry, working and studying in New Delhi, India. Liberty's in Regent Street, London, bought his graduating collection, and he ran the business Ghulam Sakina for ten years, creating beautiful textile clothing. After Ghulam Sakina was liquidated in 2009, Liaqat decided to explore his life and career choices. He worked at the Roxy Beaujolais -run pub the Seven Stars, in Carey Street, while exploring art exhibitions and public art. A huge, heavy penny dropped in 2017, and Liaqat started making collages for friends. Small but vital art practice was initiated. Liaqat made a few pieces for commission, and in 2019 had his first-ever solo exhibition of eight pieces at the Tracey Neuls shop in Coal Drops Yard, London. The collage works are not a social or political statement; they are abstract and cartographic, made from old envelopes, stamped tickets, wooden coffee stirrers, misplaced printing on cardboard boxes, leftover yarn, swing tags, creased tissue papers, napkins, abandoned receipts, an old t-shirt chopped up, tatty found papers, packaging... marked with biros and felt-tip pens and stuck with PVA glue, sellotape on to card inserts and graphics on cardboard boxes left out in the street. Their bold, odd colours and real-world experiences create unique, buoyant collage tableaux.Making art is an act of hope. Liaqat invites the viewer to experience his low-tech, textured works, eyes darting about to take in the many elements, in their own time, meditatively, diverted from smartphones and the persistent digital world. Liaqat aims to create bigger and bolder collages and fibre works. Think tactile. Think analogue.He has been commissioned by Ty Pawb, Wrexham in North Wales, his place of birth to have his first solo exhibition in June 2024, which will then be on tour from Autumn 2024. He was part of the group show at Grosvenor Gallery, 'Patterns of the Past: Weaving Heritage in Pakistani Art' in the Summer of 2021, which was held in collaboration with Canvas Gallery, Karachi. The Crafts Council acquired a 3.5m tall portrait mobile and he has also been commissioned to work on a project with the elderly South Asian community in Gloucester, focussing on the migrant journey from Sri Lanka, India, Bangladesh and Pakistan.For further information on this lot please visit Bonhams.com

Los 146

A Victorian William Shakespeare silver card case, chased and etched decor, vacant cartouche to one side, a portrait of Shakespeare to the other, hallmarked Birmingham, 1857, maker Edward Smith, 68g, 11.5cm x 8cm

Los 288

19th century Continental School, portrait of a lady, oil on canvas, H.76.5cm W.63cm

Los 44

EHM Cruickshank (early 20th century British), portrait of a seated lady, oil on canvas, signed and dated 1939 upper right, H.61cm W.51cm

Los 6

Veronica Burleigh (1909-1999), Portrait of a Lady, oil on canvas, signed to verso, H.45cm W.35cm (ARR)

Los 64

A rare collection of 19th century Chinese photography, 40 albumen prints in total, 21 Chinese, scenes to include Pekin, Canton, Qing Government, Shanghai, The Club Shanghai, Ming tombs, other photos are of Russia, Siberia, Vladivostok, Khabarovsk, Tsar Nicholas II portrait in Mongolia, each photo approx 21.5cm x 27.5cm

Los 117

Edwin Long (British, 1829-1891)Portrait of a young woman in profile signed with monogram (lower left)oil on panel37.8 x 27cm (14 7/8 x 10 5/8in).For further information on this lot please visit Bonhams.com

Los 118

Edwin Long (British, 1829-1891)Portrait of a young woman signed with monogram (lower left)oil on panel37.8 x 27cm (14 7/8 x 10 5/8in).For further information on this lot please visit Bonhams.com

Los 138

Pietro Annigoni (Italian, 1910-1988)Portrait of a lady, thought to be Zsuzsi Robozsigned, initialed and dated 'Pietro Amingoni/LXI' (centre right) watercolour, gouache and pencil 51.8 x 37.1cm (20 3/8 x 14 5/8in).Footnotes:Zsuzsi Roboz was an Hungarian painter based in London. She is known for portraiture of leading creative personalities of her time including musicians, actors and writers. Roboz is exhibited in several museums in the UK including The National Portrait Gallery and the Tate Britain.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

Los 168

Vincenzo Irolli (Italian, 1860-1945)Portrait study of a girl with grapessigned 'V.Irolli' (lower left) oil on board 54 x 50.1cm (21 1/4 x 19 3/4in).Footnotes:ProvenanceProperty of Dr. Thomas Chua, Chicago, USA.Private collection, USA.Acquired from the above by the present owner.For further information on this lot please visit Bonhams.com

Los 178

Cecil Kennedy (British, 1905-1997)Still life of flowers in a silver vase, a self portrait reflected in the vasesigned 'Cecil Kennedy' (lower right) oil on panel 61.3 x 50.8cm (24 1/8 x 20in).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

Los 187

Franz Dvorak (Czech, 1862-1927)Portrait of a lady in white with a hummingbird signed 'Fr.Drořák' (lower left)oil on canvas 48.6 x 38.7cm (19 1/8 x 15 1/4in).For further information on this lot please visit Bonhams.com

Los 188

Maud Hall (nee Rutherford) Neale (British, 1888-1956)Portrait of Winifred Leighton Wade, seated in an interior dressed in white against a woodland tapestrysigned 'Maud Hall Neale' (lower right); further signed and inscribed with artist's address (on fragment of artist's label affixed to stretcher)oil on canvas91.4 x 72.7cm (36 x 28 5/8in).Footnotes:The sitter is identified by a label affixed to the stretcher which reads: 'Painted about 1907, Winifred Leighton Wade of Oxton --- wife of William Oscar Little of Chapel Ridding where their three children:- William Oscar, Sean Daphne + John Vivian are great grandchildren of John Little of Closeburn Castle'.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

Los 59

Attributed to Henry Barraud (British, 1811-1874)Portrait of two young girls with their pet dog oil on canvas91.5 x 71.1cm (36 x 28in).For further information on this lot please visit Bonhams.com

Los 71

Charles A. Buchel (British, 1872-1950)Portrait of Philip, the artist's son signed 'BUCHEL' (upper left); signed and inscribed 'Philip' and with the artist's address (on artist's label attached to the reverse)oil on board40 x 29cm (15 3/4 x 11 7/16in).To be sold with another portrait, probably also of Philip, signed and dated '1910' and in coloured chalks. (2)For further information on this lot please visit Bonhams.com

Los 83

Edwin Harris, RBSA (British, 1855-1906)Portrait of an elderly woman signed 'Edwin Harris' (lower left)oil on panel20.3 x 15.2cm (8 x 6in).For further information on this lot please visit Bonhams.com

Los 84

Henrik Louis Lund (Norwegian, 1879-1935)Portrait of a gentlemansigned and indistinctly dated 'Henrik Lund ---9' (lower right) oil on canvas 76.5 x 63.5cm (30 1/8 x 25in).For further information on this lot please visit Bonhams.com

Los 85

John Ferneley (British, 1782-1860)Huntsman and his hounds, said to be Charles, 3rd Baron of Southampton, Master of the Quorn Hunt, 1827-1881oil on canvas 61 x 90.2cm (24 x 35 1/2in).Footnotes:The current lot most likely corresponds to an entry in Ferneley's account book under no. 252 from September 1827 titled 'The Earl (sic) of Southampton, Portrait of himself, pony, Huntsman and hound(s)' sold for a fee of £31-10-0. The oil noted is slightly larger but may have been trimmed over time and this would account for the lack of signature as it may well have been cropped.For further information on this lot please visit Bonhams.com

Los 87

Julius von Blaas (Austrian, 1845-1923)Portrait of a chestnut horse in a stablesigned and dated 'Jul.v.Blaas.1885.' (upper left) oil on canvas 47.7 x 63.2cm (18 3/4 x 24 7/8in).For further information on this lot please visit Bonhams.com

Los 95

Lionel Dalhousie Robertson Edwards, RI, RCA (British, 1878-1966)Portrait of Herman Tiarks on Slade Grey signed and dated 'Lionel Edwards/1935' (lower right)oil on canvas69.5 x 101.9cm (27 3/8 x 40 1/8in).Together with a copy of the sitter's memoir 'Hunting Reminiscences' in which the portrait is featured. (2)Footnotes:Herman Tiarks (1875-1955) was Master of the Mendip Foxhounds. The landscape portrayed is Crooks Peak in the Mendips, close to Tiarks' Somerset home. Fox hunting was his lifelong passion; Pickles, another horse from Tiarks' extensive stable, is also depicted here.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

Los 100

Franklin (Benjamin) Works, 2 vol., engraved portrait frontispiece, ink ownership inscription front endpapers, vol. 1 title top fore-edge corner clipped, and small stain to lower, vol. 2 title remnants of ink ?ownership inscription (partially removed, with 2 small holes), contemporary green morocco-backed boards, spines gilt, joints and corners a little rubbed, 12mo, Edinburgh, D. Schaw, 1803.

Los 118

Warden (William) Letters written On Board His Majesty's Ship the Northumberland, and at Saint Helena; in which the Conduct and Conversations of Napoleon Buonaparte, fifth edition, portrait frontispiece, folding letter facsimile, bookplate, light off-setting and spotting to initial ff., contemporary tree calf, spine with black morocco label, R. Ackerman, 1816 § O'Meara (Barry) Napoleon in Exile; or, a Voice from St. Helena, 2 vol., second edition, frontispieces and 2 plates, bookplates, light off-setting, occasional light spotting, contemporary calf, spines gilt with red and black morocco labels, joints cracked but firm, W. Simpkin et al., 1822 § Napier (W. F. P.) History of the War in the Peninsula and in the South of France..., 6 vol., half-title to vol. 1, plates and maps (a few in vol. 5 foxed), small stamp to front endpaper verso, bookplates, very occasional light spotting, contemporary calf, rebacked, Thomas & William Boone, 1835-40; and 12 others relating to Napoleon, 8vo (21)

Los 12

Frasso (Antonio de lo) Los Diez Libros de Fortuna de Amor, 2 vol., second edition, engraved portrait frontispiece, 8 engraved plates, ink ownership inscriptions front endpapers, vol. 1 with extended manuscript note front endpaper, a few ff. browned, occasional instances of minor isolated spotting or soiling, contemporary vellum, spine with red and green morocco labels, some light surface toning, [Palau p. 496 94692], 8vo, Londres, Henrique Chapel, 1740.⁂ Originally published in Barcelona in 1573. This second edition was printed under the direction of Pedro Pineda, to whom a note in English at the end of vol. 2 is attributed. Here he explains how, the first edition of the text is "one of the greatest rarities in the Spanish tongue", a copy of which being "one of the scarcest [...] in the world". He also states he has "tried all sorts of methods to get it for five and twenty years."

Los 125

Goethe (Johann Wolfgang von) Faust: A Drama...with translations from the German by Lord Francis Leveson Gower, 2 vol., second edition, engraved portrait frontispiece, armorial bookplate of Sir Robert Johnson Eden, some light foxing, mostly at beginning and end, contemporary half calf over marbled boards, rubbed, loss to spine labels, 8vo, John Murray, 1825.⁂ Seemingly the first complete English translation of Faust, Part One. Earlier partial translations were provided by Samuel Taylor Coleridge (attributed to) and Percy Shelley. Gower's own first translation, published in 1823, left sections untranslated.

Los 130

Shakespeare (William) The Plays and Poems, 15 vol., edited by A. J. Valpy, portrait frontispiece and plates, contemporary half green calf, spine gilt in compartments with black and red morocco labels, light rubbing to extremities but still a bright and attractive set overall, 8vo, 1832-34.

Los 135

Woman novelist.- Blessington (Marguerite Gardiner, Countess) Strathern; or life at home and abroad. A story of the present day, 4 vol., first edition, lithographed portrait frontispiece, advertisement f. to end of vol.3, 2 advertisement ff. to end of vol.4, some spotting, engraved bookplates of Hannah Isabella Mande, these mostly lightly offsetting on to front free endpapers and titles, original green cloth-backed drab boards, original printed labels to spines, spines uniformly slightly faded, labels chipped, with loss of a few letters, corners little worn, rubbed, [Sadleir 248; Wolff 552; Loeber and Loeber, Guide to Irish Fiction, B187], a very good set of a rare novel, Henry Colburn, 1845; and 13 others, by the same, v.s. (17) ⁂ The author was a literary hostess and friend of Byron and Dickens. Strathern is a novel of high society, set in contemporary Rome. Certain characters were intended to be easily identifiable, notably Bulwer Lytton who is maliciously portrayed as the simpering Webworth; a name derived from his estate at Knebworth.

Los 159

Bindings.- Wordsworth (William) The Poems, edited by Thomas Hutchinson, engraved portrait frontispiece, contemporary blue calf with prize blind-stamping to upper cover, spine gilt in compartments, lightly faded, 1911; The Complete Poetical Works, introduction by John Morley, contemporary black calf-backed boards, gilt portrait to upper cover, lightly rubbed, 1899 § Lamb (Charles) The Essays of Elia, introduction by Alfred Ainger, prize bookplates to endpapers, contemporary blue half calf, prize stamp to upper cover, spine with red morocco label, gilt, lightly faded, 1921, and 2 others, including another attractive binding, 8vo & 4to (5)

Los 183

Dickens (Charles) The 'Pears' Edition of Charles Dickens' Christmas Books, 5 vol. comprising A Christmas Carol, The Chimes; The Cricket on the Hearth; The Battle of Life; The Haunted Man, all edited by Clement Shorter, illustrations, original decorative cloth with portrait onlay of a child, one or two spots or marks and spines lightly bumped but overall a very bright and crisp set, 4to, [1912].

Los 196

NO RESERVE Africa.- Livingstone (David) Missionary Travels and Researches in South Africa; including a sketch of sixteen years' residence in the interior of Africa, first edition, first issue with folding engraved frontispiece, engraved portrait (damp-stained at head), 22 wood-engraved plates, one folding diagram, 2 folding maps, illustrations, spotting to endpapers but a clean copy generally, armorial bookplate of Sir William Eden to front pastedown, later half calf, some chipping to head of spine, 8vo, 1857.

Los 197

Africa.- Park (Mungo) Travels in the Interior Districts of Africa...in the Years 1795, 1796, and 1797, 2 parts in 1 vol., including Appendix, first edition, stipple-engraved portrait frontispiece, 3 engraved maps / charts (one with routes supplied in red and blue), 5 engraved plates (2 botanical), postscript f., 2 ff. of music, larger map with tear running from inner margin, light offsetting but a clean copy generally, subscriber's copy with armorial bookplate of Robert Eden to front pastedown, W. Bulmer & Co. for the author, 1799; The Journal of a Mission to the Interior of Africa, first edition, folding map, illustrations, light offsetting, for John Murray, 1815, lacking half-titles, uniform contemporary speckled calf, gilt, spines rubbed, spine labels chipped, 4to (2)

Los 199

British travellers in North America.- Stamer (William) The Gentleman emigrant: his daily life, sports, and pastimes in Canada, Australia, and the United States, 2 vol., first edition, half-titles, these lightly browned, occasional spotting, original green cloth, spines gilt, foot of spine of vol.1 worn, corners little worn, some staining, rubbed, Tinsley Brothers, 1874 § St. John (Frederick Edward Molyneux) The Sea of mountains. An account of Lord Dufferin's tour through British Columbia in 1876, 2 vol., first edition, half-titles, mounted photographic portrait frontispiece of Lord Dufferin, original green blind-stamped cloth, spines gilt, some damp-staining to upper cover of vol.2, Hurst and Blackett, 1877; and 39 others, similar, v.s. (43)

Los 201

NO RESERVE America.- Tschiffely (A. F.) Southern Cross to Pole Star...Being an Account of 10,000 Miles in the Saddle through the Americas, half-title, portrait frontispiece, photographic plates, dust-jacket bound in, A.L.s. from the author explaining the weaving technique of Native Americans tipped-in to endpaper, with two illustrations in ink, addressed to an undisclosed "Sir" and dated February 3rd 1933, bookplate of Michael Matantos, some very light spotting, mostly to first and last few leaves, modern half green morocco, gilt, with original covers laid-down, upper cover blind-tooled with a man and two horses, some water-staining, spine sunned, t.e.g., 8vo, 1933.⁂ Recounts a three year journey on horseback from Buenos Aires to Washington DC in the late 1920s.

Los 204

World.- Harriott (John) Struggles through life, exemplified in the various travels and adventures in Europe, Asia, Africa, and America, 2 vol., second edition, stipple-engraved portrait frontispiece (detaching), folding engraved plate of 'Patent fire escapes', plate foxed, 2A3 lower marginal corner cut away, occasional spotting or light foxing, lightly browned, contemporary speckled calf, spines gilt and with red and black leather labels and paper labels at head with ms. shelfmark, stained and rubbed, Printed (for the author) by J. Skirven, 1808 § Canada.- [Shore (Mackworth Charles)] Two months on the Tobique, New Brunswick. An emigrant's journal, 1851, first edition, title lightly browned, occasional spotting, original red cloth, gilt, spine ends and corners little frayed, Smith, Elder, 1866; and 9 others, Travel, including a 3 vol. set of Coxe's Switzerland, 1791, v.s. (12)⁂ The first mentioned includes much on America. Harriott (1745-1817) was a seaman, inventor (including fire escapes depicted by the plate), projector of the Thames police, and resident magistrate at the Thames police court. He served in the navy in America and the West Indies, and was present at the recapture of Newfoundland. For some time he ran farms in New York and Rhode Island, and became involved in a British scheme to purchase 17,000,000 acres in Georgia.

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