283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283287 Los(e)/Seite
Los 45
Sir Edward James John Poynter (British 1836-1919): Bust Portrait of a Girl with a Garland of Flowers in her Hair, watercolour wash initialled and dated '87, 22cm x 17cm Condition Report Very good condition - well presented ready to hangClick here for further images, condition, auction times & delivery costs
Los 39
Cecil, Henry Thirteen books by Cecil, including Portrait of a Judge, A Woman Named Anne, Natural Causes and Tipping the Scales, 8vo, org. cloth in jackets, all inscribed by Cecil (a few with inserted letters or compliment slips), principally first editions or early impressions [13]. Condition variable with fading of spines and some marking of boards (more on older novels), generally clean internally.
Los 77
Decorative Photograph Albums including: Flower & Feather Album, Marcus Ward, 4to, full leather with blind decoration, watered silk endpapers, a.e.g.; portrait photographs mounted recto and verso on 12 chromolitho leaves and recto on 12 plain leaves with legend to bird illustrations on verso. British Marine Album. 4to, full leather, lacking clasp, decorative endpapers, a.e.g.; portrait photographs mounted recto and verso on 10 chromolitho and 6 plain leaves. Album. 4to, full leather gilt with clasp, watered silk endpapers, a.e.g; portrait photographs on 20 chromolitho leaves, mounted recto and verso. plus 3 others. [6]
Los 851
EXTREMELY POIGNANT AND FASCINATING ARCHIVE RELATING TO LIEUT. WILLIAM JOHN SHORTER, THE ESSEX REGT. AND R.F.C., including a group of portrait study photographs of Shorter in Army uniform and others with R.F.C. insignia, two Imperial Service badges, album of photographs depicting training at Burnham, figure studies, studies of bi-planes and others, Essex Regt. badge, Army Marksman badges, also, and probably most importantly a series of hand written letters from Lieut. William John Shorter sent back to his family, chiefly his mother and father dated from 9th February 1917 - 23rd March 1918. The letters describe his attachment to the Royal Flying Corps. - his initial training - aerial gunnery practice off Turnberry - learning to fly - the types of aircraft he flew and related incidents - life in France and in the Mess. In addition, there is three Telegrams informing the family of his death and letters from his Flight Officer and C.O. to his mother explaining the nature of the accident that took his heroic young life at only 20 years of age. The final letter is dated 23rd March 1918 which is the day he died. All the letters are signed 'Earlie'. Extracts from some of the letters are illustrated on our website. References to William John Shorter are made in Trevor Henshaw's 'The Sky Their Battlefied' and Chris Hobson's 'Airmen Died....' Memorial plaque, engraved to reverse ' Lieut. W. J. Shorter 1/8 Essex Regt. Attd. R.F.C. Killed in Action near Arras 24th March 1918 Strictly speaking Lieut. William John Shorter was not 'Killed in Action' but..................
Los 840
POSTCARDS - HUNTING & OTHER Approximately 108 cards, including real photographic views of The Staghounds on Exmoor (by Vowles); General View of First Meet (by Vowles); Quarme Harriers, Winsford Hill (by Catford); The Eggesford Hunt, Ashreigney, North Devon; The Cattistock Hunt; and Dulverton West Fox Hounds, Fox Hunters Inn, West Down, Ilfracombe; with views of Devon and Somerset Staghounds; Hounds at Crowcombe Park; The West Somerset Foxhounds at St. Audries; Minehead Harriers; Otter Hunting on the Axe; the late John Jackson, Huntsman to the Holcombe Harriers; and others; together with a cabinet group portrait photograph of Bristol interest, (loose).
Los 851
POSTCARDS - ASSORTED (A FAMILY COLLECTION) Approximately 114 cards, including real photographic views of three Taunton School sporting team portraits (1st Territorial Cup Winners, 1904 [football]; 1st Territorial Cup Winners, 1905 [hockey]; and another, all by Crockett of Taunton); a cricket portrait of M.A. Noble (N.S.W.); Fontigary Beach (by Shirvington, Cadoxton - Barry); Llandrindod Wells Park Pump Room; Castle Combe; and Temple Gardens & Holy Trinity Church, Llandrindod Wells; with views of The Swan Hotel, Bibury; The Bridge, Streatley-on-Thames; St. Pauls Church, Honiton; six cathedrals with armorial vignettes by Faulkner & Co.; artist-drawn poultry (3); and others, (loose).
Los 852
POSTCARDS - ASSORTED Approximately 195 cards, including real photographic views of Royal Parade, Plymouth; Dunraven Bay, Southerndown; Queen Victoria Memorial, London (rotary Photo); Trevarth Caravan Park; Ardenslate Road, Kirn; Portland Hotel, Buxton; New Bridge, Gipping, Ipswich; Albert Square, Manchester; Foots Gray Lane and Church, Sidcup; a village street with terraced houses (by Longmore Mavius, Barmouth, postmarked Fairbourne); River Gardens, Belper; The Knowle Hotel, Sidmouth; Wendover; and Warrior Square, Hastings; also a signed portrait of David Berglas, magician; with views of Fordingbridge Road, Ringwood; Netley Hospital; Old Hall Hotel, Letchworth; Ye Olde Talbot, Ledbury; Hall Place, Bexley; Bostal Wood, Woolwich; and others, including London views, (loose).
![[§] JOHN BELLANY C.B.E., R.A., H.R.S.A. (SCOTTISH 1942-2013)PORTRAIT WITH ARROW HEAD Signed, oil on canvas, unframed122cm x 9](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/f47f5486-97b9-42c4-a5a6-aa4900fbe7f3/468x382.jpg)
Los 14
ALEXANDER NASMYTH (SCOTTISH 1758-1840)VIEW OF EDINBURGH FROM BLACKFORD HILL Oil on canvas71cm x 91cm (28in x 36in)Provenance:Col. D.Anderson, ColinsburghChristie's Glasgow, April 1982, lot.167 Literature:J.C.B.Cooksey, Alexander Nasmyth 1758-1840, 1991, p.88, ill. 30, 'Unpublished papers of 1806 in the Collection of Col. D.Anderson of Colinsburgh list this painting as Edinburgh from Blackford Hill' Note:This painting was previously on loan to and displayed at the National Galleries of Scotland Note: Alexander Nasmyth was described by his artist colleague, Sir David Wilkie, as 'the founder of the landscape painting school of Scotland,' due to both his commitment to the genre and the legacy of his teaching. In fact, his training and career was split across both landscape and portraiture, beginning with his early tutelage under James Cumming and Alexander Runcimann within the Norie tradition of decorative landscape painting, followed by a period in the studio of the renowned portraitist Allan Ramsay. Nasmyth then established his own successful portrait practice and developed a particular niche painting conversation pieces, often family groups in front of their residence and grounds, a combination of the two aspects of his training and talent and also an acknowledgment of his further personal interest in architecture. Two years in Italy allowed him to further develop his landscape approach, often including an architectural element, as seen in the crumbling arch within the Italian scene offered here (Lot 16). In this, Nasmyth's meticulous depiction of the details reveals the delicate beauty of the vignette; it is expertly framed within his distinctively patterned leaves with a distant landscape unfolding beyond, a method of layering and framing that he repeats regularly and successfully in much of his work. Yet he only turned fully to landscape in Edinburgh around 1792 as portrait commissions began to reduce, possibly due to his increasingly severe political views being incompatible with those of his potential subjects.A key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century, Lyon & Turnbull are delighted to be offering two further lots of work by Nasmyth within the Scottish Paintings & Sculpture auction. The pair of circular paintings offered (Lot 15), pre-date his change away from portrait commissions, and are his earliest dated landscape paintings. They remain unusual, and possibly unique pieces within his oeuvre, small scale and executed in oil on copper; a medium known for its capacity to exhibit both delicacy and luminosity. Nasmyth's technique remains delicate and considered, with a lovely handling of light in both scenes. View of Edinburgh from Blackford Hill is a particularly Scottish view, capturing the rugged and distinctive topography that characterises the capital city, and the stretch of water and landmass of Fife that unfolds further North. Nasmyth's talent for balance and perspective across a composition is revealed as these different landscape layers unfold from the countryside setting where we stand and view. With a prestigious provenance, having recently been on loan to and exhibited at the National Galleries of Scotland, this is a true slice of Scotland.
Los 16
ALEXANDER NASMYTH (SCOTTISH 1758-1840)A RUINED BRIDGE OVER A RIVER, ITALY Oil on canvas46cm x 61cm (18in x 24in)Literature:A painting of the same subject but with figures is illustrated in J.C.B.Cooksey, Alexander Nasmyth 1758-1840, published in 1991, p.28 ill.125 Note: Alexander Nasmyth was described by his artist colleague, Sir David Wilkie, as 'the founder of the landscape painting school of Scotland,' due to both his commitment to the genre and the legacy of his teaching. In fact, his training and career was split across both landscape and portraiture, beginning with his early tutelage under James Cumming and Alexander Runcimann within the Norie tradition of decorative landscape painting, followed by a period in the studio of the renowned portraitist Allan Ramsay. Nasmyth then established his own successful portrait practice and developed a particular niche painting conversation pieces, often family groups in front of their residence and grounds, a combination of the two aspects of his training and talent and also an acknowledgment of his further personal interest in architecture. Two years in Italy allowed him to further develop his landscape approach, often including an architectural element, as seen in the crumbling arch within the Italian scene offered here (Lot 16). In this, Nasmyth's meticulous depiction of the details reveals the delicate beauty of the vignette; it is expertly framed within his distinctively patterned leaves with a distant landscape unfolding beyond, a method of layering and framing that he repeats regularly and successfully in much of his work. Yet he only turned fully to landscape in Edinburgh around 1792 as portrait commissions began to reduce, possibly due to his increasingly severe political views being incompatible with those of his potential subjects.A key figure of the Edinburgh cultural Renaissance at the start of the nineteenth century, Lyon & Turnbull are delighted to be offering two further lots of work by Nasmyth within the Scottish Paintings & Sculpture auction. The pair of circular paintings offered (Lot 15), pre-date his change away from portrait commissions, and are his earliest dated landscape paintings. They remain unusual, and possibly unique pieces within his oeuvre, small scale and executed in oil on copper; a medium known for its capacity to exhibit both delicacy and luminosity. Nasmyth's technique remains delicate and considered, with a lovely handling of light in both scenes. View of Edinburgh from Blackford Hill is a particularly Scottish view, capturing the rugged and distinctive topography that characterises the capital city, and the stretch of water and landmass of Fife that unfolds further North. Nasmyth's talent for balance and perspective across a composition is revealed as these different landscape layers unfold from the countryside setting where we stand and view. With a prestigious provenance, having recently been on loan to and exhibited at the National Galleries of Scotland, this is a true slice of Scotland.
Los 59
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)ROWING BOATS BY A HARBOUR QUAY, CONCARNEAU Oil on panel, also painted verso 'Fishermen on the quay'26.5cm x 35cm (10.5in x 13.75in)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. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. 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.'
Los 61
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)CONCARNEAU FERRYMAN 1894 Signed with a monogram, pastel40cm x 55cm (15.75in x 21.75in)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. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. 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.'
Los 62
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)SOUTH OF CONCARNEAU Signed, pastel on buff paper24cm x 31cm (9.5in x 12.25in)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. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. 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.'
Los 63
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)BULB PLANTING IN THE TUILERIES GARDENS, PARIS Signed with a monogram, pastel23.5cm x 32cm (9.25in x 12.5in)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. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. 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.'
Los 64
DERWENT WOOD (BRITISH 1871-1925)BUST PORTRAIT OF ROBERT BROUGH Signed, inscribed and dated 1904 in the cast, bronze23cm (9in) highNote: 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. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. 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.'Provenance:This reduction bronze is believed to be unique and was specially commissioned by John Singer Sargent from Derwent Wood as a gift to Lady Maude Messell (1875-1960 ) in memory of the artist.By decent to Lord Anthony Armstrong Jones and consigned to benefit the National Trust acquisition of Nymans House.Neil Wilson, Campbell Wilson Fine ArtPrivate Collection, ScotlandThere are 3 known full size versions; National Gallery of Scotland, Aberdeen Art Gallery, and the third is believed to be in a private collection in the US.
Los 79
ERIC ROBERTSON (SCOTTISH 1887-1941)CECILE (WALTON) AT CRIANLARICH Oil on canvas91cm x 105cm (36in x 41.5in)Provenance:Collection of the artist's daughterExhibited:Bourne Fine Art, Edinburgh, Eric Robertson 1998 Note: A passionate love affair between two exceptionally talented and promising young artists has the potential to go to two extremes: it could be a promising partnership, full of happiness and support, and the creation of beautiful work by both parties or all that passion and ambition might instead create a toxic atmosphere of jealousy and resentment, tearing a couple apart and distracting them from their work. In the case of Eric Robertson and Cecile Walton, their relationship and marriage was to continuously move between these two extremes. At times, their marriage was happy and stable and allowed both of them to dedicate time and energy to their work, with the support of someone else who understood an artist's unique trials and tribulations. At other times, the distance created by war and Eric's lack of interest in maintaining conventional relationships created strain, while sometimes jealousy over individual artistic success crept in.As you might expect from a passionate, artistic relationship there was some scandal associated with the pair, especially by conservative Edinburgh society standards. Cecile Walton was the daughter of established Glasgow Boy artist, E.A. Walton who was extremely invested in his daughter's artistic talent and developing career, while Eric Robertson was a talented art student who wished to follow his romantic ideals and act freely. Their attraction was viewed with suspicion by her family, who viewed Robertson as a philanderer (one engagement had already ended, as he had openly started a relationship with another woman), as well as an inappropriate artist (his work had previously been removed from public exhibitions, over concerns about decency). They quickly sent Cecile off travelling, but a year apart did not affect her feelings and she re-established the relationship on her return and subsequently married Robertson and had their first son. Robertson held very romantic, idealistic views of how he wished to behave that were mostly incompatible with a conventional marriage. As a result, throughout their relationship they seemed to find themselves involved in love triangles, most prominently with fellow Edinburgh artist Dorothy Johnstone, a very close friend of Cecile's who Eric developed a relationship with, creating an 'inseparable triangle' for a period before he became engaged to Cecile. At this time, while travelling in Scotland, he wrote to Cecile describing how he 'wrote the names Cecile, Dorothy and Eric on a card with a circle round them and laid it in the centre of the top of the Cairn.' Though later, while Eric was in service at the war front, Cecile herself became interested in principles of free love and feelings for the man who was publicising these views at the time. She sent letters to Eric outlining how she thought they would continue their marriage in line with her new perspective, though this does not seem to have followed through on his return. We can only imagine that these additional relationships and complications were widely known and discussed within Edinburgh social and artistic circles, particularly as art also imitated life, and on more than occasion the artists and their relationships featured, rather thinly disguised, in works of contemporary fiction. It is difficult to say how accurate these fictions are, but they do indicate that this was a widely known, and scandalous set of circumstances. Throughout their tempestuous relationships, husband and wife continued to paint each other, as well as their friends and family. This striking and elegant portrait of Cecile by Robertson dates from a happy time in their lives and marriage, a holiday they spent in a cottage in Crianlarich across the May and June of 1920. The cottage had the charming feature of this small waterfall leading to a pool located just behind it, where the couple took every opportunity to bathe in the nude. The painting is inspired by these visits and this idyllic Scottish holiday, that took place just a few short years before the marriage ultimately ended. In these early years of the 1920s when Eric had returned from war, their second child was born and both were working passionately and effectively, in part, due to the inspiration and success they had both found in working to establish the Edinburgh Group and its exhibitions. Cecile at Crianlarich has a timeless quality, though her distinctive bobbed haircut and jaunty beret do add a specifically 1920s charm.
Los 1
PIETER COECKE VAN AELST (follower) 1502 - 1550: THE HOLY FAMILY WITH AN ANGEL Second quarter of 16th century Oil on wood panel 95 x 42 cm Marked lower center with metal plate on frame: "COLLECTION PRINCE/ ESTER HAZY/ BUDAPEST." Label on back: "PRINCE ESZTERHAZY/ BUDAPEST" and seals This unique panel painting of the Holy Family is a work of exceptional quality that impresses with its deliberate composition outline, harmoniously balanced color, and excellently executed brushwork in the fabric. The individual figures are also charmingly and soulfully portrayed. The figure of the Virgin Mary, as the closest intermediary to God, is here the personification of motherhood, humilityand dedication, sitting at the table dressed in a red cloak and on her lap holding the naked Christ Child, who is clutching at her. The background is divided into two halves. On the right half Joseph is leaning towards the pair through a window that offersa view of the landscape.Pieter Coecke van Aelst was an excellent Flemish painter, sculptor, architect, and designer of wood engravings, goldsmith work, stained windows and tapestries. He worked in Antwerp and Brussels and was appointed court painter to Charles V. He was also a polyglot, translating ancient Roman and modern Italian architectural treatises about architecture into Flemish, French and German.His books played a pivotal role in the dissemination of Renaissance ideas and contributed to the transition from the late Gothic style in Northern Europe. From Italy he returned to Antwerp, where he inherited his father’s very productive workshop. The original The Holy Family with an Angel (right-angle panel, portrait orientation, 95 x 72 cm) is in a private collection. This work by his follower is also of high painterly quality. The subject of the painting was very popular and frequently repeated in various smaller iterations, with various backgrounds, architecture or landscapes or a different interpretation of Mary’s shroud (as documents at the Rijksbureau voor kunsthistorische Documentatie in The Hague demonstrate). The painting accurately characterizes the style of Pieter Coeck, with an ample landscape with tree avenues, a path and houses in the background. The painting's important provenance further increases the value of the painting: it is originally from the Esterhazy collection. Consulted with PhDr. Hana Seifertová.Restored.
Los 114
MAX ŠVABINSKÝ 1873 - 1962: NOONTIME IN JUNE 1941 Woodcut on paper In cutout 615 x 465 mm Signed lower left on print: "M. Švab. 1941", lower right in pencil: "M. Švabinský", lower left in pencil: "8/10" Leading Czech painter and printmaker Max Švabinský studied under Maximilián Pirner at the Academy of Fine Arts in Prague, where he later led the special printmaking department. His oeuvre developed out of Symbolism and Impressionism, which also marked his sensory relationship to nature and the female figure. He was an excellent draftsman and engraver exhibiting exceptional technical skill and a strong sense for detail. Over the course of his career from 1897–1961 his graphic art underwent many creative transitions. He also earned acclaim as the creator of the “Czech hall of fame” portrait gallery, which features Czech literary classics, visual artists, scientists and politicians, but he also made portraits of international figures. Other areas of interest were landscape drawing and printmaking that built on Post-impressionism and featured a personal, luminescent milieu.
Los 20
VÁCLAV BROŽÍK 1851 - 1901: PORTRAIT OF A LADY IN PERIOD DRESS After 1880 Oil on canvas 32,3 x 27 cm Signed lower left: "BROŽÍK." This portrait of a lady in period dress is an unequivocal, beautiful and typical work by Václav Brožík. As explained in the expert assessment by PhDr. Nadìžda Blažíèková-Horová: “In the late summer and early autumn of 1879, Brožík traveled to the Netherlands to become acquainted with 16th–18th century Flemish and Dutch painting. He was most captivated by the worldly portraits and technically brilliant beautiful miniature scenes of the late 17th century, which described moments of peace for the Dutch patriciate in the middle of their opulent, intimately inhabited salons. Their influence was prominent in Brožík’s paintings, especially in the first half of the 1880s. At the time he created a whole series of portraits in period folk costume and compositionally very similar, clever arrangements of unexacting, conversational scenes from family life. This painting belongs to the collection of these portraits and compositions that are excellent examples of Brožík’s social subjects painted in the spirit of Dutch minuscule painting. It is a masterful painting created under the influence of his study trip to Holland.”
Los 27
VOJTĚCH BARTONĚK 1859 - 1908: MONK IN FRONT OF A CHAPEL 1890s Oil on canvas 52 x 37 cm Signed lower right: "V.Bartoněk." As PhDr. Nadìžda Blažíčková-Horová explains in her expert assessment on the genre scene in Monk in Front of a Chapel: “... It is an indisputable and very beautiful work by painter Vojtìch Bartoněk, probably dating from the 1890s. Bartonìk worked as a portrait artist, primarily as a painter of genre scenes bearing the humorous or sentimental tone of the countryside and Prague streets and neighborhoods. Bartonìk studied at the Academy of Fine Arts in Prague in 1873–1889 under Emanuel Rom, Antonín Lhota, František Sequens and finally under Maxmilián Pirner. After completing his studies he spent a year in Paris, where he joined the large group of Bohemian artists living here. After retuning he also focused on illustrations and restoration work. However, his center of interest remained genre subjects, often with thesocial undertone he encountered in his surroundings. … Bartoněk died unexpectedly, likely from a heart attack, in front of Prague's Café Union on what was then called Ferdinand Boulevard – the street that provided him with subjects for his genre paintings for most of his life.”
Los 28
MAX ŠVABINSKÝ 1873 - 1962: SEATED YOUNG WOMAN After 1896 Oil on canvas and paperboard 22,6 x 22,6 cm Signed lower right: "M. Švabinský" Seated Young Woman is unquestionably a sketch for a portrait of Švabinský’s fiancé Ela Vejrychová, as explained in the expert assessment by Prof. PhDr. Petr Wittlich, CSc: “... which can be determined by the typical styling of the young woman’s hair (a straight part?) even though the oval of her face does not feature any drawn details, which is standard for Švabinský’s sketches because he mainly used them to work out the coloring of the painting. Another characteristic feature is the woman’s white clothingwhich is connected with the cult of English Pre-Raphaelites, a movement Švabinský embraced at the time. Spots of color indicate flowers enlivening the surface of the painting and indicating the painter’s legendary love of flowers, which later returned as floral patterns covering his models’ clothing or the wallpaper and various textiles in home interiors. This small sketch could be attached to a known series of Švabinský’s portraits of Ela Vejrychová, which are an excellent document of a mentally modern woman at the end of the 19th century. Although a final painting was not made based on [the sketch], its inner rounded format reveals a connection with his famous Round Portrait from 1897 (National Gallery in Prague), which earned Švabinský an Honorable Mention at the Exposition Universelle of 1900 in Paris.“
Los 30
JAN VÁCLAV MRKVIČKA 1856 - 1938: PORTRAIT OF A MAN Late 19th/early 20th century Oil on wood panel 15 x 12 cm Signed upper left in Cyrillic letters: IVM Czech-born painter Ivan Mrkvička is regarded as one of the founders of the modern Bulgarian painting. He contributed to the artistic life of Bulgaria, newly liberated from Turkish domination, in the late 19th and early 20th century. Born in the village of Vidim near Dubá, he studied at the academies in Prague and Munich. Mrkvička came to Plovdiv in 1881 upon the invitation by the then-Eastern Rumelian government. He worked as a teacher of draftsmanship at a high school, cooperating with the most important cultural figures in the city: Ivan Vazov, Konstantin Velichkov, Petko Karavelov and Petko Slaveykov. Mrkvička settled in Sofia in 1889 and was one of the founders of the National Academy of Arts in 1896. A master of classic painting and drawing techniques, his most significant achievements are in scenes of everyday life, although he also worked in the historic painting genre and is the author of many high-quality portraits (including Tsar Ferdinand I of Bulgaria and the tsaritsa, Princess Eleonore). One of the creators of the coat of arms of Bulgaria and the coat of arms of Sofia, he became a member of the Bulgarian Academy of Sciences in 1918. He returned to Czechoslovakia in 1921, where he primarily focused on portraiture, including painting the portraits of important politicians. A number of Mrkvièka’s paintings are owned by the Sofia City Gallery and the National Gallery in Prague.
Los 80
FRANTIŠEK SRP 1895 - 1943: BATHING 1930 Oil on canvas 50 x 65 cm Signed lower right: "Fr. Srp 1930" In Bathing painter František Srp exquisitely expresses his sense of color and spatial composition. Full expression is given to rhythm of color and form, with chords of blue, pink, and lighter skin tones. The painter creates an unusual poetic vision, surrounded in harmonious composition with bold planes. The recumbent nudes of the Three Graces, encircled by trees and a lake in the background, personify the sensuality, vitality and joy of sun-kissed nature.Painter, printmaker, landscape, figure and portrait artist František Srp studied at the School of Applied Arts in Prague in 1914-1916 under professors Emanuel Dítì a František Kysela. He continued his studies at the Academy of Fine Arts in Prague under Professor Maximilián Pirner, graduating in 1919. From 1924 he taught at a secondary school in Buèovice. He was a member of the Union of Fine Artists in Brno and Aleš Union of Fine Artists in Moravia.
Los 94
KAREL KOTRBA 1893 - 1938: PORTRAIT OF FRANTIŠEK KUPKA 1928 Bronze, cast from original plaster model 38,5 cm Sculptor Karel Kotrba created a number of portraits of important figures, including those on the art scene (such as Karel Holan, Jaroslav Kvapil, Otokar Březina, Jan Neruda, Václav Vilém Štech). This work is also a very authentic portrait of his friend František Kupka, created when the sculptor resided at the Kupkas’ in Paris in 1927-1928, and it apparently is the only thing he brought back home from the trip.Karel Kotrba originally trained as a stuccoer (in 1912–1913) and attended evening classes in sculpting at the School of Applied Arts in Prague. He fought in World War I and was a POW, returningto Czechoslovakia in 1919 as a French Legionnaire. Immediately after the war he applied to the Academy of Fine Arts in Prague and studied medal making under Professor Otakar Španiel, after which he went on a study trip to Paris. In the early 1920s he, Pravoslav Kotík, and classmates Karel Holan and Miroslav Holý joined Umìlecká Beseda. After five years at Umìlecká Beseda, they found themselves at the center of a conflict with the more conservative wing of the association. This conflict escalated in late 1924/early 1925 and they migrated to the Mánes Union of Fine Artists, where in contrast they were viewed as traditionalists. Following a conflict they were expelled in 1930. The name “Ho-Ho-Ko-Ko Social Group” was coined later, according to an anthology written by art aesthetician Bohumil Markalous (not published). Experiences from the war and life on the outskirts, in Prague-Holešovice, were reflected in Kotrba’s work. His sensitivity to social issues can be seen in his chosen themes and in his sculpting style, which is categorized as a part of the Social Art movement of the 1920s. He exhibited abroad at Czechoslovak exhibitions at the Venice Biennale (1930, 1936), Vienna (1934), Brussels (1935) and Stockholm (1936).Plaster copes of Portrait of František Kupka is included in the collections of the National Gallery in Prague and GASK – Gallery of the Central Bohemian Region.
Los 113
NO RESERVE Trials.- The arraignment, tryal and condemnation of Robert Earl of Essex, and Henry Earl of Southampton, at Westminster the 19th of February, 1600, rather browned and spotted, engraved portrait of Devereux loosely inserted at start, 20th century vellum, bowed, [Wing A3758], printed for Tho. Basset, at the George in Fleet-street, Sam. Heyrick, at Grayes-Inn-Gate in Holborn, and Matth. Gillyflower in Westminster-Hall, 1679 § Report of the Trial of Patrick Sellar, Esq. Factor for the most noble Marquis and Marchioness of Stafford, for the causes of culpable homicide, real injury, and oppression...held at Inverness on Tuesday, 23d April, 1816, La Law Library copy with perforated stamp to title and others labels, library cloth-backed marbled boards, Edinburgh, 1816; and 12 others, 19th century trials, all former La Law Library copies, 4to & 8vo (14)
![Whitehall (John) Miscellaneous Poems..., engraved portrait frontispiece (not called for), [Wing W1867], for T Salusbury, 1685](https://cdn.globalauctionplatform.com/9ed714ba-ffd4-48f0-9431-aa5700c2085c/b848f4f6-cba6-44e1-9e41-aa5700ed893e/468x382.jpg)
Los 114
Whitehall (John) Miscellaneous Poems..., engraved portrait frontispiece (not called for), [Wing W1867], for T Salusbury, 1685 § Mayhew (Thomas) Upon the Joyfull and Welcome Return of His Sacred Majestie, Charls the Second..., [Wing M1446; Sabin 47153], for Abel Roper, 1660 § Miscellany Poems and Translations by Oxford Hands, 1p. publisher's catalogue, contemporary ink ownership inscription of Balliol student to front free endpaper, [Wing M2232], for Anthony Stephens, 1685 § Fanshawe (Sir Richard) Il Pastor Fido..., contemporary ink ownership inscription to front free endpaper, signature A2 with a little loss at upper fore corner, [Wing G2177], for Henry Herringman, 1676 § Dryden (John) and others. The Satires of Decimus Junius Juvenalis..., half-title, part title, small ink stamp to title, [Wing J1288], for Jacob Tonson, 1693, first editions, some faint browning or foxing, second some soiling to title, third upper hinge pulling, first two later calf, others contemporary calf, last rebacked, third upper joint split; and 3 others, Cowley's Works, the anonymous Spencer Redivivus, and 4ff. from Fisher's Piscatoris Poemata, v.s. (8)⁂Second mentioned: this copy sold by Dominic Winter in 2004.
Los 128
Theatre.- Irish Imprint.- Davies (Thomas) Memoirs of the Life of David Garrick, Esq., 2 vol., engraved portrait frontispiece, occasional spotting, L1 (vol.2) lacking corner, not affecting text, previous owner's signatures to front free endpapers, contemporary calf, joints beginning to crack, Dublin, by Joseph Hill, 1780 § Boaden (James) The Life of Mrs. Jordan., 2 vol., ink signature of Prince Dietrichstein to front pastedowns, engraved portrait and folding facsimile frontispieces, scattered faint spotting, original boards, printed paper spine labels, slight bumping to corners and extremities, 1831; and another, similar, 12mo & 8vo (6)
Los 163
NO RESERVE Private Presses & Typography.- c.30 pieces of ephemera and other printed matter, comprising a 'Gutenberg Keepsake' with replica f. of the Mazarin Bible, 'A Bodoni Keepsake' (offered only to members of The American Institute of Graphic Arts) with type set by Morris Fuller Benton, both with tipped-in facsimile portrait, both printed by John Henry Nash and issued by The Zellerbach Paper Company, The Lakeside Press' Abraham Lincoln tribute 'Man for the Ages', prospectuses, respectively, for Graf-Verlag's facsimile edition of The Book of Kells, for The Shakespeare Head Press' edition of The Whole Works of Homer (this with sample engraving by John Farleigh), and for The Lakeside Galleries' exhibition 'Five Centuries of the Printed Bible' (the last with specially-printed wood engraving by Bernard Brussel-Smith), a publications list dated 1906 for Daniel Edwards Kennedy's The Queen's Shop of Chestnut Hill, galley proofs for his publications The Rat-Trap Man and Golf in Sapphira's Days, also several duplicated advertising pieces, prospectus for Morison's John Fell: The University Press and the 'Fell' Types, and a broadside carrying Eisenhower's 'Don't Join the Book Burners', some browning, soiling, and foxing, a few nicks and creases, 4to & folio, 1907-53.
Los 186
Agricultural implements.- Lester (William) A History of British Implements and Machinery Applicable to Agriculture, first edition, engraved portrait frontispiece and 8 plates, 2 wood-engraved illustrations, occasional spotting, library cloth, stained, [Fussell, Farmer's tools, p.227], 1811 § Ransome (James Allen) The Implements of Agriculture, first edition, wood-engraved illustrations throughout, later library sheep, rubbed and scuffed, [Fussell, Farmer's Tools, p.71], 1843; and 2 others, implements and steam engines, v.s. (4)
Los 2
NO RESERVE Maritime.- Conrad (Joseph) The Rover, first edition in book form, one of 377 copies signed by the author, with A.L.s. from Conrad to Sidney Colvin concerning translators loosely inserted, portrait by Muirhead Bone, original pictorial boards, gilt, t.e.g., others uncut, glacine wrapper, dust-jacket, spine slightly rubbed and faded, Garden City, N.Y., 1923 § Bone (David) The Brassbounder, signed and inscribed by the author to Joseph Conrad on front free endpaper, morocco-backed cloth, New York, 1921 § Conrad (Jessie) A Handbook of Cookery for a Small House, Preface by Joseph Conrad, new impression, signed by Alan Villiers and with his manuscript note "Book given to Alan Villiers late 1979. Came from one of the Conrad homes", original cloth, soiled, 1923 § Miazgowski (B.) Dar Pomorza, signed and inscribed to Alan Villiers by Cdr. Kosianowksi-Lorenz "...to the great sailor Alan Villiers, who deeply touched the Polish hearts by naming his own beautiful sailing ship 'Josef Conrad'..." on title, with T.L.s. from him and booklet in English loosely inserted, illustrations, original cloth, dust-jacket, rubbed and frayed, Warsaw, 1959; and 2 others by Villiers, 8vo & 4to (6)⁂ The first was first published in the Pictorial Review in New York; this limited edition was issued prior to the American trade edition and the first English edition. The letter from Conrad is undated but was presumably written during the First World War as he writes that the usual translators "are all serving now and the original distribution of work has been altered. The war has upset the arrangements and delayed the whole thing...".
Los 205
NO RESERVE Wales.- Harlech.- Pedigrees.- , Pedigree of the Family of Wynne, of Peniarth in the County of Merioneth, presentation inscription to Lord Harlech dated 1877, additional portrait plate tipped in, original wrappers bound at end, contemporary half morocco, privately printed, 1872 § Pedigree of the Families of Maurice, Owen, etc., ..., shewing the descent of the Estates in England and Wales of John Ralph, Lord Harlech, occasional faint spotting, pamphlet on Harlech Castle and 4pp. of manuscript notes loosely inserted, contemporary half morocco, a little rubbed and faded, privately printed, 1876; 4to (2)
Los 213
Napoleon III.- Italy.- Fournier (Jean Baptiste Fortuné de, French painter, watercolourist and miniaturist, 1797-1864) Souvenir album from Florence with 39 portrait miniatures, many of the portraits annotated with sitters names and dated '27', with inscription at front endpaper that reads 'Le Fournier/ Painter at the Court of Napoleon III/ + Empress Eugenie/ Uncle of Adèle S[?]orgi', pencil on various papers, one with watercolour, four on thin tracing paper, neatly tipped onto buff paper album leaves, each leaf approx. 115 x 150 mm. (4 1/2 x 5 7/8 in), occasional surface dirt and minor spotting, green morocco with gilt spine reading 'Souvenir/ Firenze/ 1827', the upper and lower cover decorated with gilt ducal 'F' and crown, rubbed and worn, 1827; together with a single volume of Michel Odieuvre's 'L'Europe illustre', containing 29 portraits only, 4to, [circa 1765] (2).
Los 30
Futurism.- Russolo (Luigi) L'Arte dei rumori, first edition , photographic portrait frontispiece and 1 plate, original printed wrappers, little spotting / light browning to outer edges, still a very good copy, [Salaris p.64], 8vo, Milan, Edizioni Futuriste di "Poesdia", 1916.⁂ L'Arte dei Rumori [ The Art of Noises ] is considered to be one of the most important and influential 20th century works on musical aesthetics. In this manifesto Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape, requiring a new approach to musical instrumentation and composition.
Los 39
Medals & decorations.- Nicolas (Sir Nicholas Harris) History of the Orders of Knighthood of the British Empire; of the Order of the Guelphs of Hanover; and of the Medals, Clasps, and Crosses conferred for Naval and Military Services, 4 vol., titles in red and black, hand-coloured lithographed portrait frontispiece and additional pictorial title, 21 (of 22) chromolithographed plates, occasional staining, contemporary russia, gilt, spines in compartments, rebacked, preserving original backstrips, rubbed and scuffed, 4to, 1842.
Los 42
Medals & decorations.- Naval.- Milford Haven (Marquess of) British Naval Medals: Commemorative Medals, Naval Rewards, War Medals, Naval Tokens, Portrait Medallions, Life-Saving Medals, Engraved Pieces, &c., &c., title in red and black, numerous illustrations within text, errata slip, contemporary buckram, leather gilt label to spine, stained and rubbed, folio, John Murray, 1919.⁂ A scarce work. This corresponds to being one of 25 copies, signed by the author, however we are lacking the justification leaf.
Los 45
Whistler (J. McNeill).- Duret (Théodore) Histoire de J. Mc N. Whistler, edition de luxe, portrait frontispiece and 18 plates, 2 colour, captioned tissue-guards, illustrations, many full-page, original wrappers bound in, contemporary half-morocco, spine a little rubbed, 4to, Paris, H. Floury, 1904.
Los 46
NO RESERVE Byng (Attributed to Edward, principal studio assistant of Sir Godfrey Kneller, c. 1676-1753) Portrait of a young man wearing a buttoned coat, pen and brown ink over traces of red chalk and pencil, monochrome wash and heightened with white, on buff laid paper without watermark, bears inscription 'G. Kneller' in the lower right corner, sheet 272 x 254 mm. (10 3/4 x 10 in), attribution to 'Bing' in pencil on verso, some minor nicks and repairs, unframed, [18th century]Provenance:Unidentified collector's mark verso [possibly the same collector's mark as found on the Willem van de Velde drawing in the Robert Lehman Collection, New York, acc. 1975.1.812; see Lugt 3465 for similar gothic 'B']
Los 47
NO RESERVE Biagio Rebecca (1735-1808) Studies for a ceiling design; Portrait of a clericTwo works, pen and ink with watercolour, on laid paper without watermarks, the former approx. 85 x 117 mm. (3 3/8 x 4 5/8 in), the latter 157 x 130 mm. (6 1/8 x 5 1/8 in) (unframed) (2)Provenance:Ex-collection of Edward Croft-Murray (Keeper of the Department of Prints and Drawings at the British Museum from 1954-1973)⁂ 'Rebecca studied at the Accademia di San Luca, Rome, and while there he met the painter Benjamin West, who remained his lifelong friend [...] he was especially skilled in decorative painting and became one of the most prolific and talented of the Adam school, working not only for the Adam brothers but also for James and Samuel Wyatt and Henry Holland'. [Oxford DNB]
Los 48
NO RESERVE Reynolds (After Sir Joshua, 1723-1792) Portrait Of Francis, Marquess Of Tavistock (1739-1767), black chalk on ivory wove paper without watermark, bears initials [?]'I.S.' in the lower right corner, possibly John Raphael Smith (1752-1812), sheet 250 x 210 mm. (9 7/8 x 8 1/4 in), inset onto mount, unframed⁂ A highly competent and attractive study after the portrait held in Woburn Abbey, Bedfordshire.
Los 51
Ackermann (Rudolph) The History of the Abbey Church of St. Peter's Westminster, Its Antiquities and Monuments, 2 vol., first edition, second issue, half-titles, engraved portrait and architectural plan, 80 hand-coloured aquatint plates, lacking plate 5 'Interior View of Westminster Abbey, From the West Gate', plate 3 trimmed and tipped-in, list of subscribers, ex-library copy with labels and blind stamps, several of latter encroaching on images, vol.I ink ownership inscription to free endpaper, offsetting and foxing, some soiling, contemporary calf, stamped in blind and gilt, worn, boards and backstrips detached taking with them some endpapers, crude tape repair [Abbey, Scenery 213], 4to, for R.Ackermann, 1812.
Los 56
NO RESERVE Engraved Illustrations.- Testament de Louis XVI..., 1f. broadside with portraits of Louis, Marie-Thérèse, and Louis-Charles, also engraved text, Paris, Pasquier et Jagot, 1793 § Senate (Dr) Lozenges of Steel, vignette by van den Berghe obverse, engraved explanatory text reverse, 1799 § [Hone (William)] "Non Mi Ricordo!" &c. &c. &c. twenty-second edition, illustrations by Cruikshank, as issued, stitched, edges uncut, 1820 § "J.W." Bathing at Buxton. No 2. A Nym of Invitation. Modern. By an Ancient. bifolium with poem headed by illustration of bathers and onlookers, Buxton, by J.C. Bates, ?1830s § Les Trois Journées de Paris..., portrait of Louis Philippe Duc d'Orléans within floriate and triumphal border, printed text, [Paris], Marchand du Breuil, 1830, a little browning, foxing, and soiling, v.s. (5)
Los 66
Stellato (Marcello Palingenio) Marcelli Palingenii Stellati Poetæ Doctissimi, Zodiacus vitae..., endpapers formed from manuscript fragments, contemporary ownership inscriptions to free endpapers, a few ff. with marginal loss, Ex officina Societatis Stationariorum, 1639 § Sainctyon (Sieur de) The History of Tamerlan the Great..., hinges pulling, [Wing S359B], for S.Heyrick, 1679 § Robinson (H.) Scholæ Wintoniensis Phrases Latinæ, eighth edition, contemporary ownership inscriptions and pen trials to peripheral ff., title and initial blank with marginal loss, contents separating and hinges splitting, [Wing R1686], for A.M., 1673 § Lacroze (Jean Cornand de) The History of Learning..., 1f. publisher's catalogue, for Abel Swalle and Timothy Childe, 1691 § Leigh (Edward) Select and Choyce Observations..., both initial blanks, [Wing L1003], by Roger Daniel, 1657, each but third first edition, first, third, and last woodcut decorations, each some browning and soiling, first three contemporary calf, first rebacked, fourth modern paper-backed boards, last later quarter morocco, first and third worn, joints splitting, others rubbed; and 7 others, including a copy of Mount-Orgueil lacking "Comfortable cordials" but with portrait and preliminary verse on one f., v.s. (12) Provenance: second: John Spencer (armorial bookplate)
Loading...-
283287 Los(e)/Seite