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Preisdatenbank abonnierenIndia.- Company School (possibly Lucknow, circa 1810-1820) Portrait of standing man in regional dress, point of the brush, watercolour and bodycolour heightened with gum arabic, traces of pencil, on laid paper without watermark, ruled black ink border, sheet 172 x 122 mm (6 3/4 x 4 3/4 in), minor rubbing in places, very minor surface dirt, unframed, [circa 1810-1820].
North America.- Mackenzie (Alexander) Voyages from Montreal, on the River St. Laurence, through the Continent of North America, to the Frozen and Pacific Oceans, first edition, engraved portrait frontispiece, 3 large folding maps, short tears, neatly repaired, occasional faint spotting and offsetting, contemporary half calf, rebacked with original spine laid down, a little rubbed, slight bumping to corners and extremities, [Sabin 43414], 4to, 1801.
Voyages.- Montaigne (Michel de) Journal de Voyage ... en Italie, par la Suisse & l'Allemagne, en 1580 & 1581, first edition, engraved portrait frontispiece, one or two faint spots, bookplate, contemporary speckled calf, gilt armorial stamps, joints cracked but holding, slight chipping to spine extremities, 4to, Rome & Paris, Chez Le Jay, 1774.⁂ Between 1580 and 1581 Montaigne undertook a long journey through France, Switzerland, Germany and Italy.
Studio Portrait Photograph of an Enlisted Man in Regiment Garde du Corps, showing the man in full parade uniform with cuirass and parade helmet with eagle top. Housed in a wooden frame with leather covered backing incorporating stand. Brass pins holding backing in place. Measures 13 x 18cms. We have not removed the backing from the frame.
Archive of telegraphs and handwritten notes providing instructions to Reginald D. Parker, chauffeur to the Prime Minister. The instructions are dated between 23 August 1929 and 4 January 1935 (Ramsay MacDonald serving as PM). The notes are on headed paper (10 Downing Street), Metropolitan Police Telephone slips, and Post Office Telegraphs. To include a printed portrait of Winston Churchill bearing pasted holograph signature; a photograph of Parker outside 10 Downing Street; an official programme for the Victory Celebrations, 8 June 1946; and scanned copies of a newspaper article describing Parker's career with quoted recollections and anecdotes (including the time Churchill sat on the roof of his car during a journey between Downing Street and the War Cabinet)
A collection of Wedgwood black basalt ware comprising; wine bucket, coffee pot, teapot, jugs; a figure of psyche which is AF, along with a pair of yellow Jasper Ware vases; a rectangular green plaque also an oval plaque containing a collection miniature roundels with classical figures plus four blue Jasper Ware portrait plaques depicting profiles, framed (Q)
A group of four Bohemian ruby and overlay glass portrait vases, circa 1890-1910, including a pair of amphora shape, 29.5cm high, one of ovoid shape with everted rim, 25cm high, and the fourth of ewer form, 33cm high, each overlaid with a white oval panel painted with a portrait of a girl (some repairs). (4)
After Tiziano Vecelli or Vecellio (called Titian) (1490-1576) - Portrait of a lady said to be Catherine Cornaro The Last Monarch of Cyprus, painted as The Saint Catherine of Alexandra, oil on vellum laid down onto a pine panel, 16.5" x 11.5" - ** A very interesting work possibly a fragment from a larger painting and contained within a period partially carved giltwood frame, the frame decorated with acanthus leaf decoration
Signed with initials, oil on panel(27cm x 46cm (10.5in x 18in))Footnote: Exhibited: Aberdeen Art Gallery & Museums, 'Robert Brough' 1995, no.39 Note: Robert Brough’s art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist’s talent. Brough’s life was cut short during a steep upward career trajectory, he was very much a rising art star; working alongside Sargent and having recently been made an associate of the Royal Scottish Academy. Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family’s neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray’s School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, ‘When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries’ (1895, Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. Close engagement with the offered works by this intriguing artist reveals his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. ‘Breton Women by Street Light’ is an atmospheric oil sketch, as Brough depicts the transient nature of early evening, as the light starts to glow through the windows, and skilfully captures the distinctive way that the white lace coiffed headdresses of the Breton women pick up touches of this reflected light. Brough achieves this with consummate ease, the paucity and economy of brushstrokes letting ones imagination fill in the gaps. The painting was included in the Aberdeen Art Gallery & Museum’s 1995 exhibition devoted to the artist. In ‘Herd Girl,’ Brough reveals his ability in pastel, a tricky medium. The beauty of the girl is softly and deftly captured, while the brighter colours of the distant landscape seem to almost swirl around her, though highlights of these richer tones are picked out in her hairband; harmonising the figure with her surroundings. Brough creates a rich, warm surface to the work, smudging the pastel in certain areas, but leaving his gestural pigment lines visible in others, creating a striking and unusual contrast. Brough’s talent and approach was beautifully summarised by his friend and mentor, Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’
Signed with initials, pastel(38cm x 38cm (15in x 15in))Footnote: Note: Robert Brough’s art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist’s talent. Brough’s life was cut short during a steep upward career trajectory, he was very much a rising art star; working alongside Sargent and having recently been made an associate of the Royal Scottish Academy. Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family’s neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray’s School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, ‘When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries’ (1895, Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. Close engagement with the offered works by this intriguing artist reveals his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. ‘Breton Women by Street Light’ is an atmospheric oil sketch, as Brough depicts the transient nature of early evening, as the light starts to glow through the windows, and skilfully captures the distinctive way that the white lace coiffed headdresses of the Breton women pick up touches of this reflected light. Brough achieves this with consummate ease, the paucity and economy of brushstrokes letting ones imagination fill in the gaps. The painting was included in the Aberdeen Art Gallery & Museum’s 1995 exhibition devoted to the artist. In ‘Herd Girl,’ Brough reveals his ability in pastel, a tricky medium. The beauty of the girl is softly and deftly captured, while the brighter colours of the distant landscape seem to almost swirl around her, though highlights of these richer tones are picked out in her hairband; harmonising the figure with her surroundings. Brough creates a rich, warm surface to the work, smudging the pastel in certain areas, but leaving his gestural pigment lines visible in others, creating a striking and unusual contrast. Brough’s talent and approach was beautifully summarised by his friend and mentor, Sargent: ‘. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.’
Liverpool-Irish Callihan (William). In Memoriam and other Poems, with Notes. With a Portrait. Illustrated with lithographic sketches by F. Howard, Esq., and by the Author. To which is appended "An Essay on Poetry," by F. Howard. Liverpool: A. Holden, Church Street. 1864. Green pebbled cloth, blind-stamped, titled in gilt on upper cover, spine untitled. A handsomely produced volume. The portrait of the author is a real photograph, laid down opposite t.p., with a printed signature; seven attractive lithographic drawings with tissue guards. Dedicated to the author's two brothers, Charles and Matthew, of Her Majesty's 56th Regiment. The notes make it clear the author was Irish born, raised near Rockview in Tipperary, close to the River Suir. A very rare book. Not found in NLI online catalogue; not in COPAC. (1)
From The Library at Curragh Chase Binding: Klose (Charles Louis) Memoirs of Prince Charles Stuart (Count of Albany) commonly called the Young Pretender, 2 vols., L (Henry Colburn) 1845, First Edn., Portrait frontis, inscribed on title pages, Stephen de Vere 1884; with bookplate for Curragh Chase, full calf with gilt fillet border, décor spine and mor. labels. Clean set. (2)
Natural History: Elwes (Henry John) and Henry (Augustus) The Trees of Great Britain and Ireland, 7 vols. (in 15 parts), Edinburgh (privately printed) 1906-1913, First Edn., cold. frontis, (vol. 1-5), cold. pictorial title pages, portrait and 413 plates, list of subs., décor wrappers., décor. bd., folders, (lacking folder vol. 2), otherwise. Very good clean set. Ref. Nissen BBI 595 (1)
Sinn Fein, 1916 - Sinn Fein Rebellion Handbook - Easter 1916, roy 8vo D. 1917. Compiled by 'Weekly Irish Times,' this the 1917 Issue (best). Lg. fold. cold. map, portrait illus., fac-simile illus., adverts etc., in orig. printed pink wrappers. An unusually fine copy, mostly found with covers in tatters. V. Scarce thus. (1)
Oil painting on canvas by Johann Heinrich Roos (Otterberg, September 29, 1631 - Frankfurt am Main, October 3, 1685). Family of shepherds with herds and landscape in the background. 60x100 cm. Monogram lower right H R. "The Painter's family emigrated to Amsterdam because of the Thirty Years War in 1640. He was a pupil of Guilliam du Gardijn, Cornelis de Bie and Barent Graat, but the landscape painters of Nicolaes Berchem and Karel Dujardin had the greatest influence on him. in 1653 the Roos family back to Germany, where Johann and his brother Theodor Roos work together on a commission for a cloister in Mainz. Between 1654 and 1659, Johann worked for Ernst Landgrave Hesse-Rheinfels (son of Maurice, who lived between 1623 and 1693), where he painted a portrait of a prince (1654, Heidelberg, Kurpfälzisches Museum) and religious scenes. in 1664 he was invited to paint at the court of Charles I Louis, Elector Palatine. because of poor working conditions, he moved with his family to Frankfurt in 1667, where he very successfully, but lost everything in a fire in 1685. The painting in question seems to be the best that could express the painter, when voule represent the union of men and animals in idyllic harmony with nature - this was his thought that aspired to give his impression of realistic character portrayals, especially in rural scenes and depictions of animals. In the present case, there is a sense of racy lingerie, almost familiar, that globalization in a union harmonizing landscape, and therefore nature, humans and animals. Faced with a comparison with his son Philipp Peter, we could say that is much more moody and intimate in the search for a link with the whole of nature, and less theatrical, almost not wanting to be enfatizzante as the son, who often adopts in the foreground scenes depictions of animals and portraiture almost the same.
VISIONAIRE 58 SPIRIT RTW TRIBUTE TO ALEXANDER MCQUEEN“Visionaire dedicated 58 SPIRIT to the memory of Alexander “Lee” McQueen. The issue commemorates McQueen’s life and career by publishing the imagery that had defined it. From the iconic Nick Knight image of Devon Aoki with a pin through her forehead to the haunting Inez van Lamsweerde & Vinoodh Matadin portrait of the designer himself, SPIRIT amassed photographs that, like McQueen and his revolutionary fashion, were completely unforgettable. Mario Sorrenti collaborated with fashion editor Camilla Nickerson producing a photo based on the sacrificial lamb. Printed onto pulp paper embedded with seeds, the issue could be planted to transform into a garden of wildflowers — a statement about the transience of life and fashion that honored the designer’s vision.”#923 Edition limited to 1500. By Visionaire Publishers – 2010
Circle of Antoine Pesna, 18th century oil on canvas, portrait of a lady wearing a black feather in her hair and a ruff, unsigned with indistinct inscription verso, 31" x 24", framedSmall hole in the canvas near top left-hand corner and just above the figure's head, slight paint flaking along her hairline and signs of small spots of overpainting and tiny paint flakes on her chest, not relined, no patches or repairs, plain black frame which seems original
Mid-19th century English School, oil on canvas, portrait of Caroline Morgan Bazeley, eldest daughter of William Bazeley of St Ives Cornwall, unsigned, with information on label on stretcher, 24" x 20", framedRelined but no obvious signs of previous damage or repaired tears, light craquelure on the skin but paint all stable and no obvious signs of overpainting, frame has has some gesso repairs and re-gilding but in good condition
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