Aesop. The Fables of Aesop, with a Life of the Author, 2 volumes, London: John Stockdale, 1793, engraved title to each with vignette illustration, 100 engraved plates only (of 110, lacking plates for fables 3, 22, 34, 36, 44, 47, 69, 82, 88, 110), with tissue guard to each, armorial bookplate of Knightley Rainald of Fawsley to upper pastedown of each, contemporary calf gilt with contrasting morocco labels to spines (volume 2 without oval volume number label), joints cracked, rubbed, light wear to extremities, some fading to covers, large 8vo, together with:Fielding (Henry). The Works..., with the Life of the Author, 8 volumes, new edition, London: W. Strahan, J. & F. Rivington, L. Hawes & Co., R. Horsfield [et al.], 1771, initial volume with engraved portrait frontispiece after William Hogarth, armorial bookplate of Knightley Rainald of Fawsley to upper pastedown of each, contemporary calf, gilt decorated spines with green morocco labels, some joints cracked, extremities rubbed, 8vo QTY: (2)
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Cleland (John). Memoirs of Fanny Hill..., A new and genuine edition from the original text (London, 1749), Paris: Isidore Liseux, 1888, half-title, title in red and black, all edges gilt, 20th-century gilt panelled and decorated dark green morocco by Bayntun of Bath, 8vo, together with: Payne-Gallwey (Ralph). The Mystery of Maria Stella Lady Newborough, London: Edward Arnold, 1907, half-title, photogravure portrait frontispiece, several monochrome plates, scattered spotting, bookplate to front flyleaf, all edges gilt, near contemporary brown morocco gilt by C. J. Sawyer, cup ring mark to upper board, 8voQTY: (2)
* Spain & Gibraltar. Senex (John), Spain and Portugall Distinguish't into their Kingdoms and Principalities &c. 1719, engraved map with contemporary outline colouring, slight overall toning, some creasing, 485 x 555 mm, framed and glazed, together with Barbie du Bocage (Jean Denis). Plan de Gibraltar, circa 1810, hand-coloured engraved map, old folds, some spotting, 185 x 570 mm, mounted, framed and glazed, with Norie (J. W.). A Chart of the Mediterranean, The Adriatic or Gulf of Venice..., 1830, a large engraved chart of the western Mediterranean surrounded by eighteen inset maps of various ports and harbours, occasional marginal closed tears, slight water staining, some insect damage to the upper margin but not affecting the printed image, slight surface abrasion 1240 x 800 mm, plus Bertius (Petrus). Hispania, circa 1618, hand-coloured engraved miniature maps, some dust soiling, 85 x 125 mm, mounted, framed and glazed, and Earlom (Richard). General Eliott, Baron Heathfield of Gibraltar, J & J Boydell, 1788, uncoloured engraved portrait after Joshua Reynolds, 480 x 340 mm, framed and glazed, with three 18th & 19th-century hand-coloured engraved views of Gibraltar, various sizes and conditionQTY: (8)
Ackermann (Rudolph publisher), A History of the University of Oxford, its Colleges, Halls and Public Buildings, 2 volumes, 1st edition, 1814, additional half-titles to each volume, portrait frontispiece of Lord Greenville, introduction and list of plates and subscribers, 64 aquatint plates after Pugin, Mackenzie, Westall, Nash, and others, all with contemporary hand-colouring, all with tissue guards, and 17 stipple-engraved costume plates (many watermarked J. Whatman 1812), with contemporary hand-colouring, indexes to the rear of both volumes, discreet blindstamps to front endpaper and title pages, slight spotting throughout, some offsetting on to text only, endpapers creased, later pastedowns, uncut, quarter sheep with gilt title to the spine, contemporary boards with etched pictorial title to the upper siding, later reback, heavily rubbed, bumped and worn, large 4to (375 x 305 mm), plus loosely inserted into volume 1 is Brewer (H. W.). Mediaeval Oxford, The Builder, January 3rd 1891, uncoloured photolithographic panorama, old folds, 300 x 760 mmQTY: (2)
Leopold I. Leopolds des Grossen Rom. Kaysers wunderwurdiges Leben und Thaten. Aus geheimen Nachrichten eroffnet, 2 volumes in one, Leipzig: Thomas Fritsch, 1708, engraved portrait frontispiece, 9 engraved plates (including 5 folding), occasional slight damp-staining, toning and spotting, contemporary calf, gilt decorated spine, 8voQTY: (1)
Tom Jones, (Welsh singer, born 1940)A 1960s stage-worn waistcoat of Tom Jones, double breasted in navy satin with mother-of-pearl buttons and red lining decorated with veteran cars, having been raffled by the Tom Jones Official Fan Club circa 1967-8, the lot includes the original raffle ticket, entry receipt, a letter from the Fan Club confirming the prize winner's success and a promotional portrait photograph.[Provenance: won by the vendor as a seventeen year old member of the Tom Jones Fan Club]
A Victorian Tortoiseshell and Piqué Work Brooch, of flowerhead panelled form, detailed with foliage, 3.5cm diameter; An Antique Style Shell Cameo Brooch, the oval panel carved with the portrait of a lady, between uniform bar stamped "JG&S" "9CT"; A Pair of Jet Coloured Clip On Earrings, in the form of flowerheads. (3)
A Set of Three Large Art Nouveau Hallmarked Silver Buttons, Levi & Salaman, Birmingham 1900, each of circular form detailed in relief with female portrait, holding a flower in her hand, facsimile signature "F.Lasserre". (3)The buttons are approximately 3.5cm diameter each, total weight 26grams. No visible signs of damage or repair.
An Antique Style Large Carved Shell Cameo Brooch, depicting a courtyard scene with lady picking wheat, livestock and trees, within a ropetwist style surround, with safety chain, 4.6cm x 6.3cm, together with another antique style gilt coloured carved shell cameo brooch, depicting the portrait of a lady, within beaded surround, 2.3cm x 3cm. (2)
An Antique Style Carved Shell Cameo Ring, the oval panel depicting the portrait of a lady, double claw set between decorative shoulders of bow ribbon design, to slim band stamped "9ct" (finger size M1/2); A 9ct Gold Carved Shell Cameo Ring, the oval panel depicting the portrait of a lady, collet set within twisted surround, to bifurcated shoulders and slim band (finger size Q1/2) (5.2grams total weight). (2)
An Edwardian Hallmarked Silver Topped Arts & Crafts Hatpin, (makers mark indistinct), Chester 1907, depicting portrait of a man highlighted in green enamel, 20cm long; A Hallmarked Silver Topped Guilloche Enamel Hatpin, JA&S, Birmingham 1912, highlighted in blue and white enamel, 20cm long; A Further Hallmarked Silver Topped Hatpin, CHC&S, Chester 1908, 23.5cm long. (3)
Mixed decorative 20th century ceramics to include; four pieces of Poole lava pottery including a pair of vases, a single vase and a pin tray, along with three Deco style face / bust wall plaques, one made in Western Germany; a Benaya ceramic plate with tube-lined stylised lady design; a large Portuguese circular charger / bowl with fruit design and green ground, approx. 42.5cm diameter; a boxed ceramic plaque titled "A Late Bloomer" by Sharon Yamamoto, and a 1937 card calendar with portrait of an elegant lady and calendar underneath. (11) Some slight damages to mask wall plaques, general wear.
An early 20th century commemorative 1909 Liverpool University bronze plaque, etched to side 'Harold John Frederick Gourley, 1909', depicted in relief to front with bust portrait surrounded by script 'William Rathbone Medal For Engineering' and '80th Birthday 1899', other side depicted in relief with two young men and 'The University of Liverpool' crest / badge, signed by C Allen, the sculptor, approx. 14.7cm diameter. Further details: Harold Gourley (1886-1956) was a British civil engineer, born in Liverpool in 1886 and was a holder of a Master of Engineering degree. Condition: generally good, patina and wear, few nicks or nibbles to edge, slight scratches etc.
Circle of Thomas Hudson, 18th century portrait of a Gentleman, believed to be Joseph Hall Esq. of Lilling Hall, near, Sherriff Hutton, Yorkshire, half length in blue coat, inscribed on re-lining verso, painted oval, oil on canvas, 76cm x 63cm, unsigned. Condition: re-lined with extensive re-touching overall.
French School (late 19th Century), a set of three portrait miniatures; Marie-Antoinette and Louis XVI with the Dauphin Louis XVII to the centre, each signed with initials M.G., gilt metal with central gilt metal mounts, Louis XVII with coronet above, each miniature titled in pencil verso Please note this lot is offered for sale in accordance with the Ivory Act 2018, Hansons Auctioneers have applied for an exemption licence for the ivory in this lot: Marie-Antoinette - Submission Ref: H9JASA52 Louis XVI - Submission Ref: 61J2MDBH Louis XVII - Submission Ref: R4XXLC3W
HRH The Duke and Duchess of Kent: a collection black and white portrait studies of the Duchess, two blank Christmas cards, Household Party invitations together with signed Christmas Cards, portrait photographs of The late Sir Angus Ogilvy KVCO and HRH Princess Alexandra of Kent, a letter to Alan from Sir Angus and invitations to household events (1 bag) Provenance: Alan Maxwell MVO, of photographic and camera specialist, Wallace Heaton Ltd., official suppliers to the Royal Family
Diana, Princess of Wales (1961-1997): a collection of colour prints to include: a 10 x 8" Official portrait to commemorate her 21st birthday photographed by Snowden; 3 x 1990s Official portrait of the Princess wearing Cambridge Lover's knot tiara and Catherine Walker gown with 5 x 4"s; a 10 x 8" 1985 portrait, the Princess wears Victor Edelstein and a 10 x 8" 1997 portrait, the Princess wears Bruce Oldfield with multiple 5 x 4" 1994 portrait of the Princess seated at home navy dress, all in box addressed to Alan Maxwell (Q)
A German porcelain figural clock group depicting a gentleman artist showing his lady companion a miniature portrait. Both are resting above a clock with a vase water font above, dressed in classical attire on a highly embellished base, c. 19th century, 32cm high and 29cm wide. Condition: lady's hat rim chipped, minor chips to leaves, some slight wear to gilding. Clock not tested.
Robert O. Lenkiewicz (1941-2002), artist book, 'A Portrait of Robert Lenkiewicz', photographs by Dr Philip Stokes, published by White Lane Press 2005, together with a Lenkiewicz Retrospective exhibition booklet, Jojo 'Remembering Robert' book, a copy of the Robert Lenkiewicz Art Magazine, and copy of Devon Life magazine with Robert Lenkiewicz tribute. (5)
Robert Lenkiewicz (1941-2002) 'Painter with Patti' oil on board, 99cm x 91.50cm, framed and glazed.Provenance - purchased from the Halcyon Gallery 1998 (valuation provided). Exhibited Birmingham ICC 1994.The photo of Patti Avery modelling for the painting in the studio in front of The Dance, taken by Philip Stokes is published in 'A Portrait of Robert Lenkiewicz published White Lane Press.Painter with Patti is listed at number 104 in the exhibition https://www.robertlenkiewicz.org/content/painter-women-observations-theme-double
Yana Trevail (Dartmoor Artist connected with Robert Lenkiewicz) oil on canvas, 'Self Portrait with Palette', signed and titled verso, framed and glazed, overall size approx 55cm x 45cm.Yana Trevail met the painter Robert Lenkiewicz in 1975, with whom she studied and sat for. She was his studio assistant from 1997 until his death in 2002.
Aboudia & Christian Furr (Collaboration), 'Untitled', 2017, unique oil pastel and mixed media on paper, signed by both collaborating artists in pencil, dated in pencil; sheet: 43 x 33cmARR Christian FurrIn 1995, aged 28, Christian Furr became the youngest artist to paint HM Queen Elizabeth II after the Queen personally chose him to be commissioned by the Royal Overseas League. Furr’s successive works have graced the walls of The National Portrait Gallery, Royal Society of Portrait Painters, Saatchi Gallery, and in the private collection at the Vatican. In 2004 Furr was awarded the Association of Colleges’ Award at the House of Commons in London given to further education alumni who have gone on to excellence in their chosen field. In 2019 he had a mid-career retrospective at the Williamson Art Gallery and Museum. Highly sought after for his painting and portrait commissions, the painter simultaneously follows the strong tradition of representation in British modern and contemporary Art throughout his oeuvre. He is collected privately and features in permanent collections around the world. His most recent paintings include a 2.7m painting of the Serpentine and Hyde Park which hangs in the newly refurbished Dorchester lobby, and a 4 x 3m painting which is a Trompe-l'œil tapestry depicting early settlers arriving in the bay of Singapore. This work hangs in the Singapore Edition. His collaboration with Aboudia in 2017 is one of the joint collections of works he has created with other artists including the neon artist Chris Bracey and the photographer Gered Mankowitz. sheet: 43 x 33cm
Aboudia & Christian Furr (Collaboration), 'Untitled', 2017, unique acrylic and oil pastel on linen, signed by both collaborating artists, signed by Christian Furr; canvas: 121 x 151cmARR Christian FurrIn 1995, aged 28, Christian Furr became the youngest artist to paint HM Queen Elizabeth II after the Queen personally chose him to be commissioned by the Royal Overseas League. Furr’s successive works have graced the walls of The National Portrait Gallery, Royal Society of Portrait Painters, Saatchi Gallery, and in the private collection at the Vatican. In 2004 Furr was awarded the Association of Colleges’ Award at the House of Commons in London given to further education alumni who have gone on to excellence in their chosen field. In 2019 he had a mid-career retrospective at the Williamson Art Gallery and Museum. Highly sought after for his painting and portrait commissions, the painter simultaneously follows the strong tradition of representation in British modern and contemporary Art throughout his oeuvre. He is collected privately and features in permanent collections around the world. His most recent paintings include a 2.7m painting of the Serpentine and Hyde Park which hangs in the newly refurbished Dorchester lobby, and a 4 x 3m painting which is a Trompe-l'œil tapestry depicting early settlers arriving in the bay of Singapore. This work hangs in the Singapore Edition. His collaboration with Aboudia in 2017 is one of the joint collections of works he has created with other artists including the neon artist Chris Bracey and the photographer Gered Mankowitz. canvas: 121 x 151cm In Very Good Condition/Artist Condition No sign of paint loss or restoration No rips or tears to the canvas The canvas has been re-stretched for the auction preview, the buyer has the option of shipping the artwork stretched or un-stretched and rolled No apparent issues In Very Good Condition/Artist Condition
Takanori Oguiss (1901-1986), Rue Nicolet, Montmartre , huile sur toile, signée, contresignée et titrée au verso, 60x73 cm Provenance: acquis dans les années 1980, puis resté dans la famille jusqu'à ce jourBibliographie: Les Amis d'Oguiss, Oguiss, Catalogue Raisonné, éd. Kyuryudo, Japon, 2021, no. 270Exposition: Musée Rath, Oguiss: exposition de peinture, du 3 au 25 février 1934, Musée d'art et d'histoire, Genève, no. 34Takanori OguissAprès des études aux Beaux-Arts de Tokyo, Takanori Oguiss quitte le Japon en 1927 pour s'établir à Montmartre, où il trouve une nouvelle patrie artistique. Ce départ marque une rupture décisive dans son parcours : émancipé des codes rigoureux de la peinture traditionnelle japonaise, il s'ouvre à une esthétique nouvelle, profondément influencée par Maurice Utrillo. Dans un contexte où l'avant-garde parisienne explore abstraction et surréalisme, Oguiss choisit une voie singulière, alliant modernité et figuration. Montmartre, avec ses rues pavées, ses façades décrépies et ses habitants singuliers, devient pour Oguiss une muse intarissable. C'est dans cet univers à la fois intime et universel qu'il façonne une oeuvre empreinte de simplicité et d'authenticité.Un exemple emblématique de cette quête se retrouve dans le portrait du Père Raimondeau (lot n.14). On devine aisément ce personnage arpentant les ruelles de Montmartre, figure trapue et robuste, vêtue de vêtements modestes mais fonctionnels. Assis, vêtu d'une veste bleue et d'un pantalon assorti, coiffé d'une casquette brune, son visage buriné porte les marques du temps, du soleil et des plaisirs du vin. À ses côtés, une bouteille et un verre à moitié vide racontent une vie simple et épicurienne. Sans artifice ni retouche, Oguiss saisit l'essence de cet homme dans une posture où chaque détail reflète sa nature et son quotidien. La vigueur du trait et l'intensité des ombres donnent au personnage une présence immédiate et vibrante. Dans ses paysages urbains, tels que Rue Nicolet Montmartre (lot n.13), Oguiss adopte une approche tout aussi directe. Il ne cherche ni l'idéalisation ni l'embellissement, mais capte la vérité brute des ambiances montmartroises. Sa perspective singulière, souvent audacieuse, et son cadrage soigneusement pensé confèrent à ses oeuvres une dynamique renouvelée. Les toits inclinés, les fenêtres austères et les trottoirs marqués par le passage du temps deviennent les éléments d'un théâtre urbain où chaque détail a son rôle à jouer. Les deux oeuvres présentées à la vente reflètent l'empreinte unique de Takanori Oguiss, immédiatement reconnaissable par ses lignes sombres et ses contours affirmés. Ces traits, incisifs et puissants, structurent ses compositions tout en amplifiant leur impact visuel. Dans ses paysages, ils soulignent l'architecture urbaine avec une précision quasi graphique, tandis que dans ses portraits, ils sculptent les expressions et les plis des vêtements avec une intensité captivante. Inscrit dans la lignée des peintres urbains, Oguiss impose une vision singulière : celle d'un artiste capable de magnifier la banalité du quotidien tout en y insufflant une profondeur humaine inégalée. Par ce regard à la fois mélancolique et vibrant, il s'affirme comme un pont entre la tradition et la modernité, laissant une empreinte indélébile sur la peinture figurative du XXe siècle.
Takanori Oguiss (1901-1986), Le Père Raimondeau , huile sur toile, signée, 74x58 cmProvenance: acquis dans les années 1980, puis resté dans la famille jusqu'à ce jourBibliographie: Lucienne Florentin, Oguiss, Peintre de Paris, éditions Sonor S.A., 1935, p.139, ill., Les Amis d'Oguiss, Oguiss, Catalogue Raisonné, éd. Kyuryudo, Japon, 2021, no. 312Takanori OguissAprès des études aux Beaux-Arts de Tokyo, Takanori Oguiss quitte le Japon en 1927 pour s'établir à Montmartre, où il trouve une nouvelle patrie artistique. Ce départ marque une rupture décisive dans son parcours : émancipé des codes rigoureux de la peinture traditionnelle japonaise, il s'ouvre à une esthétique nouvelle, profondément influencée par Maurice Utrillo. Dans un contexte où l'avant-garde parisienne explore abstraction et surréalisme, Oguiss choisit une voie singulière, alliant modernité et figuration. Montmartre, avec ses rues pavées, ses façades décrépies et ses habitants singuliers, devient pour Oguiss une muse intarissable. C'est dans cet univers à la fois intime et universel qu'il façonne une oeuvre empreinte de simplicité et d'authenticité.Un exemple emblématique de cette quête se retrouve dans le portrait du Père Raimondeau (lot n.14). On devine aisément ce personnage arpentant les ruelles de Montmartre, figure trapue et robuste, vêtue de vêtements modestes mais fonctionnels. Assis, vêtu d'une veste bleue et d'un pantalon assorti, coiffé d'une casquette brune, son visage buriné porte les marques du temps, du soleil et des plaisirs du vin. À ses côtés, une bouteille et un verre à moitié vide racontent une vie simple et épicurienne. Sans artifice ni retouche, Oguiss saisit l'essence de cet homme dans une posture où chaque détail reflète sa nature et son quotidien. La vigueur du trait et l'intensité des ombres donnent au personnage une présence immédiate et vibrante. Dans ses paysages urbains, tels que Rue Nicolet Montmartre (lot n.13), Oguiss adopte une approche tout aussi directe. Il ne cherche ni l'idéalisation ni l'embellissement, mais capte la vérité brute des ambiances montmartroises. Sa perspective singulière, souvent audacieuse, et son cadrage soigneusement pensé confèrent à ses oeuvres une dynamique renouvelée. Les toits inclinés, les fenêtres austères et les trottoirs marqués par le passage du temps deviennent les éléments d'un théâtre urbain où chaque détail a son rôle à jouer. Les deux oeuvres présentées à la vente reflètent l'empreinte unique de Takanori Oguiss, immédiatement reconnaissable par ses lignes sombres et ses contours affirmés. Ces traits, incisifs et puissants, structurent ses compositions tout en amplifiant leur impact visuel. Dans ses paysages, ils soulignent l'architecture urbaine avec une précision quasi graphique, tandis que dans ses portraits, ils sculptent les expressions et les plis des vêtements avec une intensité captivante. Inscrit dans la lignée des peintres urbains, Oguiss impose une vision singulière : celle d'un artiste capable de magnifier la banalité du quotidien tout en y insufflant une profondeur humaine inégalée. Par ce regard à la fois mélancolique et vibrant, il s'affirme comme un pont entre la tradition et la modernité, laissant une empreinte indélébile sur la peinture figurative du XXe siècle.
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283284 Los(e)/Seite